In 1972 Slade were becoming wise to the glam rock movement springing up around them. They were already changing from their skinhead look, growing their hair out again, but they also began wearing increasingly outlandish outfits – particularly guitarist Dave Hill.
They also became obsessed with the idea of entering the charts at number 1 in week one, a feat that hadn’t been achieved since The Beatles and Billy Preston with Get Back. Last single Take Me Bak ‘Ome had been number 1 for a week earlier that year, but… well it wasn’t great, really. They needed something stronger. While recording it, as stated in the accompanying blog, Noddy Holder ad-libbed halfway through, and bassist Jim Lea liked what he heard… but asked him to save it as it had given him an idea for a new song.
The tune for Mama Weer All Crazee Now was for the first totally written by Lea. In a 1984 interview with Record Mirror, he recalled he had attended a Chuck Berry gig in 1972 where the legendary guitarist kept stopping his songs to let the crowd sing them for him, and he decided to write a readymade anthem where they could do the same. Combining it with the aforementioned ad-libs and recalling Holder’s comment after surveying the aftermath of one of their own gigs at Wembley Arena (‘Christ, everyone must have been crazy tonight’) he came up with My My We’re All Crazy Now.
And thus, the Slade formula was finally born. And what a formula it was. Holder letting rip over a simple but memorable riff, a simple ear-worm chorus fit for a stadium with crowd-like backing vocals, lyrics about having a good time… that’s all there is to it. But it hits that sweet spot so well. There were even better number 1s to come, but Mama Weer All Crazee Now is great fun. Ok, not a lot going on lyrically – it’s basically about wanting to get pissed on whisky. But what’s that bit about filling up ‘H’ Hill’s left shoe – is that a reference to their guitarist?
It doesn’t matter, it’s about the energy, and the climax, where Don Powell hits the drums repeatedly and Holder shouts ‘MAMA MAMA MAMA MAMA’ is brilliant.
Slade didn’t quite go straight in at number 1 this time around, but they did enter at two, and they got there in the end.
Written by: Noddy Holder & Jim Lea
Producer: Chas Chandler
Weeks at number 1: 3 (9-29 September)
Newsreader Natasha Kaplinsky – 9 September Oasis singer Liam Gallagher – 21 September Breaststroke swimmer Richard Maden – 21 September
Archbishop of Canterbury Geoffrey Fisher – 15 September
11 September: BBC One broadcast long-running quiz series Mastermind was broadcast for the first time, with Magnus Magnusson asking the questions until 1997. John Humphrys has been presenter since 2003.
12 September: The second Cod War was triggered when two British trawlers were sunk by an Icelandic gunboat.
13 September: 20 years after their debut in France, hypermarkets came to the UK when Carrefour opened in Caerphilly, South Wales.
18 September: On the orders of dictator Idi Amin, thousands of deported Ugandan Asians arrived in the UK.
19 September: A parcel bomb killed a diplomat at the Israeli embassy in London.
The Beatles went to number 1 for the 17th and final time with John Lennon’s The Ballad of John and Yoko. It was a sure a sign as any that the Fab Four were about to split up, and yet it proved that Lennon and McCartney were still able to put aside their differences and work together.
Lennon and Yoko Ono had married in Gibraltar, Spain on 20 March that year. Soon after Lennon wrote The Ballad of John and Yoko as a kind of travelogue set to a Chuck Berry sound, covering the wedding, the honeymoon in Paris, and their first bed-in a few days later at the Amsterdam Hilton.
An excited and impatient Lennon visited McCartney at home on 14 April, three days after Get Back had been released, in the hope of getting the song finished. Surprisingly, not only did they finish writing it, they went to Abbey Road that afternoon with producer George Martin and engineer Geoff Emerick (for the first time since he’d walked out of sessions for The Beatles) and recorded it, without George Harrison (who was on holiday) or Ringo Starr (he was filming The Magic Christian). The Ballad of John and Yoko was done and dusted by 9.30pm.
Lennon sang lead, played lead and rhythm guitar, and made percussion sounds by slapping the back of an acoustic guitar. McCartney provided some excellent harmony vocals, bass, drums, piano and maracas. Appreciating the irony of being the only two band members involved, Barry Miles noted in Paul McCartney: Many Years From Now (1997) the following exchange: Lennon (on guitar): ‘Go a bit faster, Ringo!’ McCartney (on drums): ‘OK, George!’
After months of torturous misery during the Get Back sessions, how come the duo were able to knock up a single so quickly? The fact they were two down simplified matters obviously, but McCartney was probably so relieved that Lennon was enthusiastic for the first time in a fair while, he was bound to jump at the chance, even if the lyrics made it plain that Lennon was growing apart from The Beatles. He may also have known that Lennon was likely to go ahead and record it anyway with somebody else, and he was determined to keep the band together despite the tensions.
