261. Hugo Montenegro – The Good, the Bad and the Ugly (1968)

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On 18 November, a warehouse fire on James Watt Street in Glasgow kills 22 office workers in the offices of upholstery factory B Stern Ltd. Only four people in the building managed to escape.

26 November saw the Race Relations Act passed, which made it illegal to refuse housing, employment or public services to people in Britain due to their ethnic background. And four days later the Trade Descriptions Act came into force, bringing an end (officially anyway) to shops and traders describing goods in a misleading way.

1968, particularly the first half, had seen some unusual number 1s. As the year drew to a close, things got weird again. Enjoying a full month at the pole position of the singles chart was American orchestra leader and soundtrack composer Hugo Montenegro, with his remake of the theme to Sergio Leone’s 1966 Spaghetti Western The Good, The Bad and the Ugly.

This film was the final part of Leone’s Dollars Trilogy, following A Fistful of Dollars and A Few Dollars More, and starred Clint Eastwood as the Man with No Name once more. Despite initial scepticism from the critics, The Good, The Bad and the Ugly is now considered one of the greatest examples of the genre of all time. I have to confess I haven’t seen any of the trilogy. Westerns aren’t really my bag. But of course, I know the theme to this movie.

As with the other two parts of the trilogy, the score came from Italian composer Ennio Morricone. The Good, the Bad and the Ugly (main title) was conducted by Bruno Nicolai. Simply put, it’s one of the most iconic pieces of film music ever, and features at the start of the movie. Largely in part to the theme, Morricone’s soundtrack album was a bestseller. But how did a remake become a number 1 single, two years after the film’s release, and who was Hugo Montenegro?

Montenegro had been born in New York City in September 1925. He served in the US Navy for two years, but was mostly arranging the Newport Naval Base band in Newport, Rhode Island. When World War 2 ended he studied composition at Manhattan College.

By the mid-50s he was directing, conducting and arranging orchestras for record labels, and he directed the Glen-Spice Orchestra on the first release by future pop star hearthrob Dion in 1957.

In the early 60s he found work with RCA Victor producing albums of cover versions of themes from films and TV series, including spy themes and westerns, which is what led to his version of The Good, the Bad and the Ugly. It might sound quaint now, but these kind of albums were popular for decades. I can remember several in our family well into the 80s, featuring the themes of Superman, Star Wars, all the blockbusters of the time.

Montenegro’s version of Morricone’s classic was very similar to the classic original. It was recorded live in one day and featured, among others, Art Smith on ocarina, Art Morgan on harmonica, Elliot Fisher on electric violin, Manny Klein on piccolo trumpet and Muzzy Marcellino provided the whistling.

Despite the popularity of the soundtrack remake back then, it’s still an odd choice for a number 1 single. Having said that, you can’t deny the brilliance of the original, all that ominous forboding, the danger, the intrigue, wrapped up in a brilliant melody and sounding so unusual.

I realise I stated in my previous blog for With a Little Help from My Friends that if you’re going to make a cover, you need to make it different. And yet I enjoyed this facsimile. There’s very little difference, it’s just been made slightly more pop friendly, with light acoustic guitar and the danger slightly turned down. But it doesn’t sound tacky like many of these remakes used to do (ever heard anything from those Top of the Pops albums of the 70s?).

Montegro was understandably taken aback at the success of this single in the US and the UK. By making it to number 1 here it became the first instrumental to do so since Foot Tapper by the Shadows in 1963. It’s not strictly speaking an instrumental though – in this version, the random shouts you hear are actually members of the band shouting ‘HU-GO-MONT-EN-EGRO!’.

The composer continued to record remakes, and also composed original scores for films, including the Elvis Presley western Charro! in 1969. He’s also achieved a cult audience in recent years due to his albums that featured the Moog synthesiser, with the kitsch retro-space-age sounds proving influential on a new generation of musicians. On TV, he was famous for his TV themes for US sitcoms I Dream of Jeannie and The Partridge Family.

