Ghost Town had spent three weeks at number 1, soundtracking the country’s dissent over rising unemployment. What did it take to reunite the country? It took the Royal Wedding of Prince Charles II and Lady Diana Spencer, and the retro rock’n’roll of Shakin’ Stevens, who was at the peak of his fame with Green Door.
Before
Shaky-mania was a very real thing back then. Grandparents and parents loved the Welsh pop star, who had filled in the sizeable gap left by the death of Elvis Presley, boys thought he was cool, and girls swooned.
Stevens’ cover of This Ole House had topped the hit parade in the spring, and so it was a case of striking while the iron was hot. Work began on his fourth album, the imaginatively titled Shaky. Adopting the ‘if it ain’t broke, don’t fix it’ methodology, it featured a mix of self-penned Stevens numbers and covers of 50s rock’n’roll tunes. The first fruits of Shaky to see the light of day was the original track You Drive Me Crazy, which was a strong track and rushed out hot on the heels of This Ole House. It was brand new, but could easily have been mistaken for a 50s or 60s hit. It very nearly became Shaky’s second number 1, but it was kept off the top spot by Stand and Deliver!, by the UK’s other hottest pop star of 1981.
Perhaps sensing that Stevens could repeat the success of his last number 1 by releasing a song the old folks would remember from their youth, Philips Records released his cover of Green Door.
Green Door had been written by US orchestra leader Bob ‘Hutch’ Davie, with lyrics by Marvin J Moore, in 1956. The original version was recorded by Jim Lowe, a singer-songwriter and radio presenter. The green door in question refers to the entrance to a private club, that Lowe is desperate to enter. He can hear laughter, an old piano which is being played ‘hot’, and can see smoke coming through the keyhole. Lowe’s recording, which became number 1 in the US and eight in the UK, is an interesting production, on which Davie played piano, that he sped up to give it a honky tonk sound.
In the UK, Lowe’s version was eclipsed by Frankie Vaughan’s, which reached number two. Vaughan, known as ‘Mr Moonlight’, was hugely popular in the UK, and in time he would have two number 1s. However, Lowe’s version is the superior one.
Review
I don’t know if it’s age or nostalgia, but here I am bigging up Shaky, whose version of Green Door is better than Lowe’s and Laine’s. It is very similar to the latter, but where normally I’d prefer an authentic primitive 50s production over a glossy 80s take, that isn’t the case here.
Producer Stuart Colman gives it sheen but also some oomph. It’s catchy as hell and to be fair, the country must have been ready for a party after all the civil unrest that had been going down that summer. And yet, it’s only a few months since I reviewed This Ole House, and I marked that down considerably, despite both singles being very, very similar. Perhaps Stevens caught me on a good day, this time.
Or perhaps it was the silliness of the video that made me warm to Green Door. Shaky’s videos are always good for an easy laugh, and this is no exception. Just like This Ole House, the director is taking things very literally (possibly the same director?). Stevens jumps around in front of some, yes, green doors in much the same way he jumped off the old house (yes, really). There are repeated shots of an eye looking through a keyhole, a piano… you get the message. Then he finally gets inside the club and gets the chance to do some Elvis-style gyrations on the piano. It’s ridiculous, but in a good way, and I can totally see why he must have seemed so cool to me as a little lad.
After
After spending nearly all of August 1981 at the top of the singles chart, the parent album Shaky was released, and went on to be his most successful LP ever, also reaching number 1. It’s Raining, also from the album, peaked at 10, but he would soon be back at pole position.
The Outro
Green Door is obviously squeaky clean and upbeat. But it also took on a more sinister meaning for me, thanks to its reworking for a 1976 public information film, that continued to be shown well into the 80s. Looking at it now, it’s really not scary, but it did its job when I was a boy, as after seeing it I’d be too scared to answer the door to anyone. Cheers, Central Office of Information!
The Info
Written by
Bob Davie & Marvin J Moore
Producer
Stuart Colman
Weeks at number 1
4 (1-28 August)
Trivia
Births
8 August: S Club 7 singer Bradley McIntosh 11 August: Scottish singer-songwriter Sandi Thom 17 August: Conservative Party MP Johnny Mercer/Actor Chris New 20 August: Ben Barnes 27 August: Comedian Olivia Lee 28 August: Scottish Labour Party leader Kezia Dugdale
Deaths
5 August: Poet Molly Holden/Clarinettist Reginald Kell 9 August: Landowner Ralph Bankes 10 August: Civil servant Sir Alan Lascelles/Anglican clergyman James Parkes 12 August: Royal Navy captain Howard Bone 15 August: Lawyer Sir Humphrey Waldock 16 August: Cinematographer Denys Coop 18 August: Second World War pilot Athol Forbes 19 August: Actress Jessie Matthews 21 August: Journalist JRL Anderson 22 August: First World War nurse Mairi Chisholm 24 August: Physician Margery Blackie 26 August: Television producer Peter Eckersley 28 August: Record producer Guy Stevens
Meanwhile…
1 August: Kevin Lynch became the seventh IRA hunger striker to die.
2 August: Less than 24 hours later, Kevin Lynch became the eighth.
8 August: Thomas McElwee became the ninth.
9 August: Broadmoor Hospital is criticised when double murderer Alan Reeve became the second prisoner to escape there in three weeks.
17 August: An inquiry opened for the Moss Side riots.
20 August: Michael Devine was the 10th IRA hunger striker to die in prison. Also on this day, Minimum Lending Rate ceased to be set by the Bank of England.
25 August: Britain’s largest Enterprise Zone was launched in Tyneside.
27 August: 31-year-old Moira Stuart was appointed to be the first black newsreader on the BBC.
Few number 1s have captured the zeitgeist like The Specials’ Ghost Town. This classic state of the nation address was released and climbed the charts amidst mass rioting that had spread to most cities in the UK. Prime Minister Margaret Thatcher’s politics had resulted in rising unemployment and disaffected youth. Ghost Town was one of the finest chart-toppers of the decade and spoke volumes to Thatcher’s Britain.
Before
Following the success of their number 1 EP, Too Much Too Young – The Special A.K.A. Live!, The Specials hunkered down to record their second album, More Specials. However, it wasn’t a happy experience, as Jerry Dammers became the 2-Tone band’s leader and producer, and added Muzak sounds to the mix of pop, ska and reggae. This didn’t go down well with guitarist Roddy Radiation, who wanted to steer the group in a rockabilly direction. Singer Terry Hall also began contributing his own material. In the meantime, they released hit double A-side single Rat Race/Rude Buoys Outa Jail, which peaked at five.
More Specials was released in September 1980, and the first single, Stereotypes, reached six. The follow-up, Do Nothing/Maggie’s Farm, was their most successful single to date, reaching four.
However, the accompanying tour was fraught with the growing tensions within the band, as well as audience violence. As The Specials drove around the country, Dammers was haunted by the effects of recession. Shops were closing, unemployment was spiralling, and people were starting to riot in protest. Using ‘weird diminished chords’, as he said in a 2011 interview for The Independent, Dammers began to put his thoughts into music, working on a tune that conveyed ‘impending doom’, matched to sparse lyrics.