The Ballad of John and Yoko is a real oddity in The Beatles’ catalogue. With it’s self-centered lyrics, you could easily call this the start of Lennon’s solo career really. I find it a real shame that, after all my blogs on such classic material, this is the final Beatles song I get to write about for this blog. I mean, it’s only half the band! Let It Be would have been a far more appropriate way to end the number 1s of the greatest band of all time.
Unlike many though, I’m not here to bury it. It’s not a bad song, and it’s not my least favourite Beatles single. I think I prefer it to Get Back, because it has more energy. Ironically, it’s McCartney who shines here. His rhythm track has real punch to it, and I’ve always enjoyed his drumming (I’m certainly not knocking Starr though). And I really like the final verse when he joins Lennon to sing. I admire the chutzpah of Lennon to write a chorus which mocks the whole ‘Bigger than Jesus’ scandal of 1966 too. It showed how far music had come in three years, and the Beatles led the way for most of that time (having said that, many radio stations would either censor the song or refuse to even play it).
Maybe in a way it is an appropriate song to end on, with the Fab Four’s chief songwriters working together so closely again. Those days had been few and far between for some time, and sadly, there weren’t any more to come.
This single, backed with George Harrison’s superior Old Brown Shoe, was rush-released on 30 May, and was their first single to be in stereo only. Due to Lennon wanting the song to be topical, this meant the unusual approach of releasing it while previous single Get Back was still at number 1. Tommy Roe’s Dizzyknocked that from the top, but was only there for a week before The Ballad of John and Yoko hit number 1.
And here’s where the story of the world’s greatest band ends. Except obviously, it wasn’t over yet. The group had already agreed on McCartney’s suggestion to make another album, and sessions were under way. The Ballad of John and Yoko‘s success proved there was still fuel in the tank, and George Martin was glad to be back on board providing they went back to earlier methods of recording. In other words, stop the bickering of the past year. And they all got on much better… for a while, anyway. McCartney and Martin were keen on a long medley and Lennon wasn’t. Lennon didn’t bother turning up for sessions for Harrison songs either.
Before Abbey Road had been completed he released his first ‘solo’ single (as the Plastic Ono Band), the famous anti-war anthem Give Peace a Chance. Nothing was ever said, but there was a general feeling among all involved that Abbey Road would be their final work together.
McCartney had become the odd man out earlier that year after the other three had voted tough American businessman Allen Klein as their new manager, which put a huge strain on the band in addition to their other issues. On 20 September, six days before the release of one of their best albums, Lennon announced he was leaving and John, Paul, George and Ringo never recorded as a unit again.
Something/Come Together would have been a perfect number 1 single in October, but demand had been so high for its parent album, it missed out. One last song, Harrison’s I Me Mine, was completed minus Lennon in January 1970. This was done to make it part of the salvaged Get Back sessions, now to feature in a film and LP called Let It Be. Klein handed over the tapes to Phil Spector, who had recently produced Instant Karma! for Lennon. Smothering many of the songs with lush orchestral sounds, including Let It Be and The Long and Winding Road, McCartney was not amused, and beat Lennon to the punch by publicly announcing he had quit, the week before the release of McCartney, his first solo album, on 10 April.
The full story of the demise of The Beatles makes for a riveting but depressing read, and I recommend Pete Doggett’s You Never Give Me Your Money: The Battle for the Soul of The Beatles (2009) if you want to know more.
Despite many highly lucrative offers over the years, The Beatles never did reform. It’s likely they would have had Lennon not been murdered in 1980, with relations between he and McCartney thawing. The closest we got was the Anthology project of the mid-90s, and the singles Free As a Bird (1995) and Real Love (1996), where the remaining trio worked on Lennon demos provided by Ono. Although not up to the standard of their previous work, they’re decent enough tunes, and I still can’t believe neither made it to number 1. I guess the world had moved on. A bit.
A new romantic comedy, Yesterday, imagines a world in which they never existed. Pop would probably still have moved on from the doldrums of the early-60s, but it could never have become quite so innovative, so witty, so joyous and so magical without them. Nobody had, has, or ever will have the alchemy of the Fab Four.
The Beatles. 17 number 1 singles. They changed everything.
Written by: John Lennon & Paul McCartney
Producer: George Martin
Weeks at number 1: 3 (11 June-1 July)
Graphic artist Simon Taylor – 22 June
14 June: Burmese the horse was ridden by the Queen for the first time at Trooping the Colour, a role she held until 1986.
