243. Love Affair – Everlasting Love (1968)

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On 4 February, 96 Indians and Pakistanis arrived in Britain from Kenya. By this date, 1,500 Asians had arrived in the country from Kenya, where draconian immigration laws had been forcing them out. Two days later the Winter Olympics began in Grenoble, France. Great Britain and Northern Ireland were rubbish, and didn’t win a single medal.

Enjoying a fortnight at number 1 were London-based pop and soul quintet Love Affair with their slick, anthemic Everlasting Love. Singer Steve Ellis (barely 16), keyboardist Morgan Fisher, guitarist Rex Brayley, bassist Mick Jackson and drummer Maurice Bacon formed the group, originally the Soul Survivors in 1966.

Impressive live shows led to Decca Records signing them that year. However, their first and last single for the label, a cover of She Smiled Sweetly by the Rolling Stones, was a flop. Around this time, Fisher left briefly to be replaced by the perfectly named Lynton Guest.

They then signed with CBS Records, and had their first stab at recording Everlasting Love, with Muff Winwood of Spencer Davis Group producing. This song was written by Buzz Cason, better known to the music world as rock’n’roll singer Garry Miles, and country singer-songwriter Mac Gayden. Soul singer Robert Knight originally made it a hit in the US, but when it was offered to Marmalade, they rejected it. They were to have a number 1 in 1969 with their cover of Ob-La-Di, Ob-La-Da.

The version that Love Affair made didn’t meet the approval of their new label, and so the released version only actually features Ellis on vocals, with the rest of the band replaced by session musicians. The rhythm section featured Russ Stableford on bass and the number 1 session legend Clem Cattini behind the drum kit. The trio were bolstered by strings, brass, flutes and female backing singers (one of which may or may not have been future number 1 star Kiki Dee). This arrangement came from Keith Mansfield, later the man behind the theme to BBC’s Grandstand. Production came from Mike Smith, making this two concurrent number 1s in a row for him after the success of Georgie Fame’s The Ballad of Bonnie and Clyde.

Everlasting Love is an effervescent blast of slick 60s pop, and it’s not hard to see why it’s endured over the years. Smith and Mansfield crafted a sophisticated sound that puts it above lots of pop of the era. Ellis’s vocal is great – despite his age, that boy had soul, much like his contemporaries Steve Winwood and Steve Marriott. It’s the rhythm section that really shines though, particularly Stableford, whose bass pulsates throughout, and it’s a wonder that his break in the intro hasn’t been sampled by now.

It’s a weird one though – as much as I can admire this single, I don’t love it, and everything tells me I should. It ticks all the right boxes, but I feel something is missing. Yet I can’t put my finger on what it is. Such is the subjectivity of taste, I guess. Click above and you can see the promo video the band put out, featuring Love Affair performing in front of posters of Mick Jagger and Jimi Hendrix, and dancing from the archetypal 60s blonde model and another girl, dancing strangely and dressed a bit like a clown in John Lennon-style shades.

There was some controversy when it was discovered that Love Affair didn’t perform on the single, which seems a little unfair to me. Plenty of bands I’ve reviewed on this blog used session musicians, even culturally significant ones such as the Byrds on Mr Tambourine Man.

It didn’t seem to damage the band at first though, with the next few singles reaching the top ten too, namely Rainbow Valley and A Day Without Love. But they stuck too rigidly to the template of their biggest hit, and grew wary of having become teen idols when they wanted to be considered serious soul musicians. They also continued using other musicians on their A-sides, which won’t have helped. The true band only got a say in the B-sides.

Debut album The Everlasting Love Affair, with Fisher back in the band, also featured mostly session musicians. Despite their singles success, the album flopped, and in 1968, that was the wrong way round to go about things.

By the end of 1969, an increasingly frustrated Love Affair tried to change the template with the single Baby I Know, but it didn’t chart. That December, Ellis left the group to go solo. He recorded with Zoot Money as Ellis, sang with Widowmaker and released an album under his own name in 1978, but none of this made much of a mark.

