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 

155. The Searchers – Sweets for My Sweet (1963)

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At around 3am on 8 August, a Royal Mail train heading from Glasgow to London was attacked by a gang of 15 robbers. The gang, led by Bruce Reynolds, beat the train driver, Jack Mills, over the head with an iron bar and made off with £2.6million. This crime became known as the Great Train Robbery, and made several of the gang infamous, including Ronnie Biggs, Buster Edwards and Charlie Wilson. Buster Edwards later suffered the indignity of being portrayed by Phil Collins in the 1988 movie Buster. In a strange twist, he later found himself on the other side of theft. He had been released from prison in 1975 and since then had ran a flower stall outside Waterloo station. In 1991, actor Dexter Fletcher scooped up two bunches of flowers from the stall and ran off. Edwards recognised him from the film The Rachel Papers, which he had only seen a few days before. Fletcher was arrested and charged with theft, given a conditional discharge for a year and ordered to pay £30 costs. Fletcher apologised to one of the country’s most famous robbers and claimed the flowers were for his girlfriend, Press Gang co-star Julia Sawalha, but he’d lost his cash card. Silly Dexter.

On the day of the Great Train Robbery, the Searchers became the third Merseybeat group to go to number 1, with their cover of Elvis collaborators Doc Pomus and Mort Shuman’s Sweets for My Sweet, which had previously been a hit for US soul group the Drifters in 1961.

The Searchers had been formed from the ashes of an earlier skiffle group by guitarists John McNally and Mike Pender in 1959, taking their name from the 1956 John Ford western movie. They recruited further members, including Tony Jackson on bass, but he didn’t have a bass, so he built one himself. By 1962, Jackson was also the lead singer and Chris Curtis was the band’s drummer. Like the Beatles and Gerry and the Pacemakers, they were regularly performing at Liverpool clubs like the Cavern, and would head over to perform in Hamburg, Germany. After a successful audition they found themselves signed to Pye Records, with Tony Hatch as their producer. Hatch had assisted on the production of Petula Clark’s first number 1, Sailor, in 1961.

Coming from such a strong songwriting team (Pomus and Shuman had co-written two Elvis number 1 singles, Surrender and (Marie’s the Name) His Latest Flame/Little Sister), Sweets for My Sweet was a superior track to some of the other fluffy pop that came out under the Merseybeat banner. I prefer it to the original, with the chiming guitars and chugging drums pushing the song along, whereas the Drifters version swung in a more laidback manner. They misheard one of the lyrics in the chorus, changing ‘Your tasty kiss thrilled me so’ to ‘Your fair sweet kiss thrilled me so’, but I prefer it like that. While it’s all about the chorus, as usual, the backing vocals in the verses are also pretty strong.

With their first single spending a fortnight at the top, the Searchers were quickly established as one of the top groups from Liverpool. Mike Pender became known for his 12-string guitar, with the group later cited as an influence on the sound of the Byrds. Two further number 1s were to follow. Sweets for My Sweet was a number three hit for reggae singer CJ Lewis thirty years later.

Written by: Doc Pomus & Mort Shuman

Producer: Tony Hatch

Weeks at number 1: 2 (8-21 August)

Deaths:

Painter Joan Eardley – 16 August

154. Elvis Presley with the Jordanaires – (You’re the) Devil in Disguise (1963)

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Elvis’s chart fortunes had been falling in the US for a while, but now the same thing was happening in the UK. In 1960 and 1961 he’d scored four number 1s per year alone, but following his 1962 Christmas number 1, Return to Sender, he’d been unusually absent from the pole position. This may have been in part due to a rare lack of released singles, granted, but he was clearly not the force he had been. Some of his top songwriters had left his camp due to money issues, which was also having a knock-on effect.

(You’re the) Devil in Disguise had been written by one of his most prolific remaining teams, Bill Giant, Bernie Baum and Florence Kaye, who were behind many of the songs in his musicals. It was due to appear on a new album, but RCA chose to issue the material as singles and bonus tracks instead. The usual backing band were in place, as were the Jordanaires, plus Millie Kirkham joining them on backing vocals. Jordanaire bass singer Ray Walker was the man behind the deep ‘oh yes you are’ as the song fades out.

As patchy as Elvis’s songs had become, there’s a lot to like about this one. The switch between sweet and soulful and uptempo rock’n’roll may be an obvious trick, but it works, and of course Elvis has the vocal skills to pull both directions off. The clean, classy production also makes a nice change from the earthy Merseybeat number 1s of late, which is ironic considering how I’ve been longing for Elvis to make way for exactly that. (You’re the) Devil in Disguise is a fine song, and like Return to Sender, one of his better early 60s tunes.

