George Harrison

476. Roxy Music – Jealous Guy (1981)

/ robbarker1979

The Intro

The final number 1 tribute to John Lennon in 1981 didn’t come from Double Fantasy, and it wasn’t from his classic album Imagine. Except it was, in cover form. Jealous Guy was released as a tribute by one of the most influential glam rock and art-pop bands of the 70s – Roxy Music.

Before

In 1970, when 25-year-old Bryan Ferry from County Durham lost his job at at a girls’ school for holding record listening sessions, he decided to form a new band. He had been in groups before, including the Gas Board, with bassist Graham Simpson. Ferry and Simpson advertised for a keyboardist and decided to enlist Andy Mackay. Although Mackay owned a synthesiser, rare in those days, he preferred to play saxophone and oboe. He persuaded Ferry and Simpson to also add a fellow lover of avant grade music that he had met at university. And so Brian Eno, who wasn’t a musician but could manage to operate the synth, as well as a reel-to-reel tape machine. was brought in as ‘technical adviser’. Next up was guitarist Roger Bunn and finally. classically trained timpanist Dexter Lloyd on drums.

Mark one of Roxy Music was complete, with the name derived from Ferry picking ‘Roxy’ out from a list of old cinemas. He decided the word conjured up ‘some faded glamour’ but ‘didn’t really mean anything’. After discovering there was already a US band called Roxy, so was born Roxy Music.

The band was in danger of being over before it had begun when Ferry auditioned late that year to become the new singer for King Crimson. Although Robert Fripp and Peter Sinfield decided Ferry didn’t suit their band, they saw talent, and helped him to get Roxy Music a contract with EG Records.

After recording demos in early 1971, Bunn left the group. He was replaced by David O’List, former guitarist with The Nice. One of the unsuccessful applicants, Phil Manzanera, was employed as a roadie. At the end of the year, Roxy Music finally made their live debut, at the Friends of the Tate Gallery Christmas Show. Ferry’s band were not your ordinary, run-of-the-mill band.

O’List didn’t stick around long, quitting Roxy Music in February 1972 after a fight with Thompson at their audition with EG Management. When he failed to turn up for the next rehearsal, his job was given to Manzanera, who had been privately learning the band’s repertoire.

Roxy Music signed with EG Management, who financed the production of their eponymous debut LP. Although unimpressed at first, Island Records boss Chris Blackwell relented and the album was released in June. Weird and occasionally wonderful, Roxy Music was avant grade glam that captured the imagination of record buyers, housed in a seedily glamorous cover that would become their trademark. However, Simpson left after it was recorded, and was replaced by Rik Kenton.

Kenton was around long enough to take part in the recording of one of the most impressive debut singles of all time. Virgina Plain shot to four in the charts and made Roxy Music pop stars – albeit unusual ones. David Bowie’s appearance on Top of the Pops that year to promote Starman is rightly feted as a great TV moment, but the sight of Roxy Music on the same show also left its mark.

In January 1973, Kenton left the band and was replaced by John Porter, who had been a member of the Gas Board. Second album For Your Pleasure, released two months later, saw Chris Thomas replace Sinfield on production duties. Their second single, Pyjamarama, was a non-album release and peaked at 10.

Eno departed after Roxy Music toured the album, due to increasing differences with Ferry. Fans lamented the loss, but he did pretty well for himself, as we know. Eno’s replacement was 18-year-old multi-instrumentalist Eddie Jobson from Curved Air. What he lacked in experimentalism, he made up for in technical accomplishment. Porter also left, becoming a successful producer for The Smiths and Ferry in his solo years. John Gustafson of The Merseybeats briefly took up bass duties.

Third album Stranded, released in 1973, saw Mackay and Manzanera joining Ferry as songwriters. Ferry also began to seemingly become the posh sophisticate figure he had previously adopted ironically, and has been ever since. The single Street Life was a number nine smash. The next LP, Country Life, was the first to enter the US album chart, and featured the UK number 12 single All I Want Is You. The sexy, slinky Love Is the Drug deservedly became their biggest hit to date in 1975, peaking at two behind the reissue of Space Oddity. But a year later, following their tour of its parent album Siren, Roxy Music went on hiatus.

In 1979 a new line-up released the album Manifesto. Ace’s Paul Carrack replaced Jobson on keyboards, while Gustafson was also gone, with bass duties split between Alan Spenner and future Adam and the Ants member Gary Tibbs. Luther Vandross featured on backing vocals. Manifesto contained two of Roxy’s biggest hits in Angel Eyes (four) and Dance Away (two).

Thompson was injured during the recording of their first album of the 80s, Flesh + Blood, and quit soon after its release. From then on, the core trio of Ferry, Mackay and Manzanera were joined by session musicians. Their seventh LP featured Oh Yeah and Over You, which both reached five. Any sense of experimentalism in the group’s sound had been gradually removed and replaced by smooth sophistication, in keeping with Ferry’s look.

After Lennon’s murder in December 1980, Roxy Music added a cover of Jealous Guy to their live set while they toured Germany. This 1971 plaintive ballad was perfectly in keeping with Roxy’s repertoire.

Jealous Guy began in 1968 as a spiritual Beatles song called Child of Nature. Lennon was inspired by a lecture from Maharishi Mahesh Yogi, and was one of a plethora of tunes considered for The Beatles and demoed at George Harrison’s Esher home. Although it wasn’t selected, the song was also performed in 1969 during the Get Back sessions, where it was referred as On the Road to Rishikesh. The tune was fully formed, but the lyrics felt unfinished, and the song disappeared.

Two years later, Lennon reworked the song for Imagine, creating a personal, confessional soft rock song about his failings and inadequacies towards his wife Yoko Ono… although there are theories out there that consider it may really be about his feelings for Paul McCartney during their bitter post-Beatles years. Despite being one of his most famous solo songs, Jealous Guy was not released by Lennon in his lifetime as a single.