In March 1981, Dammers asked reggae writer and producer John Collins to produce Ghost Town, opting for a small 8-track in a house that had been recommended by bassist Horace Panter. The Specials had recorded their last album in a large 24-track professional space, with room for the whole band to play live. For Ghost Town, Collins built the song out of asking each member to perform their piece, one at a time. This didn’t help improve the general mood within the band, who recorded the three-track single over 10 days that April. Dammers, who had spent a year meticulously working out the song, stormed out of the sessions more than once. Radiation kicked a hole in the studio door, singer Neville Staple refused to do what Dammers wanted, and rhythm guitarist/vocalist Lynval Golding ran into the studio insisting the recording was going wrong.
Collins liked the idea of Ghost Town sounding like an authentic roots reggae song, and brought the Sly and Robbie-produced What a Feeling by Gregory Isaacs to the studio for drummer John Bradbury for inspiration. Collins also suggested the Hammond organ rhythm played by Dammers throughout. The shortage of tracks available to record on added to the old-school recording techniques used by Collins, who recorded every instrument in mono, then added stereo reverb over the top. The backing track was almost finished when Dammers insisted on adding a flute, played by Paul Heskett from the band King, which led to a very nervous Collins in danger of accidentally wiping the brass section (Dick Cuthell and Rico Rodriguez) from the entire recording.
Collins took the tracks away and mixed at his home for three weeks. Hall, Staple, Golding and Dammers, who had performed backing vocals, all visited Collins at various points at this time to add further vocals. All that was left was for the producer to add the synthesiser that created the ghostly whistle at the start and end of the song.
Review
Pop, art and politics combine to spellbinding effect on Ghost Town. As a song, it’s unique. As a number 1, it’s incredible. Although written in response to riots in Bristol and Brixton in 1980, it landed at number 1 the day after rioting in cities across the country. Yes, chart-toppers had summed up the public mood in song before – A Whiter Shade of Pale, for example. But that was a blissful psychedelic record in keeping with the Summer of Love. Ghost Town was the polar opposite. The only comparison at the top of the hit parade would be God Save the Queen, if you were to be controversial.
The lyrics to Ghost Town are blunt and concise. Thatcher is never mentioned, but the results of her politics are laid bare. It was six years before the Prime Minister famously said ‘There’s no such thing as society’. However, pre-Falkland War, she was immensely unpopular for plunging the country into recession, with unemployment figures reaching new highs – a 70% rise in two years. ‘All the clubs are being closed down’ was a direct reference to the Locarno in Coventry, which was often frequented by Staple and Golding. The ‘Too much fighting on the dancefloor’ was a sadly familiar sight to The Specials, whose music was popular with skinheads. Despite the 2 Tone act’s admirable attempts to urge their fans to embrace unity, race was a sadly inevitable issue in a divided Britain.
The verses are so on the ball, the chorus needs no words. The wailing that is in its place is at once scary, horrible, ridiculous and histrionic. And the brief blast of nostalgia to the good old days ‘before the Ghost Town’ is a great piece of music in itself, timed perfectly so you long for more before we’re all too quickly returned to 1981. Dammers has later claimed that it was obvious to him that Hall, Staple and Golding were planning to leave the group, and that Ghost Town is also referring to the current mood within the band. Which makes the upbeat section sounding so much like classic Specials that much sadder. The rest of the band weren’t keen on Dammers’ experiments with muzak, but it’s used to great, unsettling effect on Ghost Town – not sure I’ve heard muzakal reggae before or since. So great is this track, it makes it hard to sympathise with the rest of the band. Dammers’ ego may have taken over, but how could you argue against his genius vision here?
The video to Ghost Town is an early classic of the medium. Graphic designer Barney Bubbles filmed Panter driving the band around the deserted streets of London in a Vauxhall Cresta, which was achieved by filming in the early hours of a Sunday morning. The shots of the band miming along were enabled by a camera attached to the bonnet via a rubber sucker – which you can see fall off at 1:18. The eerily lit shots of the band at night deeply unnerved me as a child, as did Staple’s demeanour. Though now I’m older, his pointed interjections of ‘Why must the youth fight against themselves?/Government leaving the youth on the shelf’ are the soul of the song.
After
The inevitable split happened very quick. Hall, Staple and Golding announced to Dammers at their triumphant Top of the Pops appearance after reaching number 1. Soon after they formed Fun Boy Three, who became best known for their excellent collaborative covers of It Ain’t What You Do (It’s the Way That You Do It) and Really Saying Something with Bananarama in 1982.
The Specials reverted to their previous name, The Special AKA, with a revolving line-up. Their first post-Ghost Town release in 1982 couldn’t have been more different. The Boiler, credited to Rhoda with The Special AKA, was a disturbing new wave tale of date rape that only reached 35. The next single, Jungle Music, was credited to Rico and The Special AKA, and failed to chart. Neither did War Crimes or Racist Friend, their first release of 1983.
However, their 1984 LP In the Studio, featured the number nine anti-apartheid carnivalesque track Free Nelson Mandela, which was their last charting single. Following the release of What I Like Most About You IsYour Girlfriend, Dammers announced The Special AKA was disbanding.
In 1993, producer Roger Lomas was asked by Trojan Records to find a new group to back ska superstar Desmond Dekker. Lomas approached everyone from The Specials, and Radiation, Staple, Golding and Panter took up the offer. With the addition of various session musicians, the album King of Kings was credited to Desmond Dekker and The Specials. Buoyed by the experience, this version of the band went on to record two LPs, Today’s Specials in 1996 and Guilty ’til Proved Innocent! in 1998. Two more albums, Skinhead Girl (2000) and Conquering Ruler (2001) followed, but minus Golding.
In 2007, Hall and Golding teamed up for the first time since Fun Boy Three split up in 1983, to perform Specials songs with Lily Allen and Damon Albarn at the Glastonbury Festival. The following year, Hall and Golding were joined by Staple, Panter, Radiation and Bradbury to perform at Bestival, and announced they were to tour the following year to celebrate the group’s 30th anniversary. This made many a rude boy happy, but not Dammers, who was quoted saying Hall and co’s actions amounted to a takeover. In 2012 The Specials performed at the Olympic Games closing ceremony in London.
2013 saw the departure of Staple, and Radiation left the following year, to be replaced on guitar by Ocean Colour Scene’s Steve Cradock. In 2015, Bradbury died, aged 62. He was briefly replaced for live dates by Gary Powell of The Libertines, before PJ Harvey’s drummer Kenrick Rowe took over.
In 2019, Hall, Golding and Panter were joined by Cradock and Rowe and session musicians to record Encore, the first Specials release to feature Hall since Ghost Town and their first chart-topping album since 1980. Buoyed by its success, one final album, Protest Songs 1924-2012 was released in 2021.
Another album was planned, but the comeback was derailed permanently by the shock death of Hall due to pancreatic cancer in 2022. Soon after, Panter confirmed there was no point continuing without their much-loved vocalist and songwriter.