However, Elvis’s 14th UK number 1 spent a mere week at the top – the shortest stint he’d ever had. Not only that, it was his last number 1 for nearly two years, and his 15th, Crying in the Chapel, was an old recording, meaning his next ‘new’ number 1 wouldn’t happen until 1970. In a true ‘changing of the guard’ moment, when (You’re the) Devil in Disguise featured on Juke Box Jury, John Lennon was one of the guest reviewers. He voted it a ‘miss’ and compared Elvis to Bing Crosby. One of Lennon’s heroes was now nothing more than a corny old has-been to him.

Written by: Bill Giant, Bernie Baum & Florence Kaye

Producer: Steve Sholes

Weeks at number 1: 1 (1-7 August)

Births:

Reform Judaism rabbi Laura Janner-Klausner – 1 August 
Singer Tasmin Archer – 3 August
Disc jockey Gary King – 4 August

143. Elvis Presley with the Jordanaires – Return to Sender (1962)

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If there’s an inch of snow on the ground these days, the British papers are full of ‘BIG FREEZE’ headlines. But have a read about the winter of 1962/63, and you soon realise most of these wintry spells are nothing compared to what people went through back then. The UK was hit with bitterly cold conditions on 22 December, and it remained so right through until March 1963. In fact, 6 March was the first morning of the year without a frost anywhere in Britain. Snow lay on the ground in the south of England for 62 consecutive days – since then, the record has been 10 in a row in 1987. That Christmas and New Year saw many towns and villages cut off from the outside world, yet steam trains were able to battle on through the snow, and many schools remained open.

Elvis Presley bagged his only Christmas number 1 at this time with one of his more famous singles, Return to Sender. Otis Blackwell, one of his best songwriters, co-wrote the song with Winfield Scott. This was the first time they had worked together, and they had been tasked with writing songs for the King’s next film, Girls! Girls! Girls! (1962). Unusually, they were given song titles and told to come up with tunes around them, (no wonder so many Elvis film songs were crap if this was the setup) but Return to Sender was entirely original, and impressed the filmmakers so much, they went ahead and included it in the film’s nightclub scene.

Opening with a quick blast of sax from Boots Randolph, Return to Sender is one of Presley’s better number 1s from this period. Although the tune itself isn’t too startling, Elvis sounds suitably pissed off, almost spitting the words out at times. He just can’t believe that girl refuses to read his letters, to the extent he’s going to hand deliver it, and give her one hell of a bollocking, it seems. The Jordanaires also sound livelier than usual, and complement Elvis to great effect.

However, Elvis’s best songwriters were starting to desert him now, and the public were finally starting to tire of him. I’m relieved to see it would be a further ten months before he hit the top again. After four number 1s per year in 1961 and 1962, this was quite a drop in fortunes, but the Beatles were now making headway, and soon the charts would be rammed with similar acts. With a few exceptions, 62 had been an average year, but my musical ‘year zero’ is next.

Written by: Winfield Scott & Otis Blackwell

Producers: Steve Sholes & Chet Atkins

Weeks at number 1: 3 (13 December 1962-2 January 1963)

Births:

Actor Ralph Fiennes – 22 December 

Deaths:

Director Charles Laughton – 15 December 

140. Elvis Presley with the Jordanaires – She’s Not You (1962)

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14 September saw Teledu Cymru begin transmissions to the North and West Wales region, which meant that ITV was now available anywhere in the UK. Six days later, Ford launched one of its most famous cars, the Cortina, which would have then set you back £573. Although it later became a much-mocked vehicle, it was one of the most popular cars of the 1970s, and even into the 80s, when poor families like mine could still be seen driving around in one. The following day, long-running student quiz University Challenge made its debut on ITV. This original incarnation ran until New Year’s Eve 1987, with Bamber Gascoigne presenting.

Meanwhile, Frank Ifield’s million-selling yodelling superhit I Remember You was finally usurped by, well, guess? That’s right, it’s Elvis again, for the 12th time! At this point he’s still making music that is nearly always a pale imitation of his previous classics (Can’t Help Falling in Love excepted, of course), he’s still starring in bad films, and he’s basically muddling through, yet still the UK are buying everything he releases and sending him to the top. This was soon to change, as we know. Previous number 1, Good Luck Charm, saw one of his top songwriters depart from the team due to a financial dispute, and other great creative talents were soon to leave too. She’s Not You was a rare collaboration between Doc Pomus, who co-wrote Surrender, and Lieber and Stoller, the duo behind Presley’s best number 1, Jailhouse Rock. Unusually, Chet Atkins is also credited as producer alongside Steve Sholes.