In the late 70s he was forced to put his career on hold due to his battle with severe emphysema. He died of the disease in February 1981.

Written by: Ennio Morricone

Producer: Hugh Montenegro

Weeks at number 1: 4 (13 November-10 December)

Births:

Footballer Barry Hunter – 18 November
Journalist Andrew Gilligan – 22 November

Deaths:

Writer Mervyn Peake – 17 November
Children’s writer – Enid Blyton – 28 November

227. Tom Jones – Green, Green Grass of Home (1966)

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December 1966: Harry Roberts, John Whitney and John Duddy are sentenced to life for killing three policemen in August on 12 December. Prime Minister Harold Wilson and Rhodesian Prime Minister Ian Smith were in the news throughout the month as they attempted to negotiate the whole independence saga. On 20 December Wilson withdrew all offers and announced that he will only consider independence when a black majority government is installed in Rhodesia. Two days later, a steadfast Smith announced he already considered the country a republic. New Year’s Eve saw thieves steal millions of pounds worth of paintings from Dulwich Art Gallery in London.

And so, after such a stellar year of chart action, we’re back at the Christmas number 1. For the first time since 1962, it isn’t the Beatles, who were working on Strawberry Fields Forever. Holding court as the top of the pops for the whole month, and most of January, was 1966’s best-selling single – Tom Jones’s cover of Green, Green Grass of Home.

Since his last number 1, the storming It’s Not Unusual in 1965, Jones’s popularity had slipped somewhat. Granted, his theme to What’s New Pussycat?, by Bacharach and David, did well, but his theme to the James Bond movie Thunderball wasn’t so popular. His manager Gordon Mills decided a new approach was needed, and steered Jones towards using that deep voice to become a light entertainment-style crooner.

Green, Green Grass of Home had been written by Claude ‘Curly’ Puttman, Jr, and was first made popular by flamboyant country star Porter Wagoner in 1965. Later that year, controversial rock’n’roller Jerry Lee Lewis recorded a version for his album Country Songs for Country Folks, and it was this version that made Tom Jones decide to give it a crack himself. His producer Peter Sullivan weren’t so sure – country wasn’t what they had in mind for Jones, so Les Reed, who had written It’s Not Unusual, arranged the track and took it in an easy listening direction.

Jones recalled in an interview for The Mail on Sunday in 2011 that Lewis was on a UK tour just before the single’s release, and met with Jones. He was bowled over by this new pop version, and told Jones he had a hit on his hands.

It’s an odd one, really. Green, Green Grass of Home is still considered one of Tom Jones’s best songs, and yet it leaves me rather cold. The arrangement is rather dated now, particularly when compared to the previous number 1, Good Vibrations. I think the Beach Boys classic would have made for a much more appropriate song to round the year off. But there’s no accounting for taste. Which leads me onto my next point.

Don’t get me wrong, I’m against the death penalty, but it’s hard to feel sorry for the singer once you know the twist – that he’s behind bars and reminiscing on his hometown before he is hanged. The likelihood here is that this man has done something terrible. An odd choice for Christmas number 1, all in all. I hate the ‘Mary/cherries’ rhyme as well.

Green, Green Grass of Home is a sign of what happens to the charts in 1967. After all this energy, vigour and innovation, things go somewhat downhill. 1967 was a great year for albums, and I used to think that once we got full-blown into the ‘flower power’ era, there would be some wonderful single number 1s. There’s far fewer than I hoped, and more often than not, the fashion sways back towards MOR.

Also that year, Tom Jones performed in Las Vegas for the first time. Like his friend Elvis Presley in the 1970s, his recording output suffered as his live act grew more flamboyant, and it was here he cultivated the sweaty, open shirt image that would make him a figure of fun over the years. There were still hits from time to time though, such as Delilah in 1968. From 1969 to 1971 he presented his own variety show on ITV called This Is Tom Jones. The year it ended he recorded one of my favourite Jones tracks, She’s a Lady, written by Paul Anka and later used to great effect in Terry Gilliam’s adaptation of Hunter S Thompson’s Fear and Loathing In Las Vegas (1998).