Love Affair soldiered on as LA for a few years, taking a more progressive rock direction with new vocalist August Eadon. In 1971 their second album New Day did so badly they were dropped by their label. Fisher eventually ended up in Mott the Hoople, and Love Affair returned several times, but without any original members, for cabaret shows.

Love Affair’s Everlasting Love became popular once more when it featured in the romantic comedy sequel Bridget Jones: The Edge of Reason in 2004, where an inferior version by Jamie Cullum also featured on the soundtrack and over the closing credits.

Written by: Buzz Cason & Mac Gayden

Producers: Mike Smith & Keith Mansfield

Weeks at number 1: 2 (31 January-13 February)

Deaths:

Welsh journalist Gomer Berry, 1st Viscount Kemsley – 6 February 

242. Georgie Fame – The Ballad of Bonnie and Clyde (1968)

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On with 1968, then, and what a strange year of number 1s it is. We have the good, the bad, and even The Good, the Bad and the Ugly to listen to.

The Beatles were still at number 1 for most of January with their Christmas chart-topper, Hello, Goodbye, before finally running out of steam. They were replaced by Lancashire-born jazz cat Georgie Fame and his third and last number 1, The Ballad of Bonnie and Clyde.

Before hearing this track I assumed it would be taken from the soundtrack to the 1967 movie Bonnie and Clyde, starring Warren Beatty and Faye Dunaway. I was wrong, but that didn’t surprise me, as not only have I never seen the film, I don’t actually know much about the subject matter either.

Arthur Penn’s multi-Academy Award-winning landmark crime biography detailed the rise and fall of Bonnie Parker and Clyde Burrow. In the Great Depression of the 1930s, the duo captured the imagination of the US on a two-year crime spree. Although the romantic image of the duo as Robin Hood-style characters has endured, the reality is their many bungled robberies resulted in innocent people being killed. The movie is considered one of the first films of the New Hollywood era, prompting more filmmakers to show sex and violence in their work. At the time, the duo’s death was considered a truly shocking end to a Hollywood movie.

Songwriters Mitch Murray (the man behind both Gerry and the Pacemakers number 1s – How Do You Do It? and I Like It) and Peter Callander saw the film and felt inspired to write a 30s-style jazz spoof telling the tale of the duo. Georgie Fame, who had enjoyed two number 1s with his backing band the Blue Flames (Yeh Yeh and Get Away) was the perfect artist to record their new track.

Since Get Away topped the charts, the band had enjoyed two further top 20 hits with Sunny and Sitting in the Park. They released one more album, Sweet Thing in 1966, before Fame chose to sign with CBS Records and go solo. The Blue Flames disbanded, and drummer Mitch Mitchell became a third of the Jimi Hendrix Experience soon after. Fame released his first solo album Sound Venture later that year. His first two solo singles failed to chart, but The Ballad of Bonnie and Clyde, released in 1967, became number 1, and was his only top ten hit in the US.

This quirky, rickety little track certainly gets 1968 off to a weird start. It may not have been in the film, but without it, there’s no way Fame would have outsold the Beatles. It’s not without its charm, and I always enjoy a Georgie Fame vocal, but by reducing the story of Bonnie and Clyde to a bit of fun, it’s nothing more than a throwaway novelty track.

It’s quite a sparse recording, featuring mainly Fame and a banjo, but there’s some brass too, plus sound affects, including the sound of gunfire as it reaches its climax. I think we’re supposed to go ‘Awww!’ when Fame sings ‘Bonnie and Clyde/They lived a lot together/And finally together/They died’, which is going a bit easy on bankrobbing murderers really. I’m now trying to imagine other inappropriate tunes, such as The Ballad of Fred and Rose West, or Peter Sutcliffe’a Sad Sad Song.

Fame’s hits began to dry up soon after, but Somebody Stole My Thunder in 1970 is a strong shot of R’n’B. He formed a partnership with organist Alan Price, formerly of the Animals, and they had a hit with Rosetta in 1971, but they split two years later. Much of the early 70s was spent writing jingles for television and radio, and making the soundtrack for the Till Death Us Do Part big-screen spin-off, The Alf Garnett Saga (1972). In 1974 he reformed the Blue Flames, but by the 80s he was back in the advert industry.