She’s Not You is a step up from Good Luck Charm, although that’s not saying a great deal. Once again, the music is a plodding boogie-woogie, but at least this time Elvis sings with some presence. The lyrics are also an improvement. The idea of Elvis settling for second best and comparing her to his true love is a good idea. But come on now, this stuff is starting to sound really dated – even the sexist Come Outside sounded more progressive than this, and record buyers were perhaps finally feeling the same, as it only remained at number 1 for three weeks – Elvis’s shortest stint since 1959’s I Got Stung/One Night. The next number 1 would be the sound of the future.

Written by: Jerry Lieber, Mike Stoller & Doc Pomus

Producer: Steve Sholes & Chet Atkins

Weeks at number 1: 3 (13 September-3 October)

Births:

Comedian Steve Punt – 15 September
Comedian Jack Dee – 24 September
Scottish footballer Ally McCoist, – 24 September
Everything But the Girl singer Tracey Thorn – 26 September

Deaths:

Dramatist Patrick Hamilton – 23 September

136. Elvis Presley with the Jordanaires – Good Luck Charm (1962)

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On 6 June, the Beatles set foot in Abbey Road Studios for their first session there. John, Paul, George and Pete ran through and recorded four songs – Besame Mucho and three originals – Love Me Do, PS I Love You and Ask Me Why. They didn’t leave much of an impression – their equipment was in a poor state, but George Martin and engineer Norman Smith thought Love Me Do had potential. Afterwards, Martin gave the band a long lecture about what they must do if they wanted to get anywhere in the business, and the Beatles stayed silent. According to Mark Lewisohn’s The Complete Beatles Recording Sessions, Smith recalled that Martin said ‘Look, I’ve laid into you for quite a time, you haven’t responded. Is there anything you don’t like?’. After a long, awkward silence, Harrison replied ‘Yeah, I don’t like your tie!’. This broke the ice, and the Beatles had Martin and the others in fits of laughter. Martin knew this group had potential, but before they returned to Abbey Road, something needed to be done about Pete Best’s drumming.

Meanwhile, Elvis was back at number 1 yet again. While four young men from Liverpool were learning about recording, the icon they soon replaced seemed to be growing increasingly content in coasting on by, safe in the knowledge that his fans would lap up anything he released.

Good Luck Charm was written by Aaron Schroeder and Wally Gold, the duo who came up with 1960’s biggest seller, It’s Now or Never. Elvis must have known this was a middling song that would still do well, as reports suggest he spent most of the recording session trying to crack up his band members. He’d tried to move into serious acting, but audiences wanted more light-hearted romantic musicals – had he now given up on taking music seriously too?

There had been an article in The Guardian last year claiming Presley’s legacy was in danger. The passing of so much time had blunted his appeal to young people, there were no truly great albums for music fans to get into, and your average Elvis impersonator was now more representative of the singer than the young rebel that had changed music so much in the 1950s. Good Luck Charm is a forgettable song that brings to mind that average Elvis impersonator. He’d had plenty of average material in the past, but often he’d raise his game vocally to salvage such shoddy stuff. Not this time. He sticks to a half-arsed croon. featuring plenty of trademark ‘uh-huh-huhs’. Very forgetful. It’s songs like this that do his reputation damage.

Good Luck Charm was not among Aaron Schroeder’s best work, but he had been one of Elvis’s top songwriters over the years, and this was the last song he donated to the King. He understandably refused to surrender rights to Elvis’s publishing company, and a court battle ensued. The publicity was such that soon after, other top songwriters rarely worked with him, or stopped altogether, including Otis Blackwell, Lieber and Stoller and Pomus and Shuman. Elvis’s songs inevitably deteriorated further.

Nonetheless, it was another long-lasting number 1, spending five weeks there. During that time, the new Coventry Cathedral was consecrated on 25 May, 2 June saw the first legal casino in the UK open in Brighton, Sussex, and on 14 June, the BBC broadcast the first episode of Galton and Simpson’s classic sitcom Steptoe and Son.

Written by: Aaron Schroeder & Wally Gold

Producer: Steve Sholes

Weeks at number 1: 5 (24 May-27 June)

Births:

Duran Duran keyboardist Nick Rhodes – 8 June 
Comedian Phil Jupitus – 25 June
Singer Michael Ball – 27 June 

Deaths:

Writer Vita Sackville-West – 2 June
Composer John Ireland – 12 June
Composer Sir Eugene Goossens – 13 June

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

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

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

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

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

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

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

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

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

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

Written by:

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

Producer: Steve Sholes

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

Births:

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

132. Cliff Richard and the Shadows – The Young Ones (1962)

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Exactly a year to the day since Cliff had last held the top spot in the singles chart, the boy wonder scored his fifth number 1 with one of his most memorable songs. The Young Ones was the title track to his latest film, released at the end of 1960. After aping Elvis with his music, Cliff’s management had decided he should also become a movie star, and this was his third feature film.