21 June: BBC One transmitted fly-on-the-wall documentary The Royal Family, made by the BBC and ITV to celebrate the investiture of Prince Charles on 1 July. It gave an insight into the Windsors that could only have been imagined previously. Viewing figures topped 30,600,500, but some worried that the overexposure could damage the throne, and the Queen pulled it off air in 1972. Only clips have been seen on TV since then. Earlier that day, Patrick Troughton made his last regular appearance in Doctor Who. Banished to Earth by the Time Lords in the final episode of The War Games, it was also the final black and white episode of the sci-fi series.
24 June: After the referendum in Rhodesia had voted in favour of becoming a Republic, the Governor of Southern Rhodesia, Sir Humphrey Gibbs, left Government House. This severed the last diplomatic relationship with the UK.
Hard to believe it but I’m nearly at the end of The Beatles’ career. This 16th number 1 was the last to feature John, Paul, George and Ringo together – plus one extra. For the first time, they gave equal billing to another musician – keyboardist Billy Preston.
The Beatles’ eponymous double LP hadn’t made the same cultural impact as Sgt Pepper’s Lonely Hearts Club Band upon its release, but it was a wonder it had even been finished, as the sessions had been tense, with Harrison and Starr walking out at separate points. McCartney searched for a new project to keep them afloat.
In January 1969, the same month that the Yellow Submarine album was released, they regrouped. Macca suggested they continue down the back-to-basics road they started on the previous year, but with a twist. They would record an album of new material, rehearse it, then perform it in front of a live audience. The results would be made into an album and TV special called Beatles at Work. They hired Michael Lindsay-Hogg to film them rehearsing at Twickenham Studios that month.
What followed did nothing for inter-band relations. Lennon and Harrison later described the rehearsals as the lowest point the band ever experienced. Harrison, irritated by both Lennon and McCartney in particular, who was captured on camera patronising the guitarist, walked out. He returned five days later, but issued an ultimatum. They must abandon the idea of a live performance, and concentrate on getting the album, by that point known as Get Back, finished, and then use the songs for the TV show. He also wanted out of Twickenham, a cold location that did nothing for the frosty atmosphere amongst the Fab Four (and of course Yoko Ono). The Beatles decided they would relocate to the newly completed Apple Studios and use Lindsay-Hogg’s footage to make a new documentary film.
Among the many songs rehearsed that January was Get Back, intended to be the project’s title track. It originated from a jam session during rehearsals on 7 January. McCartney played with the lyric to a George Harrison tune from 1968. Sour Milk Sea was originally planned for The Beatles but surfaced as a single by Jackie Lomax on Apple Records instead, with bass from McCartney. It featured the lyric ‘Get back to where you should be’.
Two days later McCartney brought a more developed version of Get Back to rehearsals, with the ‘Sweet Loretta Martin’ wordplay pretty much complete. He had also come up with some controversial lyrics that would surface on bootlegs over the years. Paul decided to use the song to satirise the views of people like right-wing politician Enoch Powell’s views on immigration.
While ‘Don’t dig no Pakistanis taking all the people’s jobs’ may fit the tune of Get Back perfectly, the Beatles were wise in scrapping this approach. It’s likely not everybody would have got where they were coming from… It also didn’t help that McCartney would look at Ono whenever he sang ‘Get back to where you once belong’, according to Lennon.
Immigration was clearly on their minds, as they also worked on another right-wing satire at the same time, usually referred to as Commonwealth. Again, it’s a good thing this was dropped, and it was musically inferior to Get Back.
Bootleg recordings dating from 23 January reveal a conversation between McCartney and Harrison inbetween trying to whip their next single into shape. McCartney explains it was supposed to be a protest song, but the group then decide that the third verse, featuring the ‘Pakistani’ line, should be dropped.
Instead, the song evolved from an angry rock song to a softer, bluesy sound, no doubt helped along by the ‘fifth Beatle’, who had joined the group the previous day. Enter Billy Preston, who Harrison had invited to proceedings to try and bring an end to the bickering. He wisely assumed a relative stranger among them would put everyone on their best behaviour and give them a kick up the arse. He was right.
Billy Preston, born on 2 September 1946 in Houston, Texas, had been a child prodigy. Self-taught, he never recieved a single piano lesson. He first met The Beatles aged 16 in 1962, when he was playing in the singer’s backing band at a Liverpool show that the Fab Four opened. When Harrison had left the January rehearsals, he had gone to a Ray Charles gig, in which Preston performed on the organ.
On 27 January, The Beatles and Preston made a concerted effort to finish the song, which now featured a false ending and a coda. Take 11 was picked, but it had come to an abrupt end, so they returned to the studio the next day to work on the ending. When McCartney and Glyn Johns came to turn the performances into a single, they opted to go against the ‘as nature intended’ vibe of the project, and tacked on a coda from 28 January to Take 11. But they were right to do so, and did it so well, you’d never know, really. Unusually, the single features Lennon on lead guitar over Harrison on rhythm, as Lennon stepped up during Harrison’s absence.