The Outro
The Specials were one of a kind. In their original incarnation, they combined pop, ska, reggae and political commentary better than the rest. Their fanbase were and are rightly devoted to them. Their live shows were legendary, and they released some of the most exciting and interesting material of the early 80s.
It’s a shame egos and differences in direction broke up that first line-up, but some acts only burn brightly for a while. Dammers may have been too weird for the group to have continued scoring mainstream pop success, but Ghost Town was mostly his doing, and what an amazing feat to accomplish. With its righteous anger, it’s one of the best pop singles of all time, let alone one of the best number 1s of the 80s. If your only issue with this 7-inch is that it doesn’t go on long enough, check out the extended version.
10 years after its initial release, Ghost Town Revisited packaged the original mix with Ghost Dub ’91, credited to Special Productions. It’s superfluous.
The Info
Written by
Jerry Dammers
Producer
John Collins
Weeks at number 1
3 (11-31 July)
Trivia
Births
14 July: Singer Lee Mead
Deaths
11 July: Liberal Party politician John Beeching Frankenburg 17 July: Footballer Sam Bartram 23 July: Welsh Labour Party MP Goronwy Roberts, Baron Goronwy-Roberts 25 July: Journalist Alice Head
Meanwhile…
11 July: More rioting – this time in Bradford, West Yorkshire.
13 July: Martin Hurson is the sixth prisoner to die in the IRA hunger strike. Also on this day, Prime Minister Margaret Thatcher announces police can use rubber bullets, water cannons and armoured vehicles on rioters.
15 July: Police battle black youths in Brixton after police raid properties in search of petrol bombs, which are never found.
16 July: Labour narrowly hold on to the Warrington seat in a by-election, fighting off former member Roy Jenkins, now with the new SDP.
17 July: The Humber Bridge is officially opened by Queen Elizabeth II. At the time, it was the longest suspension bridge in the world, and my Dad helped supply the cement that built it.
20 July: Secretary of State for the Environment Michael Heseltine tours recession-hit Merseyside to examine the area’s problems.
27 July: The British Telecommunications Act separates British Telecom from the Royal Mail, with effect from 1 October. Also on this day, the two-month-old daughter of Princess Anne and Captain Mark Phillips is christened Zara Anne Elizabeth.
28 July: Margaret Thatcher blames IRA leaders for the hunger strike deaths.
29 July: The ‘fairytale’ wedding of Prince Charles II and Lady Diana Spencer takes place at St Paul’s Cathedral. More than 30 million view the event on television, making it the second highest TV audience of all time.
One of the most enduring pop images of the early 80s is the skirt-ripping routine of 1981 Eurovision Song Contest winners Bucks Fizz. This is the story of how their entry, Making Your Mind Up, brought about their creation and became their first of three number 1 singles.
Before
Allegedly, songwriter Andy Hill wrote Making Your Mind Up in 1980 with a view to entering it in the UK’s Eurovision qualifying contest, A Song for Europe. Hill’s girlfriend, singer Nichola Martin, suggested Hill team up with a musician called John Danter, who she could sign up to her publishing company, which would enable her to own half the rights to the song, as Hill was signed elsewhere. Hill had been a member of Rags, a group who failed to win the 1977 A Song for Europe.
That October, Hill and Martin recorded a demo with the singer Mike Nolan, who had worked with the latter before. Nolan had been in the boyband Brooks, who were put together by Freya Miller, who became Shakin’ Stevens‘ manager. Another original member of Brooks was Chris Hamill, later known as Limahl.
Two months after the demo was recorded, Making Your Mind Up was selected out of 591 submitted entries to be one of the eight finalists. Martin had decided to name the performer as ‘Buck’s Fizz’, in honour of her favourite drink, so when she discovered the song had been picked, she needed to act fast and create a group featuring Nolan.
In January 1981, Martin contacted Cheryl Baker, who she remembered from the 1978 Eurovision group Co-Co. Baker had previously been in the band Bressingham Spire, which also featured the soon-to-be Radio 1 DJ Mike Read. Worried that Baker, disillusioned after Co-Co’s loss, may say no, Martin also auditioned for another female vocalist, plus a second male singer. The winners were Jay Aston and Stephen Fischer. When Baker agreed to take part, Martin decided to keep Aston anyway, as her vocal complemented Baker’s well. Aston had trained to be a dancer and actress, as well as a singer, and had taken part in the 1978 Miss England contest, where the act during the interval had been Co-Co.
Fischer threw a spanner in the works when it turned out he was contracted to appear in the musical Godspell, so he was out. A year later Fischer was the male member of the duo Bardo, who came seventh in Eurovision with the song One Step Further (a number two hit).
Martin found a replacement in Bobby G, a singer/guitarist/actor who had impressed in previous editions. On 11 January 1981, Bucks Fizz (what happened to the apostrophe?) met for the first time and Jill Shirley, who had been in Rags with Martin, agreed to be their manager. This meant Martin and Hill could now concentrate on their own entry for A Song for Europe, Have You Ever Been in Love?.
During rehearsals for Making Your Mind Up, the attention-grabbing skirt ripping routine during the lyric ‘see some more’ was hit upon. But by who, remains a mystery. It could have been routine choreographer Chrissie Wickham, formerly of Hot Gossip, who spent two days with the group. Martin, Baker and Aston have all laid claim to the concept too. I’d personally go with Martin, as the Top of the Pops performance that Rags made in 1977 when promoting Promises Promises has something rather similar as they remove their, er, rags.
Martin and Shirley scored a recording deal for Bucks Fizz with RCA Records, and Hill went with the group to record Making Your Mind Up at Mayfair Studios in London. The record, featuring Alan Carvell on backing vocals, was done and dusted in a week.
Review
I have a lot of time for Making Your Mind Up and I feel no shame. It’s pure cheese of course, but it’s so bloody charming and fun. The lyrics are mostly nonsensical – aren’t most Eurovision entries? But, there is some meaning in there – it seems to be about someone playing the field that might have found someone to stick with, but they need to stop being indecisive.
Not that the words really matter when you have a tune like this on your hands. Making Your Mind Up is so sugary sweet, it was always going to go down well at home, and abroad – and the latter is helped by what sounds like an accordion in the latter half.
This is one of those songs that defies analysis, really. It’s pure pop and if you can’t enjoy it, you may be dead inside. It’s leagues ahead of the other UK winners before this point, and I prefer it to Waterloo, too. And Bucks Fizz were the perfect vehicle to promote this song. You’ve got the Ken dolls, Nolan and G, for the girls, Baker has mumsy appeal for the mums and grans, and Aston was very popular with the dads – as was the skirt-ripping when they sing ‘If you wanna see some more’ the last time.
That routine of course featured in the official video for Making Your Mind Up, which starts with the group cheekily waving their arses for an adoring crowd before breaking into song and dance. There’s no bells or whistles here – it’s for all intents and purposes a Top of the Pops or Eurovision performance, really.
After
On 11 March, Bucks Fizz won A Song for Europe, beating even Liquid Gold, a popular act at the time. A Top of the Pops performance followed, which helped the single enter the charts at 24, before soaring to five a week later.