By the mid-70s his career had declined and he tried to get more film and TV work, but by the early 80s he was recording country material that failed to chart. The first of his many comebacks came in 1987 when A Boy From Nowhere made it to number two. Then the following year he teamed up with Art of Noise for a smash-hit cover of Prince’s Kiss. Unfortunately, someone missed the point of the original, and changed the lyrics from ‘Women, not girls rule my world’ to ‘Women and girls rule my world’, which sounds a bit seedy to me.

In 1992 he kickstarted the idea of ‘legends’ appearing at Glastonbury Festival, and had cameos on The Fresh Prince of Bel-Air and The Simpsons the following year. Also in 1993 he was back in the charts with If I Only Knew. I personally find this track hilarious for its opening, in which Jones’s bellow is used to headache-inducing levels. It’s hard not to enjoy it though. 1996 saw him cameo in Tim Burton’s sci-fi comedy movie Mars Attacks. He rounded off the millenium with Reload, an enormously successful collection of covers featuring the stars of the time.

It was around then I got a bit sick of Tom Jones. That bellow was everywhere, from the dodgy duet It’s Cold Outside with Matthews (which takes on new levels of meaning when you read he allegedly banged her over the mixing desk during the recording) to the especially irritating version of Mama Told Me Not to Come with Stereophonics. The biggest hit, Sex Bomb, with Mousse T, long outstayed its welcome. But the Queen loved him and he was given an OBE that year, before being knighted in 2006.

He’s never really gone away since the success of Reload, and is now a national treasure. There’s one more number 1 with which he’s involved, from 2009, so I’ll return to his story then.

Next time then, 1967. Until 18 January though, Green, Green Grass of Home reigned at number 1. So what was happening in the news then? On New Year’s Day, the Queen decided to commemorate England’s World Cup achievement by making manager Alf Ramsey a Sir, and also awarded captain Bobby Moore with an OBE.

3 January saw stop-motion children’s TV favourite Trumpton begin on BBC One, and four days later another classic TV series began on BBC Two – The Forstyte Saga.

On 4 January, motorboat racer Donald Campbell was tragically killed while trying to break his own water speed record attempt on Coniston Water in the Lake District. Footage shows his Bluebird K7 and smash into the water. His body wasn’t found until 2001.

And in the world of politics, the UK entered the first round of negotiations for European Economic Community Membership on 15 January. Three days later, the flamboyant Jeremy Thorpe replaced Jo Grimond as leader of the Liberal Party. He was a popular leader and increased the party’s voting stastics, but controversy would end his leadership early.

Written by: Curly Putman

Producer: Peter Sullivan

Weeks at number 1: 7 (1 December 1966-18 January 1967) *BEST-SELLING SINGLE OF THE YEAR*

Births:

Footballer Dennis Wise – 16 December
Rugby player Martin Bayfield – 21 December
Rugby league player Martin Offiah – 29 December
Comedian Mark Lamarr – 7 January
Actress Emily Watson – 14 January

Deaths:

Land and water speed record breaker Donald Campbell – 4 January 

 

224. Jim Reeves – Distant Drums (1966)

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At 9.15am on 21 October in the mining village of Aberfan in Glamorgan, South Wales, pupils at Pantglas Junior School were just beginning their lessons. A large colliery spoil tip, high up on a mountain slope behind the village, suddenly turned into a slurry due to a period of heavy rain beforehand. Within five minutes, the slurry had engulfed the school, along with nearby houses and a farm. This tragic event resulted in the horrific deaths of 116 children and 28 adults. The TV footage of the incident makes for surreal, grim viewing.