Review

Roxy Music were at their best in the early years, when their music was more adventurous. Eno leaving was a big loss, and the more Ferry seemed to transform into a real-life posh playboy, the less interesting his band were.

This version of Jealous Guy is inferior to the delicate original. Phil Spector was not exactly known for his subtlety, but his production on Lennon’s version is light and even a little ethereal. Whether because they rushed this out or not, Roxy’s version is pure 80s schmaltz, particularly due to Mackay’s sax on the chorus line. Watching Ferry crooning away in the video like an early 80s catalogue model just makes me want to laugh, rather than enjoy or appreciate this alleged tribute. Whether this cover was well-intentioned or not, it comes across a rather cynical cash-in – and one which obviously paid off. But then, when it comes to Roxy Music, I’m more of an In Every Dream Home a Heartache kind of guy than a Jealous Guy.

After

In 1982, Roxy Music released their eighth and last LP, the critically acclaimed Avalon. The first single, the decent ballad More Than This was their final top 10 hit, peaking at six. The title track reached 13, followed by Take a Chance with Me, which soldiered on to 26. After they toured the album, Roxy Music dissolved in 1983 and the core trio all went solo – Ferry having had a parallel solo career since 1973.

In 2001, Ferry, Mackay, Manzanera and Thompson reunited and toured to celebrate the band’s 30th anniversary. The latter two, and Eno, contributed to Ferry’s 11th solo album Frantic the following year. Roxy Music reformed in 2005 to play at the Isle of Wight Festival and Live 8 Berlin, and announced a new album was on the cards – with Eno contributing too. Instead, material from the album was used for Ferry’s 13th solo album, Olympia, released in 2010. Manzanera later claimed the Roxy reunion album was permanently shelved.

Despite this, Roxy Music continued to tour in 2010 and 2011. They teamed up once more in 2022 to celebrate their 50th anniversary.

The Outro

Roxy Music are an acquired taste and a lot of it depends on how much Ferry you can stomach. Nonetheless, there’s gold littered throughout their career.

The Info

Written by

John Lennon

Producers

Bryan Ferry & Rhett Davies

Weeks at number 1

2 (14-27 March)

Trivia

Births

27 March: Northern Irish footballer Terry McFlynn

Deaths

14 March: Cricketer Ken Barrington/Screenwriter Billie Bristow
17 March: Actor Nicholas Stuart Gray/Literary critic QD Leavis
19 March: Journalist John Deane Potter
22 March: Journalist Dudley Carew
23 March: Motorcycle racer Mike Hailwood (see ‘Meanwhile‘)/Football administrator Bob Wall
24 March: Organist George Charles Gray
26 March: Biologist CD Darlington

Meanwhile…

17 March: The Conservative government, already unpopular, was met with anger when Chancellor of the Exchequer Geoffrey Howe revealed further public spending cuts in the Budget.

21 March: Home Secretary William Whitelaw allows Wolverhampton council to place a 14-day ban on political marches, due to growing problems with militant race riots.
Also on this day, Tom Baker is replaced by Peter Davison in Doctor Who, and ‘Mike the Bike’ Hailwood is seriously injured in a car crash.

22 March: A minority of Tory MPs are reported to be planning a leadership challenge against the increasingly unpopular Prime Minister Margaret Thatcher.

23 March: The government imposes a ban on animal transportation on the Isle of Wight and southern Hampshire following an outbreak of foot and mouth disease.
Also on this day, Hailwood dies from his injuries two days earlier.

26 March: The Social Democratic Party (SDP) was formed by ‘Gang of Four’ Labour Party defectors Shirley Williams, Bill Rodgers, Roy Jenkins and David Owen.

473. John Lennon – Imagine (1981)

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The Intro

It may have been a new year, but the world was still reeling from the death of John Lennon. Though he was knocked from the top spot by the sickly There’s No One Quite Like Grandma, once the holiday season was over, the public saw sense. One of Lennon’s finest songs, and his biggest seller, the stately Imagine made for a fitting epitaph.

Before

After undergoing primal therapy, the stark, cathartic album John Lennon/Plastic Ono Band saw the singer deal with the demise of The Beatles and the childhood trauma of losing his mother when he was a child. It doesn’t get much bleaker than the one-two punch of God and My Mummy’s Dead at the end of that LP, released in 1970.

Lennon started 1971 with a strong political statement. Power to the People saw him reference his non-confrontational approach in Revolution and turn it on its head, urging the public to rise up. Such grand statements didn’t help him appeal to the already paranoid US president, Richard Nixon. But it was a hit, reaching seven in the UK charts.

Work began on Lennon’s second solo album in May. After jamming with George Harrison in New York, the guitarist agreed to be on board for the sessions, and invited Klaus Voorman along too, to resume bass playing duties after his work on the previous LP.

The sessions properly started on 11 May at Lennon’s Ascot Sound Studios at his Tittenhurst Park residence (several tracks had however already been recorded back in February). Phil Spector was back on board as producer after barely being involved in his last album, despite his credit. Lennon wanted a less brittle sound than before, adding strings to the mix and hoping for greater commercial appeal. This might have been partly down to the ensuing war with his former songwriting partner. Lennon perceived Too Many People on Paul McCartney’s album Ram to be a personal attack on him, and so wrote the nasty How Do You Sleep? in response. So, this new album wasn’t exactly smothered in commercial appeal – but it was certainly warmer in general than John Lennon/Plastic Ono Band, thanks in part to Torrie Zito’s strings. And of course, because of the title track.

Imagine was inspired in part by Yoko Ono’s 1964 book Grapefruit, particularly the poem Cloud Piece, which featured the words ‘Imagine the clouds dripping, dig a hole in your garden to put them in’ – that made it to the back of Imagine‘s sleeve. Another inspiration was – ironically, considering the line ‘And no religion, too’ a Christian prayer book, given to Lennon and Ono by the comedian Dick Gregory. Lennon also once compared Imagine to The Communist Manifesto.