Eurovision was held at the RDS Simmonscourt in Dublin on 4 April 1981. Bucks Fizz performed 14th that evening, and despite a rather off-key performance (which may or may not have been down to nerves or a mic mix-up), they became the fourth winners from the UK, after Sandie Shaw, Lulu and Brotherhood of Man. Two weeks later, Making Your Mind Up became the third UK winner to then become number 1. The record eventually sold four million worldwide, and Bucks Fizz were one of the hottest groups of 1981.
The Outro
In 2013, BBC Radio 2 listeners voted Bucks Fizz’s debut the best Eurovision entry of all time. The skirt-rip routine was spoofed endlessly, has appeared in numerous Eurovision entries since 1981, and was even copied by Mick Jagger and Tina Turner at Live Aid in 1985.
The Info
Written by
Andy Hill & John Danter
Producer
Andy Hill
Weeks at number 1
3 (18 April-8 May)
Trivia
Births
23 April: Actress Gemma Whelan 25 April: Paralympian sprinter John McFall 3 May: Charlie Brooks 5 May: Singer Craig David
Deaths
19 April: Labour Party MP Colin Jackson 21 April: Antiques caretaker Dorothy Eady/Pianist Ivor Newton/Electrical engineer Lesley Souter 22 April: Liberal Party politician Philip Rea, 2nd Baron Rea 23 April: Olympic rower Sir James Angus Gillan 24 April: Mathematician JCP Miller 25 April: Indologist Isaline Blew Horner 26 April: Robert Garioch 28 April: T Rex bassist Steve Currie/Educationalist Marjorie Rackstraw/Businessman Bernard Mason 1 May: Actor Barry Jones 2 May: Unionist politician Joseph Foster 4 May: Zoologist Alan William Greenwood 5 May: IRA member Bobby Sands (see ‘Meanwhile…‘) 6 May: Film director Gordon Parry
Meanwhile…
20 April: Steve Davis, 23, wins the World Snooker Championship for the first time. Also on this day, skirmishes break out in Finsbury Park, Forest Green and Ealing in London. 100 people are arrested and 15 police officers are injured.
23 April: Unemployment passes the 2,500,000 mark.
29 April: Peter Sutcfliffe admits to the manslaughter of 13 women, on the grounds of diminished responsibility.
5 May: 27-year-old republican and Provisional IRA member Bobby Sands died following his hunger strike in Northern Ireland’s Maze Prison, one month after becoming MP for Fermanagh and South Tyrone. Also on this day, Peter Sutcliffe’s trial begins at the Old Bailey in London.
7 May: Labour’s Ken Livingstone becomes leader of the Greater London Council.
The UK’s bestselling artist of the 80s was Welsh singer Shakin’ Stevens. Hard to believe, several decades later. But with Elvis Presley gone, there was a gap in the market for old-school, good-time 50s rock’n’roll with an 80s sheen. The first of Shaky’s three chart-toppers had been a number 1 for Rosemary Clooney back in 1954.
Before
Stevens was born Michael Barratt in Ely, Cardiff on 4 March 1948. The youngest of 11 children, Barratt was a teenager in the mid-60s when he formed his first band The Olympics, who soon changed their name to The Cossacks, and quickly changed again to The Denims.
Barratt became associated with the Young Communist League – although he later said this was only because the person who booked their gigs was also in the YCL, who held a lot of sway back then through association with leading stars such as Pete Townshend.
By 1968, Barratt was an upholsterer and milkman during the week, and a would-be pop star at the weekend, performing in clubs and pubs around South Wales. He had long admired retro Penarth-based band The Backbeats, occasionally featuring as their guest vocalist. That year he became their full-time singer. When local impresario Paul ‘Legs’ Barrett saw them perform, he suggested a repackage of the group. With his old school friend Steven Vanderwalker in mind, Barratt and co became Shakin’ Stevens and the Sunsets.
The future looked bright, at first. Shakin’ Stevens and the Sunsets signed to Parlophone Records in 1970 and released their first album, A Legend, produced by Dave Edmunds. However, the group spent the vast majority of the 70s touring Europe to minor success, and achieved next to nothing in the UK.
In 1977, producer Jack Good (the man behind early TV music series Six-Five Special) was working on Elvis!, a musical based on the life and recent death of ‘the King’. Good wanted three men to play Presley in different stages of his life, and he chose Tim Whitnall as young Elvis, Stevens as prime Presley, and PJ Proby for the Las Vegas era.
Elvis! was only planned to run for six months, so The Sunsets waited for Stevens to return. But the musical was a hit and ran for a further two years. Stevens released an eponymous LP in 1978 with Track Records, and appeared on Good’s revival of his TV show Oh Boy! and Let’s Rock.
In late-1979, Freya Miller became his new manager, and she told him to ditch The Sunsets. She was right, as he signed with Epic Records and released Take One!. The first single to be released was a cover of Buck Owens’ Hot Dog, and it became his first hit, reaching 24. Stevens, together with new producer Stuart Colman, never looked back. Which is ironic as his music was constantly doing just that.
His second album Marie, Marie, was released in October 1980. The title track, an old song by The Blasters, broke the top 20, peaking at 19. But the next single, Shooting Gallery, couldn’t crack the top 40. It took Stevens’ take on NRBQ’s 1979 arrangement of a former UK number 1 to really catapult Stevens to the big time.
This Ole House is – I believe – the first instance of a number 1 by two different artists in two different decades. In Every UK Number 1: The 50s, I wrote about its creation:
‘Stuart Hamblen was an alcoholic, gambling-addicted singer-songwriter and radio personality. He was constantly getting into scrapes and being bailed out, thanks to his charm. In 1949, he decided to take a different path, converting to Christianity after attending one of Billy Graham’s rallies. He was fired from his radio show for refusing to do beer commercials, and then he gave up his vices.
While out hunting with a friend one day, he came across an abandoned shack on a mountain. Upon inspection, they found a dog guarding a dead body. Allegedly, he came up with the lyrics while riding back down the mountain. So the “ole house” in question is in fact the body you leave behind when you die.’
Actress and singer Rosemary Clooney took This Ole House for a week on 26 November 1954, around the time of the release of White Christmas, in which she starred alongside Bing Crosby and Danny Kaye.
Review
I gave Clooney’s recording of this song – featuring Thurl Ravenscroft, voice of Tony the Tiger, a thumbs up, and I stand by it. It’s one of the best pre-rock’n’roll chart-toppers, and one of the rare number 1s of those first few years you can genuinely enjoy.
I also commented on my thoughts on Shaky in that review:
‘It never occurred to me that This Ole House could be about anything other than house renovation. To me, and probably most children of the late-70s and early 80s, it conjures up happy memories of Shakin’ Stevens hanging around an old building in the video of his 1981 cover version. What with this, his cover of Green Door, and his love of denim, I think I assumed “Shaky” was some sort of singing builder as a child’.