The musical revolved around his character Nicky, an aspiring singer whose youth club was threatened by the millionaire property developer Hamilton Black (Robert Morley), who planned to replace the youth club with an office block. The youth club members decide to put on a show to save the club, but guess what? Nicky is Hamilton’s son! Families, eh? In the end, Hamilton is so proud of his son’s burgeoning success, he decides to join the young ones singing and dancing on stage. Lovely. The cast also featured Carole Gray as Cliff’s romantic interest, and the Shadows were also on board, although it was decided they weren’t very good at acting, so they were relegated to non-speaking roles, and Hank Marvin and Jet Harris’s roles were taken by future sitcom stars Richard O’Sullivan (Man About the House) and Melvyn Hayes (It Ain’t Half Hot Mum).

The film’s title track was written by Sid Tepper and Roy C Bennett, who were behind the group’s second number 1, Travellin’ Light. They also had experience in writing for Presley’s films. The Young Ones is a pretty successful attempt at defining the spirit of teenagers, which let’s not forget were still a pretty new concept back in 1962. Some critics take exception with Norrie Paramor’s strings, and I can see their point. He certainly was guilty of over-egging things when producing (see Walkin’ Back to Happiness) at times. However, I feel the arrangement works and adds to the air of wistfulness in the lyrics. As is often the case, the star of the show is Hank Marvin, who provides yet another memorable guitar line. Although Cliff was adored, I do wonder how successful he would have been in the early years without such a great guitarist behind him. Incidentally, the drummer on the soundtrack is Tony Meehan, who by the time of this release was no longer with the Shadows – he had been replaced by Brian Bennett.

It seems to me that The Young Ones is the first number 1 that revealed pop was becoming aware of the passing of time; recognising that youth is only temporary and will soon be in the hands of another generation. It was one of Cliff’s biggest ever hits, becoming the first British song to shoot straight to the top, and is certainly among his best work. I may look upon it favourably because it’s caught up in childhood memories. I recall playing my parents’ record – it must have been one of the earliest pieces of vinyl in the family collection (it probably belonged to my mum, she was a Cliff fan, and by coincidence has the same name as his 1980s romantic interest, Sue Barker) – and comparing it to the version I preferred. I’m referring of course to the fact that 20 years after its release, Tepper and Bennett’s song became the name of one of the most influential sitcoms of all time – BBC2’s The Young Ones.

I was only three when Rik, Vyvyan, Neil and Mike first burst onto our screens in 1982, so it’s unlikely I can remember that far back, but I can still remember wanting to cry when the final episode was first shown, and I was only five then! I’m not sure it’s right that my parents should have let me watch such a show so young, but I’m forever grateful they did. Of course, I didn’t know just how brilliant a show it was, I was just laughing at the cartoon violence, but there had never been anything like it. The theme tune was a suitably anarchic version of the original, sang by the cast, with Rik Mayall’s voice the most notable. Rik’s character was the Cliff fan, so this made sense. It was also entirely appropriate because if there was ever a comedian who realised the importance of staying young, it was Mayall. I grew up watching him on The Young Ones, remember his reading of George’s Marvellous Medicine on Jackanory, became an awkward teenager when Bottom arrived on TV, and like so many others, was shocked when he died in 2014. He was 56, which is no age to go, but he seemed so much younger than that, because he kept that spark of life that usually dims over time. I still can’t believe he’s gone, really, and the photo of his comedy partner Ade Edmondson helping to carry his coffin is such a tragic sight. Hearing a snotty Mayall singing ‘Cos we may not be the young ones very long’ now sounds desperately sad to me.

This won’t be the last time this blog notes the connection between Cliff and The Young Ones, of course – unless something happens and I don’t get as far as 1986. That year they collaborated on the first Comic Relief single, recording a new version of Cliff’s first number 1, Living Doll. Special mention should also go to Viv Stanshall & Kilgaron’s 1976 version of The Young Ones, in which the eccentric former Bonzo Dog Doo-Dah Band singer played it surprisingly straight. Another hero who went far too young, Stanshall was only 51 when he died in 1995 in an accidental fire while asleep in his flat.

My apologies for having mentioned death so much in a blog concering a song about youth! I’ll endeavour to completely avoid it next time…

Written by: Sid Tepper & Roy C Bennett

Producer: Norrie Paramor

Weeks at number 1: 6 (11 January-21 February)

Births:

Broadcaster Emma Freud – 25 January
Comedian Eddie Izzard – 7 February
Comedian Hugh Dennis – 13 February 
Presenter Vanessa Feltz – 21 February

Deaths:

Historian RH Tawney – 16 January