Perhaps with the musical motif John’s Piano Piece (created during the sessions for Let It Be in 1969) in mind, Lennon finished creating the most of Imagine – both musically and lyrically – in early 1971 at a piano in one of his Tittenhurst bedrooms, while Ono watched on.

The recording of Imagine began late in the morning on 27 May and finished that evening at Ascot Sound Studios. Initially, Spector had tried to record Lennon on his famous white baby grand in his and Ono’s all-white room, but wasn’t happy with the acoustics. He also had session pianist extraordinaire Nicky Hopkins playing along with Lennon but in different octaves. With Voorman on bass and Alan White on drums, Imagine only took three takes in the end. Zito’s strings, performed by The Flux Fiddlers, were overdubbed on 4 July at The Record Plant in New York City.

Review

Where do you start with one of the most famous songs of all time? The reputation of Imagine is so huge, it’s like writing about an ancient hymn. So it came as some surprise to discover it wasn’t even released as a single in the UK until 1975. Why that is the case, I don’t know.

I do know that, in part due to the formidable power of Imagine through the decades, there has also been considerable criticism aimed at the song. Mainly due to the idea that we should imagine no possessions when the man suggesting we do that is a very, very rich man. I don’t think that’s fair, however. Lennon isn’t being hypocritical. As Ringo Starr suggested in a 1981 Barbara Walters interview, Lennon isn’t telling us to give up our possessions. He’s simply asking us to imagine it. Yes, that might make for a convenient get-out clause for the ‘working class hero’, and I can understand the critics who complain that Imagine is trite. And yet, despite being more of a cynic than a dreamer, I buy into it. Imagine is aimed at all the dreamers, the people longing for a better world. The idea that the world Lennon asks us to imagine could be real was out of reach in 1971. In 2024, it’s even harder to picture. But, if you’re still a child at heart or there’s even an element of hippy longing inside you, the chances are you love Imagine.

Musically, Imagine is just as simple as the idealistic world Lennon conjures up – and again, that’s part of its mass appeal. And as prone to overproduction (not as important as him also being a total psychopath, of course) as he was, his work on Imagine is perfect. The piano reverb is warm and enveloping, wrapping you up in the cotton wool of a world with no hell, nothing to kill or die for – a world of peace. The strings are uncharacteristically subtle for a Spector production, and so much better for it.

So, although overfamiliarity breeds contempt and the simplistic world view (ironic considering what a cynic Lennon was) of Imagine understandably rubs some up the wrong way, I could and probably have heard Lennon’s signature solo song a million times, and will hear a million more. But I’ll never tire of it. And if, for all his flaws, Lennon is known for Imagine, well, it does him no harm.

After

Imagine was released as a single in the US in October 1971, where it reached number three. It topped the Canadian charts, and in time became his bestselling solo record. The accompanying album, also released that October in the UK, was also the most commercially and critically successful post-Beatles LP.

The following year, Lennon and Ono released a film of the same name. Its opening scene is now recognised as the official music video for the song, with the couple walking through fog as the piano begins. They enter an all-white room, where Lennon plays his white piano, and as the song progresses, Ono lets light into the room – to the consternation of critics who find it sadly ironic that Lennon is singing of no possessions just as Ono shows how wealthy they were. Four years after the creation of Imagine, the single, housed in a photo by then-girlfriend May Pang in 1974, was finally released in the UK to promote his compilation Shaved Fish. Possibly due to most fans already owning the Imagine album, it only made it to number six.

Following Lennon’s murder in 1980, it was the 1975 single that climbed the charts in January 1981 and became his second posthumous number 1, after (Just Like) Starting Over. The single was re-released in 1988 to accompany the documentary film John Lennon: Imagine, but missed out on the top 40. In 1999 Imagine reached number three.

The Outro

One of the most famous pop songs of all time, Imagine has been covered countless times. Probably the worst version is the widely ridiculed 2020 celebrity version, headed up by actress Gail Gadot during the initial COVID-19 lockdown. It is pure torture.

The Info

Written by

John Lennon

Producers

John Lennon, Yoko Ono & Phil Spector

Weeks at number 1

4 (10 January-6 February)

Trivia

Births

11 January: Singer Jamelia/Kasabian singer Tom Meighan
19 January: Actress Thalia Zucchi
22 January: Footballer Richard Butcher/Rally driver Guy Wilks
25 January: Rower Alex Partridge
29 January: Actress Rachna Khatau
30 January: Footballer Peter Crouch
31 January: Reality TV star Gemma Collins
1 February: Racing driver Rob Austin

Deaths

11 January: Labour MP Malcolm MacDonald
12 January: Actress Isobel Elsom/Labour MP Joseph Sparks
15 January: Racing driver Graham Whitehead
16 January: Actor Bernard Lee
18 January: Engineer David Stirling Anderson
19 January: Boxer Eric Boon/Geologist William John McCallien
20 January: Conservative Chancellor of the Exchequer Derick Heathcoat-Amory, 1st Viscount Amory
21 January: Racing driver Cuth Harrison/Welsh poet BT Hopkins/Ulster Unionist Party MP James Stronge (see ‘Meanwhile…’)/Ulster Unionist Party MP Sir Norman Stronge, 8th Baronet (see ‘Meanwhile…’)/Jockey Tommy Weston
22 January: Artist Gladys Vasey
23 January: Economist Sir Andrew Shonfield
27 January: Screenwriter Roger Burford/Landscape architect Brenda Colvin/Lawyer Cecil Davidge
29 January: Aviator John Cecil Kelly-Rogers
2 February: Cricketer Jack Parsons
4 February: Tennis player Joan Ingram/Neurologist Douglas McAlpine
6 February: Cricketer Gilbert Ashton

Meanwhile…

13 January: The prison officers’ overtime ban comes to an end.

14 January: The British Nationality Bill is published.

16 January: Northern Ireland civil rights campaigner and former MP Bernadette McAliskey is shot at home in County Tyrone.
Also on this day, 78% of British Steel Corporation workers vote in favour of their chairman’s ‘survival’ plan.