Returning to this song, and video, all these years later, nothing has changed. Stevens’ version is serviceable enough, and sums up his appeal. It’s nostalgic but removes the grit and grime of earlier versions, making it swing more but in a very early 80s way that adds nothing exciting or original.
Although it’s hard to be overly critical of Stevens for nostalgic reasons (something that’s going to be a potential problem with lots of 80s chart-toppers for me), one listen to the NRBQ version (This OldHouse) lowers my opinion more. They’re almost exactly the same, apart from the lead vocal by their singer Terry Adams –which is arguably better than Stevens’ rendition. It’s music for grandparents and children, not a 45-year-old music snob.
After
Such was the success of Stevens’ This Ole House, his LP Marie, Marie was retitled to share its name. Many more hits followed, and his second number 1, Green Door, wasn’t far away.
The Outro
In 2005, Stevens, fresh off the back of an appearance on ITV’s Hit Me Baby One More Time, re-released This Ole House along with a cover of P!nk’s Trouble. The double A-side reached 20.
The Info
Written by
Stuart Hamblen
Producer
Rock Masters Productions
Weeks at number 1
3 (28 March-17 April)
Trivia
Births
1 April: S Club 7 singer Hannah Spearritt 10 April: Atomic Kitten singer Liz McClarnon
Deaths
28 March: Cartoonist Bernard Hollowood/Artist Helen Adelaide Lamb 29 March: Racing driver David Prophet 30 March: Olympian athlete Douglas Lowe 31 March: Playwright Enid Bagnold 1 April: Writer Dennis Feltham Jones 3 April: Labour Party MP Will Owen 4 April: Journalist Donald Tyerman 7 April: Ice hockey player Lorne Carr-Harris/Music producer Kit Lambert 8 April: Film composer Eric Rogers 13 April: Actor Albert Burdon/Novelist Gwyn Thomas 14 April: Composer Christian Darnton 15 April: Actor Blake Butler 16 April: Political activist Peggy Duff/Cricketer Eric Hollies 17 April: Palaeontologist Francis Rex Parrington
Meanwhile…
28 March: Controversial Ulster Unionist Enoch Powell warned of racial civil war.
29 March: The first London Marathon was held.
30 March: The Academy Award-winning historical sporting drama Chariots of Fire was released.
4 April: Bucks Fizz became the fourth UK act to win the Eurovision Song Contest, with future number 1 Making Your Mind Up. Also on this day, Oxford University student Susan Brown became the first female cox in a winning Boat Race team. And cancer survivor Bob Champion won the Grand National with his horse Aldaniti.
5 April: The UK Census was conducted.
10 April: IRA member Bobby Sands, on hunger strike in Northern Ireland’s Maze prison, was elected MP for Fermanagh and South Tyrone in a by election.
11 April: Rioting in Bristol resulted in more than 300 injured people (mostly police officers).
13 April: Home Secretary William Whitelaw announced a public inquiry into the Brixton riot.
John Lennon’s tender ballad Woman was the first single released after his murder, and his third and final solo number 1. This touching tribute to his wife Yoko Ono served as a sequel of sorts to Girl, from The Beatles’ Rubber Soul. Ironically, it was the first time an artist had replaced themselves at number 1 since I Want to Hold Your Hand replaced She Loves You in 1963.
Before
Only three days before he was shot dead, Lennon told Rolling Stone that he was inspired to write Woman ‘one sunny afternoon in Bermuda’. It suddenly hit him how much women are taken for granted, and Lennon – whose relationships with women were certainly complex, right back to his feelings for his mother – decided to pay tribute to Ono. Ironically, considering the blame Ono wrongly got for breaking up his old band, he considered Woman the most Beatles-sounding track on his final album, DoubleFantasy. This track is also the only example of a song title used by both Lennon and Paul McCartney for their own separate songs. McCartney’s Woman, written in 1966 under the pseudonym Bernard Webb, was recorded by folk duo Peter and Gordon.
Lennon’s Woman was recorded at sessions on 5 and 27 August, and 8 and 22 September 1980. In addition to lead vocal, he also played an acoustic guitar. Joining him were Earl Slick and Hugh McCracken on guitar, Tony Levin on bass, George Small on piano and synthesiser, Andy Newmark on drums, Arthur Jenkins on percussion, and Michelle Simpson, Ritchie Family members Cassandra Wooten and Cheryl Mason Jacks, and Eric Troyer on backing vocals.
Review
Woman was the highlight of Double Fantasy. The LP is often guilty of being too slick, but the glossy production works in favour of this track, rather than against it. Although Lennon considered it a sequel to Girl, it’s lyrically similar to Jealous Guy. He’s directly apologising to Ono again for past behaviour (perhaps the ‘Lost Weekend’?), but also paying tribute to all women. It would be nice to think, after the stories of his sometimes violent history with women, that this was Lennon at his most honest and contrite.
Opening with a barely audible ‘For the other half of the sky’, there’s sterling synth work from Small, and warm Beatles-like guitar from Slick and McCracken. Somehow, despite the sheen, the swooning backing vocals, and the lack of decent lyrics in the chorus, it’s lovely and really charming. And inevitably, this single gained huge added poignancy following Lennon’s death. A fitting Valentine’s Day number 1, indeed.
But what was going on with that chorus? ‘Ooooh, well well, do-do-do-do-do’ was surely a placeholder that Lennon and Ono decided to leave in? And they say McCartney missed Lennon’s quality control…
Speaking of quality control, I have to mention the official video to Woman. I’m in genuine shock. Ono edited the video in January, and understandably, she will have been in pieces. However, the video veers from touching, with footage of the couple in Central Park two months previous, to poor taste, including the pic of Lennon and his killer, lifted from a newspaper. But what’s really shocking is the image of Lennon’s side profile from the back of the Imagine album, made to morph into the last ever photo of Lennon – in the morgue. Unbelievably, this remains in the official video on YouTube.
After
Woman was the last solo number 1 for John Lennon. However, the outpouring of emotion after his death resulted in Roxy Music’s cover of Jealous Guy knocking Joe Dolce Music Theatre from the top spot. Inevitably, people moved on from their grief, and the next single, Watching the Wheels, only peaked at 30.
Three years later, Ono was finally able to work on Milk and Honey, which was the couple’s next projected LP. Lennon’s work was inevitably a little rough and ready as it had been tragically left unfinished, but Nobody Told Me – originally meant for Ringo Starr – was a number six hit. The follow-up, Borrowed Time, was his last original charting single, making it to 32.
Reissues of Jealous Guy and Imagine failed to reach the top 40 in the 80s, but in the 90s the legend of The Beatles grew in stature once more, thanks in part to Britpop and a newfound appreciation of 60s guitar groups. This coincided with the Anthology project, where Lennon’s 1977 demo of Free as a Bird, and 1979 home recording of Real Love, were transformed into ‘new’ Beatles recordings, courtesy of the surviving members and producer Jeff Lynne. Amazingly, neither went to number 1.