That autumn had seen the singles chart ruled for 5 weeks by a man who had died two years previous. American country singer-songwriter Jim Reeves ruled over the charts with Distant Drums in the same surprising way that Ken Dodd had a year previous with Tears. Amid all the amazing, pioneering music coming thick and fast, the charts were suddenly owned by the old folk once more.

‘Gentleman Jim’ had been born in Galloway, Texas in August 1923. Known as Travis during his childhood, he loved to play baseball and spent three years in minor leagues before severing his sciatic nerve. As a sufferer of sciatica myself, I can only imagine this must have been really bloody painful.

Reeves avoided World War Two when he failed his physical exam in 1943, and so he began working as a radio announcer. A fan of popular singers like Frank Sinatra, Jimmie Rodgers and Bing Crosby, he would sometimes sing live in-between songs, and began to see a career in it.

By the early 1950s Reeves was doing well in the US charts. Bimbo reached number 1 in the country chart in 1954. His first and only album release for Abbott Records, Jim Reeves Sings, came in November 1955. By that point he had signed a ten-year deal with RCA Victor with Steve Sholes. That same year, Sholes signed Elvis Presley.

Like every other country and western performer of the era, Reeves’ earliest recordings had him adopting a loud, rather cliched Texan style, but over time he developed his trademark style, a smooth, warm and gentle baritone, his lips nearly touching the mic as he crooned. RCA executives thought this was a bad idea, but Reeves was lucky to have producer Chet Atkins on his side. The first example of this new approach, Four Walls, was a commercial hit for Reeves in 1957. Soon, other artists were adopting the same approach, and this gentle approach, together with lush arrangements, became known as the Nashville Sound.

As the 60s began Reeves scored big in the pop and country charts with He’ll Have to Go. From here on in his stature grew enormously worldwide, eclipsing his fame in the US, even. He was more popular than label mate Elvis in South Africa. Among his hits in the UK in 1963 was Welcome to My World, used in recent years in adverts for Thomson Holidays.

In an eerie foreshadowing of what was to come, the singer’s final session for RCA resulted in three songs – Make the World Go Away, Missing You and Is It Really Over? With tape left over, they cut one more track – I Can’t Stop Loving You, which had been a number 1 for Ray Charles in 1962.

On 31 July Reeves and his manager Dean Manuel (also the pianist in Reeves’ backing group, the Blue Boys) were flying over Brentwood, Tennessee when they encountered a violent thunderstorm. Two days later, after intense searching by friends including Marty Robbins, the wreckage was found, and by the afternoon, Gentleman Jim’s death was announced publicly.

Material by Reeves continued to be released after his untimely death, aged 40. Distant Drums was a song by country singer and dancer Cindy Walker. It had been recorded by Roy Orbison in 1963, but it is Reeves’ version that is remembered best.

So just how did Distant Drums not only make it to number 1, but hold court for five weeks? It’s really hard to say. It seems RCA had chosen to release it due to creeping anti-war sentiment over the situation in Vietnam, but I’m not sure you could describe it as an explicit protest song. Even if it was, surely there were more commercial examples of such a thing out there? The fact he was two years dead already means it wasn’t due to the strength of feeling after he was gone, either.

To be fair to Reeves, he never intended it as a single – it was merely meant as a demo, and had been tarted up with an orchestral backing. But lord, is it dull. I’m no country fan anyway, but it’s a B-side or album track at best. I’ve read that perhaps so many young bands were jockeying for the top spot at the time, Reeves’ single split the vote, but who knows? It’s another one of those chart mysteries.

On the final day of Distant Drums‘ number 1 reign, former chart-topper Alma Cogan, whose Dreamboat was number 1 in 1955, died of ovarian cancer aged only 34.