18 January: 10 people were killed in the New Cross house fire. Three more died in hospital.

21 January: Sir Norman Stronge and his son James, both former Stormont MPs, are killed by the IRA.

22 January: Australian mogul Rupert Murdoch agrees to buy The Times newspaper if an agreement can be reached with the unions.

25 January: Four right-wing Labour MPs: Shirley Williams, Roy Jenkins, Bill Rodgers and David Owen – dubbed the ‘Gang of Four’ announce The Limehouse Declaration, in which they reveal plans to form the Social Democratic Party (SDP).

26 January: Nine more Labour MPs declare support for the SDP.
Also on this day, Secretary of State for Industry Sir Keith Joseph announces more financial support for British Leyland.

27 January: Tony Benn replaces Bill Rodgers in the Labour Shadow Cabinet.

28 January: Sir Hugh Fraser is removed as the Chairman of the House of Fraser.
Also on this day, damage is caused in cells at HM Prison Maze in Northern Ireland.

2 February: The Brixton prison escape is released, resulting in the Governor being transferred to an administrative post.

4 February: Prime Minister Margaret Thatcher announces the Government is to sell half its shares in British Aerospace.

6 February: The coal ship Nellie M is bombed and sunk by an IRA unit driving a hijacked pilot boat in Lough Foyle.
Also on this day, the Government drops two controversial clauses of the Nationality Bill.

465. The Jam – Start! (1980)

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The Intro

Love The Beatles’ Taxman but find the whining about paying HMRC when you’re in the biggest band in the world a bit annoying? Simple, listen to The Jam’s second number 1, Start! instead.

Before

Following the success of Going Underground/The Dreams of Children, The Jam set to work on their fifth LP. Vic Coppersmith-Heaven was back to produce Sound Affects, but for the first time, Paul Weller, Bruce Foxton and Rick Buckler received a co-credit too – albeit as ‘The Jam’. As signposted with The Dreams of Children, The Jam were widening their sonic palette, and after its release, Weller described his favourite Jam album as a cross between Michael Jackson’s Off the Wall and The Beatles’ Revolver.

The influence of the latter is certainly evident on Start!, which was released in August while work continued on Sound Affects. Weller’s guitar and Foxton’s bass riffs were pretty much identical to the opening track of Revolver. George Harrison’s Taxman was an excellent opener to one of the greatest albums of all time, and showcased Harrison’s burgeoning talent. But as great as Taxman is, there’s no escaping the fact it also makes very evident how much of a moaner he could be. I’m sure paying an admittedly ridiculously high rate (95%!) of income tax to Harold Wilson’s new Labour government must have stung… and the Fab Four had been warned that despite their unprecedented fame, they were in danger of bankruptcy. But starting a new album complaining about money, when the average record buyer could only dream of their lifestyle? It’s certainly a bold move, and another sign that The Beatles were now charting their own path. But you can’t deny the musical brilliance of Taxman, particularly McCartney’s powerful rhythmic bass and blistering Indian-style guitar solo.

In a 2012 interview with Music Radar, Foxton said:

‘It wasn’t intentional, but Taxman subconsciously went in and when we came up with the idea for Start! that’s what went in. It isn’t exactly the same thankfully, otherwise I’m sure Paul McCartney would have thought about suing us!’

It’s not exactly the same, but you can’t get much closer. And considering the deluxe edition of Sound Affects also contains covers of Rain and And Your Bird Can Sing, recorded at the same sessions, it’s more likely that they jammed Taxman and enjoyed it so much, they reworked it. And they got lucky that Harrison, who had been to court over his 1971 number 1 My Sweet Lord in 1976 and lost more than a million in damages due to its likeness to He’s So Fine. He apparently considered Start! a compliment, but he probably didn’t relish going back to court over his music, this time as prosecution.

There are two main differences, and the main one is the lyrics. In Jon Kutner and Spencer Leigh’s 2005 book 1000 UK #1 Hits, Weller said he had been reading George Orwell’s Homage to Catalonia (1938), detailing the author’s experience of the Spanish Civil War:

‘There is a lot of talk of an egalitarian society where all people are equal but this was it, actually in existence, which, for me, is something that is very hard to imagine.’

With this in mind, it seems Start! may have been written from the point of view of a Republican soldier, who briefly meets a fellow believer in their cause. Knowing that they’re at risk of dying for their beliefs means they could only know each other for a few minutes, so they don’t need to know much about each other, apart from that they feel so strongly for their cause, ‘with a passion called hate’ against the Nationalists. The Republicans consisted of socialists, communists and anarchists, so there was as much infighting as seen within the Labour Party during Jeremy Corbyn’s time as leader.

‘And what you give is what you get’ can be seen as a rallying cry for the Republicans, and in line with Weller’s increasingly left-wing tendencies, perhaps a call for solidarity among Labour in 1980, as their left-wing leader Michael Foot wasn’t popular among the right of the party. Same as it ever was.

Or, it could just have been about a one-night stand, lasting all of two minutes. Take your pick.

Review

Another great 1980 number 1 from Weller and co here. It’s short, sweet and doesn’t outstay its welcome, just like Going Underground. And it also shows a growing versatility. Yes, it’s not very original, but the soul bounce of Start! proves there’s more to The Jam than their rockier material, and it really shows off how effective that rhythm section was. In a way they come out of this better than Weller, as his guitar solo doesn’t compare to McCartney’s on Taxman – even with that added backwards section. Great track though and a breath of fresh air, particularly the way it reverts back to the punch of the main tune after the last ‘If I never ever see you…’ section.