In 2010 a new ‘Stripped Down’ version of Double Fantasy was released. The aim was to remove some of the studio gloss of the original album, and sometimes this worked well. Not with Woman. Part of this song’s appeal was in the production. The 2010 version, shorn of sheen, simply sounded like a demo, not a remix. However, it’s noteworthy that you can hear Lennon drawing his breath in at the close, seemingly a deliberate nod to Girl.
Thanks to AI sound-limiting technology used in Peter Jackson’s excellent Get Back project, McCartney finally felt he could finish Now and Then, the Lennon demo from around 1977 that had been started for Anthology 3 before Harrison refused to continue. Hearing Lennon’s voice, shorn of rough-and-ready ghostly tape echo a la those Anthology 1 and 2 songs, was a beautiful, spine-chilling moment. In 2023, 54 years after The Ballad of John and Yoko, The Beatles were back at number 1.
The Outro
For many years, Lennon’s many flaws (and to be fair, he was very vocal about his failings in his lifetime) were forgotten and because his life was cut tragically short, he became a bona fide icon. A Godlike figure, who age did not dull. The cool, edgy Beatle – which understandably irked McCartney to a degree.
But Lennon’s stature has fallen somewhat in today’s cancel culture. McCartney is often now considered the cool one, his family focused lifestyle now attracting plaudits where he was once laughed at. Lennon may very well have been a nightmare in the age of social media, and his musical comeback may have soon resulted in bland MOR pop (the signs were certainly there in some of Double Fantasy).
However, the truth is more complex than that. Lennon was a troubled man and also one of the greatest singer-songwriters there has ever been – anyone arguing he is the greatest would have a very good argument. The extent to which he was mourned when he passed, and his influence on the era’s number 1s, is more than justified.
The Info
Written by
John Lennon
Producers
John Lennon, Yoko Ono & Jack Douglas
Weeks at number 1
2 (7-20 February)
Trivia
Births
8 February: Actor Ralf Little 9 February: Actor Tom Hiddleston 10 February: TV presenter Holly Willoughby 17 February: Conservative MP Andrew Stephenson
Deaths
10 February: Civil engineer Sir Hubert Shirley-Smith 12 February: Tennis player Murray Deloford 13 February: Writer Eric Whelpton 17 February: David Garnett 18 February: Comic impressionist Peter Cavanagh 19 February: Actress Olive Gilbert/Conservative MP Leonard Plugge 20 February: Cricketer Brian Sellers
Meanwhile…
9 February: Shirley Williams resigns from Labour’s national executive committee.
12 February: The purchase of The Times and Sunday Times newspapers by Rupert Murdoch from The Thomson Corporation is confirmed. Also on this day, Ian Paisley is suspended from the House of Commons for four days after he calls the Northern Ireland Secretary a liar.
13 February: The National Coal Board announces widespread pit closures.
15 February: For the first time, Football League matches take place on a Sunday.
16 February: Two are jailed in connection with the death of industrialist Thomas Niedermayer who had been kidnapped by the Provisional IRA in 1973.
18 February: The Conservative government withdraws plans to close 23 mines following negotiations with the National Union of Mineworkers. Also on this day, Harold Evans is appointed editor of The Times.
20 February: Peter Sutcliffe is charged with the murder of 13 women.
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.
As the 80s dawned, The Bee Gees knew their second peak couldn’t last forever. But moving into writing and producing for others proved very fruitful. Superstar actress and singer Barbra Streisand initially asked Barry Gibb to write half the album Guilty. He went on to produce the whole LP and Woman in Love became her biggest UK hit.
Before
Barbara Joan Streisand was born on 24 April 1942 in Brooklyn, New York City. Her father died soon after her first birthday, and the Streisands struggled financially, with her mother working as a bookkeeper. She was also a semi-professional singer, but she was initially reluctant when her daughter showed an interest in performing. At the age of nine, Streisand had already failed an audition for MGM. But her mother came round to the idea and she helped her 13-year-old daughter record a demo.
However, Streisand’s main ambition was to be an actress. At 16 she left school and moved out, taking on a number of menial jobs to make ends meet while striving for acting jobs. She became an usher in 1960 and auditioned for The Sound of Music. Although she failed, the director was impressed and urged her to include singing on her resumé. She entered a talent contest at gay nightclub Lion in Greenwich Village and stunned the audience into silence. Returning after winning for several weeks, she decided to change her first name to ‘Barbra’. Determined to make it her way, she refused to contemplate suggestions she have a nose job to improve her chances of mainstream appeal. Her first professional engagement came in September 1960 as support for the comedian Phyllis Diller.
Streisand spent the next few years honing her act and developing her between-song patter. She made her TV debut on The Tonight Show in 1961 and her Broadway debut the following year in the musical comedy I Can Get It for you Wholesale. At the age of 21 she signed with Columbia Records, gaining full creative control, in exchange for less money. A respectable position to take, and just as well, because they wanted her debut LP to be called Sweet and Saucy Streisand. It was eventually released as TheBarbra Streisand Album in 1963.
In 1964 Streisand returned to Broadway for Funny Girl, which became an overnight success. People became her first US charting single, peaking at five, and she even made the cover of Time. Streisand’s UK chart debut came in 1965 with Second Hand Rose, which climbed to 14. In 1968 she won her first Academy Award, for Best Actress, after starring in the cinema version of Funny Girl.
The British Invasion dented Streisand’s mainstream musical appeal, like many stars of her ilk. But during the 70s her fortunes improved, with a return to the singles chart in 1970 with Stoney End – six in the US, 27 in the UK. One of her signature tunes, the haunting The Way We Were from the film of the same name, became her first Billboard number 1 in 1973, yet strangely it only climbed to 31 in the UK. Her role alongside Kris Kristofferson in the 1976 remake of A Star Is Born was huge, and Evergreen (Love Theme from ‘A Star Is Born’) was her second US chart-topper, soaring to three over here. She also won an Oscar for Best Song for Evergreen.
Her version of Neil Diamond’s You Don’t Bring Me Flowers was so popular, an unofficial duet was achieved by splicing Streisand and Diamond’s recordings. When an official duet was released in December 1978, Streisand achieved her third Billboard number 1. A year later, another duet saw her cross over successfully into disco. No More Tears (Enough Is Enough) teamed Streisand with Donna Summer and was co-produced by the genius Giorgio Moroder. Back at the peak of Billboard for the fourth time, it peaked at three in the UK. Streisand was named the most successful US female singer of the 70s.
Between February 1979 and March 1980, Streisand worked on her 22nd album, Guilty. She was so impressed with Gibb’s production and songwriting, he contributed to every song, with Robin co-writing five songs, and Maurice joining them for the title track. Production was credited to Gibb-Galuten-Richardson, which saw Barry team up with producer Albhy Galuten and sound engineer Karl Richardson, who produced Bee Gees number 1s Night Feverand Tragedy. Barry and Robin co-wrote lead single, Woman in Love, and Barry was credited with acoustic guitar and arrangement.