Written by: Cindy Walker

Producer: Chet Atkins

Weeks at number 1: 5 (22 September-26 October)

Births:

Prime Minister David Cameron – 9 October 
Footballer Tony Adams – 10 October

Deaths:

Singer Alma Cogan – 26 October 

210. Nancy Sinatra – These Boots Are Made for Walkin’ (1966)

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The fall-out from Rhodesia continued through the rest of the winter, with the UK protesting to South Africa on 17 February over its supplying of petrol to the country. 28 February saw Prime Minister Harold Wilson announce a snap general election for 31 March. Two days later Chancellor James Callaghan announced the decimalisation of the pound, which would come into effect on 15 February 1971.

Also on 17 February, Nancy Sinatra began a month at number 1 with Lee Hazelwood’s These Boots Are Made for Walkin’, which finally brought a much-needed dose of feminism to the top of the charts.

The eldest daughter of Frank Sinatra and his first wife Nancy Barbato, Sinatra was born in Jersey City, New Jersey in July 1940. When she was five her legendary father immortalised her in song with Nancy (with the Laughing Face). He clearly wanted her to follow in his footsteps, and she spent much of her childhood having singing, piano, dance and drama lessons. In the late-1950s she was studying music, dancing and voice at the University of California, but she dropped out and in 1960 she appeared on the television special The Frank Sinatra Timex Show: Welcome Home Elvis. She was sent to the airport on behalf of Frank to welcome Presley back from his stint in the army, and performed alongside her father in a rendition of You Make Me Feel So Young/Old (delete as applicable).

In 1961 Sinatra signed to her father’s label, Reprise Records and released her debut single Cuff Links and a Tie Clip. Besides a few chart appearances in Europe and Japan, she was going nowhere, and by 1965 she was on the verge of being dropped. It was around this time that Reprise introduced her to Lee Hazlewood.

Hazelwood was best known up to this point for his work with rockabilly guitarist Duane Eddy, and he produced Peter Gunn and Rebel Rouser, among others. He had written These Boots Are Made for Walkin’ with the intention of recording it himself. It’s more than fair it would have had a fraction of the impact if this had been the case. In an article for Los Angeles Magazine in 2016, Sinatra recalled Hazelwood had come over to her parents’ house to audition songs for her. The minute he played the infamous bass line on his guitar, she was hooked. But ‘he said, “It’s not really a girl’s song. I sing it myself onstage.” I told him that coming from a guy it was harsh and abusive, but was perfect for a little girl to sing. He agreed. When he left, my father, who had been sitting in the living room reading the paper, said, “The song about the boots is best.”’

Sinatra recorded the song on 19 November 1965 in Hollywood, with the Wrecking Crew providing the backing. Hazlewood’s idea to have her sing it in a lower register was a genius move, as was that slinky descending, dare I say, groovy opening. Sinatra’s had enough of her lover’s cheating ways despite his promises to change. What makes it so effective, and revolutionary at the time, is the fact she isn’t angry, or sad. She’s cool, calm, collected and entirely in charge, and it’s for these reasons (along with the boots imagery, obviously) that make These Boots Are Made for Walkin’ so sexy. A sexy number 1 by a female artist – how many times had that happened up to this point? Sinatra’s father famously denounced pop in the 60s, which is ironic, considering his own daughter helped invent modern female pop as we know it. I’m not going to mention ‘girl power’. Oh, I just did.

Sinatra’s image change to help her promote the song also pioneered 60s fashion, and there’s good reason the track is used in spoof spy film Austin Powers: International Man of Mystery (1997). Her bleached-blonde hair, heavy eye make-up, mini-skirt and boots are the epitomy of 60s glamour, and the film she made for the track, with go-go dancers parading behind her, is truly iconic.

These Boots Are Made for Walkin’ was still at number 1 on 5 March, when BOAC Flight 911 crashed during severe turbulence over Mount Fuji soon after taking off from Tokyo International Airport in Japan. All 124 on board were killed. Four days later, gangster Ronnie Kray, one half of infamous East End criminal duo the Kray Twins, shot dead George Cornell, an associate of the rival Richardson Gang. And two days after that, Chi-Chi, London Zoo’s giant panda, was flown to Moscow to get it on with Moscow Zoo’s An-An. Wonder if they played them the number 1 of the time?