The video to Start! was a typically low-budget, straightforward affair focusing on the trio doing what they did best – playing music.

After

Polydor wanted album opener Pretty Green to be the first single, but The Jam pushed for Start! and were proved right when it spent a week at number 1. Sound Affects was released in November, featuring added (and unnecessary) trumpets as the song draws to a close. No other official singles were released from the LP, but The Jam were so popular, That’s Entertainment peaked at 21 as an import. However, it would be 1982 before they topped the charts again.

The Outro

The psychedelic pop of Sound Affects was soon abandoned with a focus on 60s R’n’B, later to be explored on their final album, The Gift.

The Info

Written by

Paul Weller

Producers

Vic Coppersmith-Heaven & The Jam

Weeks at number 1

1 (6-12 September)

Trivia

Births

6 September: Atomic Kitten singer Kerry Katona
11 September: Academic Anthony Carrigan
12 September: Rugby league player Kevin Sinfield

Deaths

6 September: Art curator Philip Hendy
7 September: Conservative Party MP Reginald Manningham-Buller, 1st Viscount Dilhorne
8 September: Northern Irish singer Eddie Butcher/Liberal Party MP Sir Geoffrey Shakespeare, 1st Baronet
10 September: Academic TE Jessop
11 September: Conservative Party MP Sir Harwood Harrison, 1st Baronet
12 September: Legal scholar Sir Rupert Cross

Meanwhile…

11 September: Chicago mobster Joseph Scalise and his colleague Arthur Rachel committed the Marlborough diamond robbery in London. The following day, the duo were arrested in Chicago, but the 45-carat stone has never been found.

12 September: Consett Steelworks in Consett, County Durham closed down, costing the town some 4,500 jobs.

416. Wings – Mull of Kintyre/Girls School (1977)

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The Intro

Eight years after The Beatles had their last number 1 with The Ballad of John and Yoko, Paul McCartney hit big with his next band Wings. Mull of Kintyre/Girls School became the 1977 Christmas number 1 and the first single to sell more than two million units. It is the biggest selling record of the 70s and remains the bestselling non-charity single of all time.

Before

Following his departure from the Fab Four, McCartney had struggled to recapture the magic of the greatest group of all time. Two albums, McCartney (1970) and Ram (1971) – the latter co-credited to wife Linda, were ill-received, although both have enjoyed improved re-evaluation since.

He decided to begin a new band and invited session drummer Denny Seiwell and guitarist Hugh McCracken, both of whom had worked on Ram, to join him. Seiwell agreed but McCaracken didn’t, so McCartney asked Denny Laine instead. Laine, formerly of The Moody Blues, was working on a solo album when he received the call from McCartney. The album was abandoned straight away.

In August 1971 the McCartneys, Laine and Seiwell assembled to record the album Wild Life. McCartney reverted back to his Beatles days, on bass primarily once more. On 13 September Linda was giving birth to their second child together, Stella. Due to complications, there was a danger that both mother and daughter could die. McCartney was praying for them when the name ‘Wings’ came to mind.

Wild Life was released that December and was slated. Most tracks were recorded in one take, and it showed. Linda was ridiculed by the music press for her role as backing vocalist and keyboardist. Undaunted, Wings continued with the addition of second guitarist Henry McCullough, who had been in Joe Cocker’s Grease Band, in January 1972. They went on their first tour playing universities in the back of a van together. Attempting to recapture the early days of The Beatles, Wings didn’t perform a single track by McCartney’s previous band.

The debut Wings single, Give Ireland Back to the Irish was a controversial response to the events of Bloody Sunday. Banned by the BBC it nonetheless reached 16 on the singles chart. In what was understandably seen by many as a sarcastic response, their next single was a simple cover of children’s song Mary Had a Little Lamb. It went to nine. Hi Hi Hi‘s drugs references saw them banned by the Beeb again but it peaked at five.

McCartney decided to change their name to Paul McCartney and Wings for the 1973 LP Red Rose Speedway, perhaps deciding they needed more star power to improve sales. My Love, one of their best singles, took them to the top in the US and reached nine here. Then came Live and Let Die. Their theme to Roger Moore’s debut as James Bond reunited McCartney with Martin and was brilliant. A deserved number one, it could only reach nine.

Following another tour, Paul McCartney and Wings set to work on another album but soon McCullough and Seiwell left. Both were unhappy with Linda’s inclusion and felt Paul was too domineering. Reduced to a trio, the McCartneys and Laine decamped to Lagos in Nigeria and recorded one of their best albums. The title track to Band on the Run (1973) was a brilliant mini-medley, reaching three. Again, it deserved better. Jet, released beforehand, was a superior rock tune.

Former Thunderclap Newman guitarist Jimmy McCulloch and drummer Geoff Britton joined the ranks soon after. After recording an album with Paul’s brother Mike McGear and The Scaffold they released the single Junior’s Farm, which became their final release on Apple Records. As The Country Hams they released a single with Chet Atkins and Floyd Cramer. Walking in the Park with Eloise was a song written years before by Paul’s father James.

Known as just Wings once more, Britton left the band during the recording of their first album for Capitol Records. He was replaced with US musician Joe English. The first fruits of the sessions for Venus and Mars to be released was the beautifully upbeat Listen to What the Man Said, which peaked at six in 1975. Next album Wings at the Speed of Sound boasted their most commercially successful songs to date, Silly Love Songs and Let ‘Em In, which both soared to two. The latter is perhaps the most quintessentially McCartney 70s tune – a very catchy song about a very mundane subject matter. Someone is knocking at the door and ringing the bell. McCartney suggests someone let them in. Hmm.

Sessions for the next Wings album were interrupted when Linda became pregnant. On 9 August the McCartneys and Laine entered Spirit of Ranachan Studio at High Park Farm in the Mull of Kintyre and set to work on a song he had first laid down in 1974.