Review
You can always tell when a song has been written by the Gibb brothers, even if they don’t record it. Their marks are all over it – all you have to do is imagine the vocals made a lot higher. This rule works here. Unfortunately, that’s about the most interesting thing I can say about Woman in Love. It’s a very pedestrian love song masked in glossy production. I don’t understand why it was so popular, other than that perhaps it was due to Streisand’s stock being so high on the back of her role in A Star Is Born (the video is simply a compilation of scenes from the film) and her duet with Summer. There’s no amazing vocal prowess on display, the lyrics are unremarkable and the tune is lacklustre. Certainly one of the lesser number 1s of 1980.
After
Nonetheless, Woman in Love was a smash hit around the world, topping the charts in the US, Australia, Spain – pretty much everywhere, in fact. The parent album Guilty was also huge, despite no further real success in the UK singles chart (the title track only made it to 34). It would be four years before her next studio LP, Emotion. In 1985, despite objections from Columbia, Streisand returned to her roots with TheBroadway Album. Three years later, Streisand was in the UK top 20 for the first time since Woman in Love, with the title track to Till I Loved You – a duet with Miami Vice star Don Johnson, which peaked at 16.
The 90s started very well for Streisand. She directed, co-produced and starred in the romantic drama The Prince of Tides (1991). Places That Belong to You, from the soundtrack, saw her back in the singles chart at 17. In 1993 she announced her return to live public concerts for the first time in 27 years. At the time, she was the highest-paid concert performer ever and won five Emmy Awards. She left the limelight again for a few years, but made a triumphant return in 1996, producing, directing and starring in another romantic comedy – The Mirror Has Two Faces. From the soundtrack came the number 10 hit duet IFinally Found Someone, with Bryan Adams. Then, a year later, a duet with Celine Dion – Tell Him, soared to number three. It is to date her last top 10 single.
The new millennium began with sad news for Streisand’s fans, as she announced she was to retire from public performances. But she did return to the movie world, starring in 2004 comedy Meet the Fockers. Album releases continued, including Guilty Too, a second collaboration with Gibb, in 2005. A year later, aged 64, she announced she was to tour once more, and became one of the highest-grossing performers in the world yet again. Amazingly it took until 2009 for Streisand to make her performance debut on British TV, when she appeared on Friday Night with Jonathan Ross.
In 2014, Streisand released Partners, an album featuring duets with Lionel Richie, Billy Joel and, from beyond the grave, Elvis Presley. Her last album to date was Walls in 2018, the title of which was a reference to the singer’s condemnation of President Donald Trump’s policies.
The Outro
Streisand has been a hugely successful singer, actress, director, producer over six decades. However, when it comes to pop music, there’s not a lot to recommend, other than No More Tears (Enough Is Enough). And that’s most likely down to Summer and Moroder.
The Info
Written by
Barry Gibb & Robin Gibb
Producers
Barry Gibb, Albhy Galuten & Karl Richardson
Weeks at number 1
3 (25 October-14 November)
Trivia
Births
26 October: Scottish actor Khalid Abdalla 28 October: Footballer Alan Smith 12 November: Rugby union player Charlie Hodgson
Deaths
26 October: Northern Irish playwright Sam Cree 27 October: T Rex singer-songwriter Steve Peregrin Took 29 October: Actress Ouida MacDermott 30 October: Actor Guy Bellis 3 November: Actor Dennis Burgess/Horticulturalist David Lowe 4 November: Radio broadcaster Paul Kaye/Boxer Johnny Owen 6 November: Literary scholar Nevill Coghill 7 November: Theatre director Norman Marshall 8 November: Scottish painter Gordon Robert Archibald/Astrophysicist Valerie Myerscough/Film producer Julian Wintle 9 November: Social researcher Pearl Jephcott 10 November: Journalist Patrick Campbell, 3rd Baron Glenavy/Painter James Priddey 11 November: Suffragette Connie Lewcock 12 November: John Chetwynd-Talbot, 21st Earl of Shrewsbury 14 November: Dance critic Arnold Haskell
Meanwhile…
28 October: Prime Minister Margaret Thatcher declares her government will not back down to seven jailed IRA terrorists on hunger strike in the Maze Prison, who are hoping to gain prisoner of war status.
5 November: The Yorkshire Ripper is suspected responsible when 16-year-old Huddersfield mother Theresa Sykes is wounded in a hammer attack.
10 November: Michael Foot, the left-wing Deputy Leader of the Labour Party, is elected as their new Leader.
13 November: Security guard George Smith is shot dead when the van he guards is intercepted by armed robbers in Willenhall, West Midlands.
Remember this guy? Once a mainstay of this blog, the ‘Peter Pan of Pop’ hadn’t topped the charts since Congratulations won Eurovision in 1968. 11 years later, Cliff Richard’s comeback, which began with Devil Woman, was complete with this 10th number 1.
Before
The Shadows, who often acted as Richard’s backing band, with who he shared many hits and number 1s, decided to split at the end of 1968. Their last single together was Don’t Forget to Catch Me, which reached 21. Despite being unfashionable, he still had a large enough following to notch up plenty of hits, ending the 60s with two top 10 hits in 1969 – Big Ship (eight) and Throw Down a Line (with Shadows guitarist Hank Marvin), climbing to seven.
The 70s began with Richard fronting his own BBC series, It’s Cliff Richard, which ran from 1970 to 1976 and featured the singer with musical friends including Marvin and Olivia Newton-John. His 50th single, the intriguingly named Goodbye Sam, Hello Samantha, went all the way to six in 1970. Many of Richard’s singles for the first half of the 70s were in line with his Christian beliefs – I’m not going to listen to them all to find out, but I’d put money on Jesus (1972) being a prime example.
Having been considered almost as much an actor as a singer in his peak years of the 60s, Richard gave up his film career after starring in the film Take Me High in 1973. He also had another bash at the Eurovision Song Contest that year. Power to All Our Friends finished third that year. Apparently he was so nervous during the competition he took valium and his manager struggled to wake him. It was at least a big hit, climbing to four and earning him his best chart performance for the next six years.
The next couple of years were lean for the not-very-mean machine. His only single in 1974, (You Keep Me) Hangin’ On did OK (13), but he messed up in 1975 when he chose to cover Conway Twitty’s Honky Tonk Angel. Richard recorded a video, 1,000 singles were pressed up and EMI expected it to perform well, but when Richard discovered ‘honky tonk angel’ was Southern American slang for a prostitute, the whiter-than-white pop star was horrified and insisted it was withdrawn. What on earth would God have made of it? This meant that, for the first time in his career, Richard had gone a calendar year without a chart entry.
However, it was decided that, rather than continue down the purely righteous path Richard seemed hell-bent on, he should be repackaged as a rock singer. At the time this must have seemed laughable, and to be honest I’m struggling to imagine it while typing this. But, good Lord, it worked!
Teaming up with Bruce Welch (another guitarist from the Shadows) on production duties, the nicely titled LP I’m Nearly Famous was an unexpected smash. And not only commercially – guitarists Jimmy Page and Eric Clapton were just two of the rock stars spotted wearing ‘I’m Nearly Famous’ badges in honour of the comeback kid. Although Miss You Nights (15) was a ballad, the follow-up, Devil Woman, is a classic slab of pop-rock, with a hell of a chorus. And listen, that’s Cliff Richard singing a song with ‘devil’ in it! With punk rock rearing its ugly head, a more edgy Cliff Richard was very timely.