In 1989 he began working with cantankerous Irish singer-songwriter Van Morrison as his producer and performing in his live band, as well as recording their collaborative LP, How Long Has This Been Going On in 1996. This partnership lasted until 1998, with occasional work together ever since.

Fame suffered tragedy in 1993 when his wife, Nicolette Powell, jumped off the Clifton Suspension Bridge to her death. They had married in 1972 after having a baby while she was still married to Alistair Vane-Tempest-Stewart, 9th Marquess of Londonderry. When tests proved the baby was theirs, the Marchioness had divorced him for Fame. Suffering from depression, Powell had left a suicide note in which she said she had no purpose in life now their children had grown up.

In 1998 Fame also became a founding member of former Rolling Stone Bill Wyman’s Rhythm Kings, with whom he worked for a couple of years before going it alone again. He has released albums ever since and has performed at Glastonbury Festival. His live band sometimes includes his two sons Tristan and James. What a shame Nicolette didn’t live to enjoy their performances.

Written by: Mitch Murray & Peter Callander

Producer: Mike Smith

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

Births:

Journalist Matthew d’Ancona – 27 January
Rapper Tricky – 27 January

Deaths:

Spymaster Maxwell Knight – 27 January 

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

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

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

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

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

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

Written by: Clive Powell

Producer: Denny Cordell

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

Births:

Politician Diana Johnson – 25 July 

184. Georgie Fame and the Blue Flames – Yeh Yeh (1965)

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1965 began with the death of one of the 20th century’s most notable figures. On 15 January, newspapers reported Sir Winston Churchill was seriously ill after suffering a stroke. The 90-year-old’s time had come. 24 January saw Churchill pass away in his sleep at home, 70 years to the day his father had died. The country was in mourning, and prepared for a state funeral, the first time a ‘commoner’ had received one in the 20th century.

At number 1 that fortnight was an entirely inappropriate party song, that it would be impossible to describe without using the word ‘groovy’. In fact, that very word did appear in Georgie Fame and the Blue Flames’ version of Yeh Yeh. These two-plus minutes are the world of Austin Powers, for real.

Fame was born Clive Powell in Leigh, Lancashire back in June 1943. He fell in love with the piano from a young age, and as a teenager he performed with various groups in and around Manchester. His influences included the rock’n’roll pianists of the time, such as Jerry Lee Lewis and Fats Domino. In 1959 the Powell family moved to London, and Clive was discovered by Lionel Bart, who found fame that year as the writer of Living Doll. Bart took the 16-year-old to meet Larry Parnes, whose ever-expanding roster of Brit rock’n’rollers included Billy Fury, Johnny Gentle, Marty Wilde and Lenny Lovely. I might be making one of those up. Parnes was happy to take him on, but Powell didn’t like the idea of being dubbed ‘Georgie Fame’. Unfortunately for him he had to like it or lump it.

In the summer of 1961 Fame became a member of Fury’s backing group, the Blue Flames, who consisted of guitarist Colin Green, bassist Tex Makins, drummer Red Reece and saxophonist Mick Eve. Fury let the group go at the end of that year, complaining they were too jazzy, and the Tornados replaced them (before their number 1 smash Telstar). Fame graduated to the frontman position in May 1962, and further line-up changes took place. Georgie Fame and the Blue Flames moved away from purely rock’n’roll and began drawing on jazz, R’n’B and even ska. By the end of 1962 they had a residency at the Flamingo, a jazz club in London’s West End. The US servicemen that were regulars at the club helped open Fame up to new sounds by lending him their records. At around this time he also fell in love with the sound of the Hammond organ, which was rare in the UK at the time. This was thanks to hearing Booker T & the MG’s classic Green Onions. In 1963 they signed with EMI Columbia, and the following year they released their first album, Rhythm and Blues at the Flamingo, produced by Ian Samwell, who had been an original member of the Shadows (then called the Drifters). It was a flop and so were their first three singles. After further line-up changes (including a brief spell from Jimmie Nicol behind the drumkit. Nicol famously filled in for an ill Ringo Starr while the Beatles were touring), they released their second album, Fame at Last. The perfect album name.