McCartney had bought the farm in 1966 and eight years later a piano-led demo had him tinkering with a simple song in which he sang of his love for the area. To give the finished version a suitably folksy feel, McCartney recorded his vocals and acoustic guitar outside. Laine, who is credited on the track, added backing vocals and acoustic and electric guitars and the heavily pregnant Linda sang backing vocal and also added percussion. Wanting an authentic rousing Scottish ending, Wings added Campbeltown Pipe Band on bagpipes and drums. Mull of Kintyre was wrapped up in a day.

Reviews

It was inevitable that eventually McCartney would join George Harrison in the ranks of former Beatles achieving a number 1. Little did anyone know that this would be the one to do it, let alone for nine weeks, toppling She Loves You as bestselling song. I get that Mull of Kintyre has a simplistic charm, extolling the virtues of natural beauty. That, like McCartney songs at their best, it has an inclusive quality, building to a big singalong ending like Hey Jude. That And releasing it in time for the Christmas market, when the older generation like to buy a nice tune, was a great move.

Also, clearly, for some unknown reason, bagpipes did well in pop during the 70s. Remember that an instrumental version of Amazing Grace was the biggest song of 1972?! But I cannot get my head around the mammoth success of Mull of Kintyre. It’s a bit of a dirge to my ears, too simple to leave that much of a mark. But it’s McCartney isn’t it? I can’t deny one of the greatest songwriters of all time a number 1, even if he’s made far better over the decades.

The video to Mull of Kintyre is suitably wistful, featuring Paul strumming on a fence at his farm, Linda in the background. They and Laine stride towards a place overlooking the beach, where Campbeltown Pipe Band are performing. Eventually Wings are joined by locals for a nighttime fire sing-song. Lovely.

One reason I suspect nobody was expecting Mull of Kintyre to do so well was the fact it was promoted as a double A-side with Girls School. Nobody remembers this. Before Mull of Kintyre was recorded, Wings had begun making a new LP in the Virgin Islands. Among the tracks recorded for what eventually became London Town was this track. But Linda’s pregnancy had stopped the sessions. Wings must have decided Girls School deserved equal billing.

It didn’t. Girls School is an average McCartney rocker, akin but inferior to Jet. It’s album filler or B-side material. It also has rather dodgy lyrics, telling of a boarding school where the head nurse runs a massage parlour in the school hall and when the PE teacher puts the students to bed, ‘She gives them pills in a paper cup/And she knocks them on the head’. The soaring backing vocals from the much-maligned Linda are nice, but it’s understandable why it’s been forgotten.

After

Mull of Kintyre/Girls School was released in November and was at number 1 for an incredible two months, from 3 December 1978 until 3 February 1979. It also reached number 1 elsewhere, but not in the US, where Girls School got most of the airplay. That same month sessions for London Town resumed but once again Wings were reduced to a trio as McCulloch and English left. The next single With a Little Luck, a nice little ballad, went to five. But Wings were in trouble.

Later in 1979, with new members Laurence Juber on lead guitar and Steve Holley on drums, they recorded the single Goodnight Tonight, which was their last top 10 hit (five). One last album, Back to the Egg, followed. Produced by Chris Thomas, it featured a more ragged sound and showed a new wave influence. One track, Rockestra Theme, featured members of Led Zeppelin, The Who and Pink Floyd and won a Grammy for Best Rock Instrumental Performance.

McCartney annoyed the other members of the band by deciding to focus on a solo album, McCartney II, but the band resumed for a tour at the end of the year. Unfortunately when the McCartneys arrived in Japan in January 1980, Paul was arrested for marijuana possession. The tour was cancelled and all Paul McCartney and Wings music was banned from TV and radio across the country. Laine formed the Denny Laine Band with Holley and released a solo album, Japanese Tears in December 1980. That title was clearly a dig at McCartney’s arrest.

McCartney reunited again with Martin for the album Tug of War but Holley and Juber were told they were not needed. Laine stayed on board but was having a tough time with his marriage and angry at the flat fee he received for Mull of Kintyre. He announced he was leaving Wings in April 1981. By the time McCartney came round to promoting Tug of War, he admitted Wings were no more.

Although Wings are considered to be just the McCartneys and revolving session musicians, this is unfair, particularly on Laine, who contributed a lot over the years. Years later, Laine would occasionally perform as Wings with other members for one-off events. Laine released another album with a pointed title reference to McCartney – Anyone Can Fly – in 1982. He did however contribute to McCartney’s Pipes of Peace in 1983. He continued to release solo albums through the 80s. In 2018 he was inducted into the Rock and Roll Hall of Fame for his work with The Moody Blues.

Seiwell went on to drum for artists including Billy Joel and Liza Minnelli and worked on film scores including Grease II. McCullough’s voice featured on one of the bestselling albums ever. It’s him you can hear on Pink Floyd’s Dark Side of the Moon saying ‘I don’t know I was really drunk at the time’. McCullough continued to record and perform, dying in 2016. McCulloch left Wings to join the reformed Small Faces and formed both Wild Horses and The Dukes. But in 1979 he was found dead from heart failure, aged only 26. Britton joined power pop group The Keys in the early-80s and set up a kickboxing school. Juber continued to work in music, recording with Ringo Starr, Belinda Carlisle and featuring on She’s Like the Wind from the Dirty Dancing soundtrack. Holley collaborated with Julian Lennon and Mott the Hoople’s Ian Hunter.

Linda remained with Paul for the rest of her life, and despite her critics remained in his backing band for tours until 1993. She became an animal rights activist and founded the Linda McCartney Foods company with Paul. In 1995 she was diagnosed with breast cancer and died in 1998 aged 56.

Paul McCartney of course continues with a very successful solo career. His next number 1, with another musical giant, was also very popular but not considered to be among his best work.

The Outro

So that’s 1977 rounded up. A year that was better than the dizzying lows of the year previous. But despite the impact of punk, it made little effect on the year’s number 1s. It would take a few more years for its influence to creep in, in the form of new wave.