Before it had even been released, Get Back had earned its place in Beatles folklore, for it was the last song they ever played together live. After much toing and froing about how the project would end, they finally agreed to be filmed performing on the roof of Apple Studios with Billy Preston. They opened the short concert with two takes, and then closed the set with one last version, featuring ad-libs from McCartney referring to the police ascending to the roof to shut the gig down (available on Anthology 3). The set ended with Lennon’s famous, ironic quote ‘I’d like to say thank you on behalf of the group and ourselves and I hope we’ve passed the audition.’ Phil Spector would add this to the end of the version that made it to Let It Be.
Although it was a wise decision to remove that third verse of Get Back, it does rob the song of any bite it had. Reduced to two verses that don’t really mean anything, it needs to be musically interesting, and it’s not too good at that really. It chugs along pleasantly enough, and Preston’s solo adds some soul to proceedings, but it’s far from their greatest single and none of the actual band get to do anything very exciting.
It’s not a return to The Beatles’ roots either, which was how it was marketed. Get Back is the sound of The Beatles following the curve, rather than being ahead of it. It is in fact, the boogie sound of US blues rockers Canned Heat, with McCartney even stealing the distinctive vocal stylings of Alan Wilson. But before I make it sound like I hate Get Back, I don’t. As a throwaway bit of fun, it’s perfectly fine. The single version does a good job of sounding both rough and ready and polished at the same time, thanks to the reverb added to the mix. It’s superior to the Let It Be version. But it’s clear to see that at this point, The Beatles were struggling to keep the magic going.
Released with Lennon’s Don’t Le Me Down as its B-side (which is better if you ask me), also featuring Preston, Get Back was Paul McCartney’s fourth A-side in a row. It was also the last of their singles to be released in mono.
And what became of Billy Preston? Quite a lot. He worked with the Beatles again, playing uncredited on superior tracks I Want You (She’s So Heavy) and Something. In the same year he signed with Apple Records and released his fourth album, That’s the Way God Planned It. Produced by Harrison, the title track was also a hit.
Following the split of the Beatles in 1970, Preston continued to work with his friend, and became the first person to release a version of Harrison’s solo number 1, My Sweet Lord. He also featured on Harrison’s triple album All Things Must Pass that year. Not only that… remember Stephen Stills’ excellent single Love the One You’re With? That title came from a saying of Preston’s.
In 1971 he left Apple to join A&M Records, and in addition to his own work selling well, he worked on many Rolling Stones albums, including Sticky Fingers and Exile on Main St. and was their primary touring keyboardist from 1973 to 1977. In 1974 he co-wrote and released the first version of You Are So Beautiful, a soul classic later made famous by Joe Cocker.
Preston worked with Motown in the early 80s, then concentrated on session work for artists including Luther Vandross and Whitney Houston. Drug issues curtailed his career but he resurfaced in the 90s, playing with, among others, Eric Clapton, Ringo Starr and the Band.
Following Harrison’s death in 2001, his friend performed three songs at the 2002 Concert for George at the Royal Albert Hall. Also in 2002, Preston played piano on Johnny Cash’s album American IV: The Man Comes Around. Towards the end of his life he appeared on American Idol and worked with Red Hot Chili Peppers and Neil Diamond. His last live performance saw him promote the re-release of the 1972 documentary The Concert for Bangladesh. On his last song on stage he performed Harrison’s Isn’t It a Pity with Harrison’s son Dhani and Starr.
Soon after, Preston suffered pericarditis and fell into a coma. He had been struggling with kidney disease and his drug issues (which many feel stemmed from problems due to being abused as a child and later hiding his sexuality) had returned. He died on 6 June 2006, aged 59.
Written by: John Lennon & Paul McCartney
Producer: George Martin
Weeks at number 1: 6 (23 April-3 June)
Actress Kate Hardie – 26 April Television presenter Tess Daly – 27 April Actor Cy Chadwick – 2 June
Writer Sir Osbert Sitwell – 4 May Civil Engineer Sir Owen Williams -23 May
24 April: British Leyland Motor Corporation launched Britain’s first hatchback car. The Austin Maxi was designed to compete with family saloons like the Ford Cortina. Also that day, the final episode of the long-running BBC Radio drama Mrs Dales Diary was broadcast.
26 April: Manchester City won the FA Cup with a 1-0 win over Leicester City at Wembley.
28 April: Leeds United won the Football league First Division title for the first time.
2 May: The famed ocean liner Queen Elizabeth II embarked on its maiden voyage, from Southampton to New York.
29 May: The release of one of my favourite movies of all time (I’m not even kidding) – Carry On Camping. It became the biggest film at the box office of 1969.