Written & produced by: Lee Hazelwood

Weeks at number 1: 4 (17 February-16 March)

Births:

Comedian Ben Miller – 24 February 
Comedian Alan Davies – 6 March 
Politician Gregory Barker – 8 March 
Author Alastair Reynolds – 13 March 

Deaths:

Politician Viscount Astor – 8 March 

198. The Hollies – I’m Alive (1965)

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After 15 months behind bars, Great Train Robber Ronnie Biggs escaped from Wandsworth Prison on 8 July. He scaled a wall with a rope ladder and dropped into a waiting removal van. The canny criminal then fled to Brussels. Four days later, Secretary of State for Education and Science Tony Crosland issued Circular 10/65, which set into motion the abolition of grammar schools and secondary moderns. One of the best actions Labour took during the Wilson government.

Mancunian beat outfit the Hollies were one of the most popular acts of the era, ratcheting up many weeks in the top ten from 1963 onwards, but they only had one number 1 in the 1960s, toppling Elvis Presley a few weeks before these events took place.

The nucleus of the group, Allan Clarke and Graham Nash, were friends from primary school who, like so many others, were keen skiffle fans. They were also admirers of the Everly Brothers and began modelling themselves on them, becoming known as Ricky and Dane Young. Soon after they joined up with a local band called the Fourtones. In 1962 their guitarist Derek Quinn quit to join Freddie and the Dreamers, so Clarke and Nash also jumped ship. They teamed up with another Manchester band called the Deltas, who had just lost a member to the Mindbenders. The Deltas consisted of guitarist Vic Steele, bassist Eric Haydock and Don Rathbone on drums.

That December, they changed their name to the Hollies. Exactly why is unclear. It used to be said that Haydock came up with the name in relation to the festive season, but in 2009 Nash said it was a group decision and was influenced by Christmas and their mutual love of Buddy Holly.

The Hollies performed at the Cavern Club in Liverpool in January 1963, where they came to the attention of Parlophone assistant producer Ron Richards. He offered the band an audition, but Steele chose to quit as he didn’t want to turn professional. They replaced him with Tony Hicks, and they passed the audition, with Richards becoming their producer until well into the 70s. One of the songs they performed, a cover of the Coasters’ (Ain’t That) Just Like Me, became their debut single in May 1963. It did well, reaching number 25. After second single Searchin’, Rathbone chose to leave, and Hicks’ old bandmate Bobby Elliott became their new drummer.

In 1964 the Hollies went from strength to strength. Debut album Stay with the Hollies reached number two in the charts. And they scored hit after hit, most impressive of which was Just One Look. They stood out mainly due to the great harmonies of Clarke and Nash, and a tendency to pick strong songs to cover.  By September Clarke, Nash and Hicks were penning their own tunes and Richards agreed to let them record and release We’re Through as a single, which was another smash.

Some time in late 1964 or early 1965, Clint Ballard Jr approached the Hollies with a song he’d written especially for them. Ballard was a US songwriter who had discovered and managed the Kalin Twins, who had a UK number 1 with When in 1958. He had written Good Timin’ for Jimmy Jones, which went to the top in 1960. His timing with the Hollies was bad initially, as they passed on I’m Alive and it ended up in the hands of fellow Mancunians the Toggery Five. Perhaps they didn’t want to rely too much on covers, but they relented and recorded their own version in May and released it ASAP. And on 24 June the number 1 spot was finally theirs.

It’s all about the uplifting, anthemic chorus really, otherwise I’m not sure there’s much of a song there. But the harmonies are strong as ever and there’s some impressive drum fills too, so the group do the best they can with somewhat average material. I’ve already forgotten the verses but ‘I’m alive!’ is a nice earworm.