The Info

Written by

Mull of Kintyre: Paul McCartney & Denny Laine/Girls School: Paul McCartney

Producer

Paul McCartney

Weeks at number 1

9 (3 December 1978-3 February 1978) *BEST-SELLING SINGLE OF THE DECADE*

Trivia

Births

6 December 1977: Footballer Paul McVeigh
23 December: TV presenter Matt Baker
1 January 1978: Model Alex Leigh/Footballer Phillip Mulryne
17 January: Footballer Warren Feeney

Deaths

20 December 1977: First World War soldier Henry Tandey
25 December: Actor Charlie Chaplin
14 January 1978: Athlete Harold Abrahams
22 January: Cricketer Herbert Sutcliffe

Meanwhile…

3 December 1977: For the second tournament in succession, the England football team fails to qualify for the World Cup.

12 December: Ron Greenwood signs a permanent contract as England manager. The appointment proved controversial, as there had been widespread support for Brian Clough of Nottingham Forest.

14 December: 25-year-old Leeds prostitute Marilyn Moore is injured in an attack believed to have been committed by the Yorkshire Ripper.

16 December: The Queen opens a £71,000,000 extension of the London Underground’s Piccadilly line.

21 December: Four children die at a house fire in Wednesbury in the West Midlands. Due to the firefighter strike, Green Goddess fire appliances are sent to deal with the blaze. 119 people have now died as a result of fires since the strike began, but this is the first fire during the strike to result in more than two deaths.

25 December: The Morecambe & Wise Christmas Show on BBC One attracts an audience of more than 28,000,000 viewers, one of the highest ever in UK television history.

27 December: Star Wars is screened in British cinemas for the first time.

1 January 1978: Otters become a protected species.

11 January: A storm surge in the North Sea ruins piers in Herne Bay, Margate, Hunstanton and Skegness.

16 January: After three months, the firefighter strike ends when fire crews accept an offer of a 10% pay rise and reduced working hours.

18 January: The European Court of Human Rights finds the UK government guilty of mistreating prisoners in Northern Ireland but not guilty of torture. 

30 January: Conservative leader Margaret Thatcher says many Britons fear being ‘swamped by people with a different culture’.

31 January: 18-year-old prostitute Helen Rytka is murdered in Huddersfield. She is believed to be the eighth victim of the Yorkshire Ripper. 

296. George Harrison – My Sweet Lord (1971)

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The Intro

John Lennon and Paul McCartney were the greatest pop songwriting partnership of all time, together or separately writing 17 number 1 singles for The Beatles. But George Harrison has always been my favourite member of the Fab Four. Sardonic, mystical and more level-headed than the others, ‘the Quiet One’ blossomed at the end of his time in The Beatles. He had matured into a great songwriter, and I’ve always liked an underdog. Something was the first dance on my wedding day, and my youngest daughter was born to Here Comes the Sun. I even have the latter tattooed on my right arm.

Despite his new-found confidence and prolificness, it must still have come as a shock to the other three members of The Beatles that it would be Harrison who would score the first solo number 1 and biggest seller of 1971 with My Sweet Lord.

Before

Born 25 February 1943 in Wavertree, Liverpool, Harrison was the youngest of four children. His father Harold was a ship’s steward and his mother, Louise, a music-loving shop assistant. Fascinatingly, when Louise was pregnant with George, she would listen to a show called Radio India every Sunday, hoping that the sounds of the sitar and tabla would make her baby peaceful.

As a child, Harrison liked artists including George Formby and Cab Calloway, until in 1956 he had an epiphany while on his bike. He heard Elvis Presley’s Heartbreak Hotel blaring from a house, and was hooked. At first his dad was apprehensive, but relented and bought him an acoustic guitar. He formed a skiffle group called The Rebels, and one day on the bus to school, he befriended an older boy called Paul McCartney.

Two years later, Harrison was accepted into McCartney’s group The Quarrymen following initial skepticism from founder John Lennon. By the time the group had become The Beatles and settled on the legendary line-up, Harrison was their lead guitarist.

In their early recording years, Harrison would usually get a song or two to sing on each album, either a Lennon-McCartney original like Do You Want to Know a Secret? (from first LP Please Please Me) or a classic rock’n’roll track such as Roll Over Beethoven from the follow-up With the Beatles. It was on this album that he made his songwriting debut, with the typically sulky, downbeat but interesting Don’t Bother Me.

His influence would start to really be felt on the band when recording 1965’s Rubber Soul. By this point he was a fan of folk rock from the US, but had also become interested in Indian music through the filming of that year’s film Help!. His track If I Needed Someone, a Byrds soundalike, was one of that album’s highlights (he later said this was his favourite Beatles album).

Harrison became ever more fascinated with Indian culture and music, and Love You To on Revolver and Within You, Without You on Sgt. Pepper’s Lonely Hearts Club Band helped turn their fans on to both – and many other bands too. And me – it may sound hard to believe, but it was The Beatles’ Indian-influenced songs that really got me into the Fab Four. I can remember the exact moment, in fact – I tranced out to Harrison’s Blue Jay Way at a friend’s house (completely without the aid of drink or drugs, I should add) and became obsessed. His first ever B-side, 1968’s The Inner Light, also marked the end of his overtly Indian material within the band.

The Beatles began splintering while recording their self-titled double album that year, and Harrison quit at one point, but two of his four tracks that made the final cut, While My Guitar Gently Weeps and Long, Long, Long, were among the album’s best.

His songwriting went from strength to strength from here on in. Something was his first A-side, and famously Frank Sinatra called it the finest love song of the past 50 years. After Abbey Road had been released, they had discussed continuing, and Lennon suggested Harrison should be allowed an equal share of songs on their next album – something McCartney disagreed with.