Among their repertoire at the time was the Latin-flavoured jazz instrumental Yeh Yeh, written by Rodgers Grant and Pat Patrick and recorded by Afro-Cuban percussionist Mongo Santamaría in 1963. Shortly after, lyrics were added by Jon Hendricks of the vocal trio Lambert, Hendricks & Ross.

The ubiquity of Fame’s verson, thanks to numerous adverts and TV shows over the years haven’t dulled my appreciation. It may sound a bit smug and self-satisfied, even self-consciously hip, but it’s a great time capsule of the swinging 60s, and it’s a nicely robust production. Lyrically, it’s not far off the Beatles’ I Feel Fine, which it had knocked from the top after its five-week stint over Christmas. I particularly like the way the tune changes and the coolness changes into joy when Fame sings ‘We’ll play a melody/And turn the lights down low/So that I can’t see’. Nicely done, all in all.

Two more number 1s for Fame, with and without the Blue Flames, were to follow, and perhaps the greatest year for number 1 singles had begun.

Written by: Rodgers Grant, Pat Patrick & Jon Hendricks

Producer: Tony Palmer

Weeks at number 1: 2 (14-27 January)

Births:

Chef Hugh Fearnley-Whittingstall – 14 January
Rapper Slick Rick – 14 January
Actor James Nesbitt – 15 January
Countess of Wessex Sophie Rhys-Jones – 20 January
Scottish actor Alan Cumming – 27 January

Deaths:

Politician Winston Churchill – 24 January 

152. Gerry and the Pacemakers – I Like It (1963)

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Brian Epstein would eventually lose his battle with depression, but in the summer of 1963 he must have felt on top of the world. He was managing the two biggest pop groups in the UK, who were involved in a to-and-fro at the top of the charts. Gerry and the Pacemakers’ How Do You Do It? was usurped by the Beatles’ From Me to You, which in turn was replaced by the Pacemakers’ follow-up, I Like It.

Like their debut, Gerry Marsden and co’s second single was written by Mitch Murray. Buoyed by his previous success, Murray, came up with more of the same. This cheeky, knockabout young love song was tailor-made for the happy-go-lucky Marsden.

Wisely sticking to the ‘if it ain’t broke, don’t fix it’ formula that made Merseybeat such a phenomenon, I Like It is an improvement on How Do You Do It? It’s squeaky-clean pop with a wink – the lyrics may state that the ‘it’ in question is referring to harmless acts such as chin-tickling and tie-straightening, but the teenagers buying the song were probably thinking of something a bit more saucy. The lyric ‘And I like the way you let me come in/When your mama ain’t there’ hints at this too. The chorus is a real earworm – basic but in a very catchy manner. Merseybeat to a tee, all in all.

Murray would have further chart success with similar songs such as You Were Made for Me by Freddie and the Dreamers. His 1964 book, How to Write a Hit Song, inspired Sting, then 12, to begin writing. Nowadays, Sting refers to Murray as his mentor. In 1968 he scored another number 1 with his sometime collaborator Peter Callander, namely Georgie Fame’s The Ballad of Bonnie and Clyde.

I Like It spent four weeks at number 1, and would no doubt have been played at dances across the country that summer. One such dance was taking place in Gorton, Manchester, on 12 July, but 16-year-old Pauline Reade never made it there. Just after 8pm that night, a van pulled over in front of her. Myra Hindley, her friend Maureen’s big sister, got out and asked Pauline for her help searching for an expensive glove on Saddleworth Moor. She told Hindley she was in no big hurry, and agreed to help. Later that night, Pauline’s mother Joan and brother Paul were searching the streets for her when Hindley’s van drove by. Hindley and Ian Brady were inside. Pauline Reade had become their first victim, and was dead and buried on the moors.

Written by: Mitch Murray

Producer: George Martin

Weeks at number 1: 4 (20 June-17 July)

Births:

Scottish golfer Colin Montgomerie – 23 June
Singer George Michael – 25 June
Comedian Meera Syal- 27 June
Boxer Errol Christie – 29 June
Film critic Mark Kermode – 2 July 

Artist Tracey Emin – 3 July