The Hollies battled with Presley for a few weeks, with Crying in the Chapel returning to number 1 after a week, but I’m Alive won the war and went back to the top for a further fortnight. It would be 23 years before an advertising campaign helped get the Hollies back to number 1 in 1988.

Written by: Clint Ballard Jr

Producer: Ron Richards

Weeks at number 1: 3 (24-30 June, 8-21 July)

Births:

Footballer Gary Pallister – 30 June
Footballer – 11 July
Politician David Miliband – 15 July
Dinah Rose, QC – 16 July
Academic Steve Webb – 18 July

197. Elvis Presley with the Jordanaires- Crying in the Chapel (1965)

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The music scene of 1965 may have been exciting, but the weather was not. June and July were very dull and average. Meanwhile, on 17 June, Frank Marcus’ farce The Killing of Sister George premiered at the Duke of York’s Theatre, becoming one of the first mainstream British plays to feature lesbian characters. Beryl Reid was in the title role. The following day the government announced plans for the introduction of a blood alcohol limit for drivers. Amazing it had taken so long, really. 22 June saw the 700th anniversary of Parliament celebrated.

So, lots going on that week, and it also saw the return to number 1 for the most successful artist at that point. After a two-year absence, Elvis Presley was back at the top for the 15th time with his cover of Crying in the Chapel. ‘The King’ had been in the doldrums somewhat since (You’re the) Devil in Disguise musically. His movie career was still very active, but the quality had continued to slide. Although Viva Las Vegas performed well in the summer of 1964. Presley turned 30 in 1965. Had he chose to respond to the British Invasion with a brave, bold new musical direction that had captured the imagination of record buyers once more?

Not quite. Crying in the Chapel actually dated from 1960, making it the longest gap for a number 1 single between the song’s recording and its release up to this point. The song was a gospel number written by Artie Glenn for his son Darrell in 1953. It reached number six in the US and was covered many times, by artists including Ella Fitzgerald and the Orioles. Elvis had grown up with a love of gospel, and recorded his version with the intention of including it on his fifth album His Hand in Mine, which was entirely gospel-based. However, by the end of the one long marathon recording session for the album, the band were exhausted, and the Jordanaires were particularly unhappy with their performance, so it was left off the album. Colonel Tom Parker liked it, but at the time he refused to let Presley release anything his company didn’t own the publishing rights to, and Valley Publishing refused to do a deal, so the song stayed in the vaults. By 1965 though, Hill and Range Publishing had bought them out, and so Crying in the Chapel was finally released, and record buyers forgave any lethargy they may have heard to give Presley his final UK number 1 of the 60s.

It’s a pleasant enough song, with the hushed, intimate performance reminiscent of Are You Lonesome Tonight?, but the track isn’t anywhere near up to that standard. The production marks it as belonging to a different era, and it sounds so old-fashioned compared to most of 1965’s other chart-toppers. But it fitted in with the family-friendly image Presley had held on to since leaving the army, and the older generation must have been glad to see the once raunchy, dangerous Elvis back with a nice song about God.

Following the success of Crying in the Chapel, Parker thought there might be something in the idea of turning Presley into a Christian entertainer. Fortunately by the time of the 1969 comeback special, Elvis finally had the courage to travel his own path. Sadly, not for nearly long enough, though.

After a week at the top, Crying in the Chapel was usurped from number 1 by the Hollies with I’m Alive. A week later though it enjoyed one more week in pole position, before I’m Alive knocked it down again. That same week saw a tragic accident in Little Baldon, Oxfordshire when a Royal Air Force Handley Page Hastings crashed just after take-off from RAF Abingdon on a parachute training exercise. All 41 men on board were killed.