Harrison had already released two solo albums before The Beatles split – the 1968 film soundtrack Wonderwall Music and the experimental Electronic Music the following year. He was stockpiling songs all the time, recording a beautiful demo of All Things Must Pass during Beatles’ sessions. So it shouldn’t have been a surprise when he decided his first post-Beatles album, produced with Phil Spector and named after said track, would be triple-length.

Among those songs was his first solo single, My Sweet Lord. First written in December 1969, it was influenced by his production duties on Radha Krishna Temple’s Hare Krishna Mantra. Harrison was a guest, along with friends Eric Clapton and Billy Preston on Delaney & Bonnie’s European tour. He ducked out of a press conference and began vamping on an acoustic guitar, alternating between singing ‘Hallelujah’ and ‘Hare Krishna’. Whether he was aware he was doing it to the tune of He’s So Fine, a 1963 hit for The Chiffons, we’ll never know, but he was also deliberately influenced by the Edwin Hawkins Singers’ rendition of Oh Happy Day.

At the time of writing My Sweet Lord, Harrison wasn’t intending on going solo, so he offered it to Preston, whose second album, Encouraging Words, he was producing. With the Edwin Hawkins Singers providing some great backing vocals, Preston’s version is more overtly gospel, with the backing chant being mostly ‘Hallelujah’.

Letting someone else record it was one thing, but Harrison was nervous about doing it himself later in 1970. He wanted to sing about needing a direct relationship with God, and for others to be able to do so too, whatever their religion, and so he reintroduced the Hare Krishna mantra to the song, as well as the third verse of the Guru Stotram an ancient hymn in praise of Hindu spiritual teachers:

‘Gurur Brahmā, gurur Viṣṇur 
gurur devo Maheśvaraḥ 
gurus sākṣāt, paraṃ Brahma 
tasmai śrī gurave namaḥ.’

This translates as:

‘I offer homage to my guru, who is as great as the creator Brahma, the maintainer Vishnu, the destroyer Shiva, and who is the very energy of God.’

Opening with a low-key strum (in general, this is a pretty lo-fi recording by Spector’s usual standards) that’s much more ‘Harrison’, his version comes to life with some nice slide guitar work that’s also unmistakably him, before he begins singing. Harrison is earnest, pleading almost, for God, in whichever form, to come into his life. As cleverly noted elsewhere, it’s almost like Harrison is on his way for a first date, nervous but keen to find romance. I prefer the choice to build the song up, keeping the backing vocals until later – it helps create the ‘epic’ atmosphere such a song deserves. Critics of My Sweet Lord complain that the backing vocals smother it, but I can’t agree with that. They make it such a joyful song of love and devotion, and I’m speaking as an atheist.

My Sweet Lord had an all-star role call of collaborators. Among those making an appearance at Abbey Road Studios were Preston on piano, Clapton on acoustic guitar, his Derek and the Dominoes colleagues Bobby Whitlock on harmonium and Jim Gordon on drums and percussion, Ringo Starr on the same, Pete Ham, Tom Evans and Joey Molland from Badfinger on acoustic guitars, their drummer Mike Gibbins on tambourine, Klaus Voorman from Plastic Ono Band on bass, future Dream Weaver hitmaker Gary Wright on electric piano and Ravi Shankar collaborator John Barham providing the beautiful string arrangement. It is unknown, however, who played on the selected takes. I could always make out Harrison’s voice among the backing singers – what I didn’t know until now is that it’s purely him, multi-tracked and credited to ‘the George O’Hara-Smith Singers’.

Harrison announced in October 1970 that there would be no single before the release of All Things Must Pass, but Spector and bosses at Apple disagreed and thought My Sweet Lord had real potential. Harrison backed down, and the single was released in November in the US, then in January 1971 in the UK. It only took a fortnight to climb to number 1.

After

My Sweet Lord went on to sell millions, and All Things Must Pass was a huge-selling album. While Lennon and McCartney were busy sending each other coded insults via respective albums Imagine and Ram, Harrison, for a time looked like he would be the most successful solo Beatle of all. It didn’t work out that way, but he wouldn’t have wanted it to anyway. It may not be his greatest song, but it’s certainly up there, and if anyone deserved some time in the limelight, it’s the Dark Horse.

The Outro

In 2002, Harrison’s debut single was re-released posthumously and went to number 1 once more. A very fitting tribute. I’ll look at the rest of Harrison’s life and career, and the controversy regarding this song, when we get to that point.

The Info

Written by

George Harrison

Producers

George Harrison & Phil Spector

Weeks at number 1

5 (30 January-5 March) *BEST-SELLING SINGLE OF THE YEAR*

Trivia

Births

30 January: Actor Darren Boyd
31 January: Northern Irish TV presenter Patrick Kielty
2 February: Singer Michelle Gayle
3 February: Playwright Sarah Kane
13 February: Singer Sonia
16 February: Actress Amanda Holden/Actor Steven Houghton
23 February: TV presenter Melinda Messenger
24 February: TV presenter Nicky Hambleton-Jones
1 March: Classical composer Thomas Adès
3 March: Satirist Charlie Brooker

Meanwhile…

3 February: Gritty British crime thriller Get Carter, starring Michael Caine, premiered in Los Angeles.

4 February: Car manufacturer Rolls-Royce went bankrupt.

11 February: The UK, along with the USA, the USSR and others, signed the Seabed Treaty, which outlawed nuclear weapons on the ocean floor.

15 February: Decimal Day! People all across the UK and Republic of Ireland were left confused when currency went decimal, despite public information films like this explaining beforehand.

24 February: Home Secretary Reginald Maudling announced the Immigration Bill, which would strip Commonwealth immigrants of their right to remain in the UK. The bill was of course supported by Enoch Powell, but the controversial former shadow cabinet minister continued to demand a massive voluntary repatriation scheme for the immigrants.

1 March: An estimated 120,000 to 250,000 “kill the bill” protesters went on strike against the 1971 Industrial Relations Act in London.