Written by: Artie Glenn

Producers: Steve Sholes & Chet Atkins

Weeks at number 1: 2 (17-23 June, 1-7 July)

Births:

Fashion designer Sadie Frost – 19 June
Radio DJ Jo Whiley – 4 July

Deaths:

Cricketer Wally Hammond – 1 July 

157. The Beatles – She Loves You (1963)

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She Loves You. Just over two minutes of guitar-based pop ecstasy, combining innovative lyrics with a simply joyous racket. It may well be the greatest song ever, let alone one of the greatest number 1s of all time. The significance of She Loves You is impossible to measure. From Ringo’s first drum roll, straight into that rapturous chorus, to the final chord, it’s just perfect.

Riding high after their first number 1, From Me to You, John and Paul began writing the follow-up on their tour bus after a concert on 26 June in Newcastle, and continued it back at their hotel, before completing it the following day at McCartney’s home. Paul originally had in mind a call-and-response song, along the lines of Bobby Rydell’s Forget Him. John said it was also Paul’s inspired idea to sing the song from the perspective of a third party. The idea of singing about someone else would eventually become an often effective way of differentiating the author of Lennon-McCartney songs – John tended to write about himself, Paul was interested in characters. The triumphant ‘yeah yeah yeah’ may have come from John, who later wondered if Elvis’s All Shook Up had given him the idea. The Everly Brothers’ Temptation may also have been an influence. The first person to hear She Loves You was McCartney’s father, Jim, when his son and John performed it on acoustic guitars. He liked it, but wasn’t happy with the use of ‘Americanisms’ – wouldn’t they rather change the words to ‘Yes, yes yes’? Understandably, this was laughed off.

Less than a week later, the Beatles assembled at Abbey Road to record this fourth single. Despite its obvious hit potential, there were some issues. Engineer Norman Smith saw the chorus lyrics on paper before hearing it, and wondered what the hell they were playing at, but soon changed his tune during the recording. George Martin thought Harrison’s suggestion to end on a major sixth chord was corny, but again, the proof was in the performance. Mixed on a two-track recording machine, in mono only, She Loves You was a primitive recording, but the instruments were mixed higher than before, creating a beefier sound.

Lyrically, She Loves You was a big step up from previous material. The lyrics detail a go-between in a love split. Some take the view that this person is envious of the girl’s love for his friend, which is an interesting theory, but one I don’t agree with. To me, it’s somebody telling a friend to sort himself out, she’s in love with him, and he should realise how lucky he is, because isn’t love amazing? It’s all there in the thrilling ‘Ooos’, re-used from From Me to You, that roll into the choruses. Obviously, Ringo’s prowess as a drummer is an argument that will never go away, but his thrashing around after that first chorus at the start is just brilliant to my ears.

Before it had even been heard, the highly-anticpiated fourth single by the Beatles was always going to be a hit. Thousands had pre-ordered it way in advance of its release, before even hearing how good it was. She Loves You spent six weeks at number 1, becoming 1963’s best-seller, their biggest single and eventually, the biggest-selling single of the 60s. After four weeks at number 1, it remained in the top three until it returned to number 1 for a fortnight at the end of November, coinciding with the release of second album With the Beatles, that eclipsed Please Please Me at number 1. It was finally toppled by the Beatles following single, I Want to Hold Your Hand. Beatlemania erupted in those last few months of the year, and She Loves You was their signature track. The song left a cultural legacy that few have ever bettered. The Beatles would go on to write better lyrics, and create more sophisticated music, continuously moving the goalposts while doing so, but if you were to try an explain to an alien or an idiot what pop music was in the 20th century, I defy you to find a more appropriate example than She Loves You.

Written by: John Lennon & Paul McCartney

Producer: George Martin

Weeks at number 1: 6 (12 September-9 October, 28 November-11 December) *BEST-SELLING SINGLE OF THE DECADE*

Births:

Pulp singer Jarvis Cocker – 19 September
Footballer David Seaman
Actress Lysette Anthony – 26 September
Ski jumper Eddie ‘the Eagle’ Edwards – 5 December

Deaths:
Motorcycle racer Peter Craven – 20 September