The comeback didn’t last long though. The next album, Every Picture Tells a Story, spawned only one hit – My KindaLife (number 15 in 1977). Perhaps feeling he must atone for his sins, Richard then released an album of Christian gospel called SmallCorners in 1978. Neither that or his next pop LP, Green Light, performed well. 1978 was also the year Richard reunited with The Shadows for concerts at the London Palladium, as captured on Thank You Very Much.
Despite appearing on stage with Welch once more, the Shadows guitarist didn’t produce his next album, Rock’n’Roll Juvenile. That honour went to Terry Britten, who had worked with Richard many times in the past. Recording sessions began back in July 1978 but vocals weren’t begun until January 1979.
We Don’t Talk Anymore was recorded in one day, five months later. For some reason, Welch received production credit for Richard’s 10th number 1. It was written and arranged by Alan Tarney, a new collaborator, who also played guitar, keyboards, synthesiser and bass on the track, as well as performing backing vocals. On drums was his former bandmate in Quartet, Trevor Spencer.
Review
It’s no Devil Woman, but We Don’t Talk Anymore is a decent pop song and Richard’s best number 1 since SummerHoliday in 1963. I have to confess that I used to think this came much later in his career, and was a Stock Aitken Waterman production from the late-80s or early-90s. It’s something about that catchy, melancholic yet soaring chorus combined with a very light production sound. In its own way, it’s as contemporary as Are ‘Friends’ Electric? with its keyboard-heavy arrangement. Though not nearly as good.
Has to be said though, I’ve never heard Richard sound so passionate. I mean, it’s not exactly a raw, emotional performance – this is Cliff Richard we’re talking about after all. But he gives it a rare bit of oomph! The verses are pretty bog-standard ‘my woman has left me’ and not much to write home about – it’s all about the earworm of the chorus really, and the emotion at the end. Weird lyrical phrasing too – ‘It’s so funny/How we don’t talk anymore’. None too shabby. With The Beatles long gone and Elvis Presley six feet under, Richard could still sell records, when he tried.
The video for We Don’t Talk Anymore is as 70s as it gets, featuring Richard and band performing amid a smoky stage, Richard occasionally merging into himself through a dated but charming kaleidoscopic effect.
After
Cliff Richard fared better in the 80s than the 70s, regularly appearing in the upper reaches of the charts. But it would be seven years before his 11th number 1, for which he shared billing with a series named after one of his most famous chart-toppers…
The Info
Written by
Alan Tarney
Producer
Bruce Welch
Weeks at number 1
4 (25 August-21 September)
Trivia
Births
14 September: Rugby league player Stuart Fielden
Deaths
27 August: Louis Mountbatten, 1st Earl Mountbatten of Burma (see ‘Meanwhile…’) 28 August: Doreen Knatchbull, Baroness Brabourne 29 August: Painter Ivon Hitchens
Meanwhile…
27 August: Lord Mountbatten of Burma, cousin to the Queen and uncle of the Duke of Edinburgh, was assassinated by a Provisional IRA bomb while on board a boat when holidaying in the Republic of Ireland. His 15-year-old nephew Nicholas Knatchbull and boatboy Paul Maxwell were also killed, and Dowager Lady Brabourne died from injuries sustained a day later. Also that day, 18 British soldiers were killed in Northern Ireland at the Warrenpoint ambush.
30 August: Two men were arrested in Dublin and charged with the murder of Lord Mountbatten and the three other victims of the bombing.
2 September: Police found the body of 20-year-old student Barbara Leach in an alleyway near Bradford city centre. She was to be named as the 12th victim of the Yorkshire Ripper.
5 September: The Queen lead mourning at the funeral of Lord Mountbatten. Also on this day, Manchester City paid a British club record fee of £1,450,000 for Wolverhampton Wanderers midfielder Steve Daley.
8 September: Wolverhampton Wanderers broke the record by paying just under £1,500,000 for Aston Villa and Scotland striker Andy Gray.
10 September: British Leyland announced production of MG cars would cease in the autumn of 1980.
14 September: The government announced plans to regenerate the London Docklands through housing and commercial developments.
21 September: A Royal Air Force Harrier jet crashed into a house in Wisbech, Cambridgeshire, killing two men and a boy.
US soul singer Gloria Gaynor’s disco classic I Will Survive was originally an afterthought, a B-side, with little studio sheen added. It’s now considered a feminist and LGBTQ+ anthem and is a karaoke mainstay.
Before
Gaynor was born Gloria Fowles on 7 September 1943 in Newark, New Jersey. Music was a constant in her youth, with her father Daniel singing and playing ukulele as part of a nightclub group called Step ‘n’ Fetch-it. The Fowles were a large, poor family – five boys and two girls, including Gloria. Four brothers formed a gospel group but she wasn’t allowed to join them. The family moved to a housing project in 1960 and a year later Fowles graduated.
She became a singer in a local nightclub and within a few years she was part of jazz and R’n’B group The Soul Satisfiers. In 1965, as Gloria Gaynor, she released her debut single She’ll Be Sorry. It was produced by Johnny Nash, later to have a UK number 1 with Tears on My Pillow (I Can’t Take It). It was Nash who had suggested she change her name.
Nothing came of it but Gaynor spent years becoming experienced at performing live. Then in 1973 she was signed to Columbia Records by Clive Davis and released another flop, Honey Bee.
Gaynor hit pay dirt when she signed to MGM Records and released debut album Never Can Say Goodbye in 1975. The first side consisted of a remake of Honey Bee, plus covers of soul classics Never Can Say Goodbye and Reach Out, I’ll Be There. Thanks to an uncredited Tom Moulton, this record contained a historic first – it was the first album to consist of one long continuous mix of the tracks. This earned Moulton the title ‘father of the disco mix’. The title track became a hit single, peaking at two in the UK and nine in the US. Reach Out, I’ll Be There then reached 14 on these shores.
It began to look like Gaynor would be a flash in the pan as singles from Experience Gloria Gaynor didn’t grab the attention of the public. One exception was a cover of jazz standard How High the Moon, which climbed to 33 in 1975. Her next few albums – I’ve Got You (1976), Glorious (1977) and Gloria Gaynor’s Park Avenue Sound (1978) all bombed.
Gaynor’s next LP, Love Tracks, was recorded for release in November 1978. A month before that came the single Substitute. Her label Polydor thought this former Righteous Brothers track would be a worldwide hit as it had been for South Africa girlband Clout. However, several DJs – including Richie Kaczor of Studio 54 – began taking note of the B-side, I Will Survive, instead.
It had been written by two former Motown producers, Dino Fekaris and Freddie Perren. The latter had co-written three Jackson 5 US number 1s – I Want You Back, The Love You Save and ABC. After being sacked by Motown, Fekaris was unemployed and wrote the lyrics to I Will Survive after seeing a song he’d written for Rare Earth being used on TV. He took it as a sign things would work out. And they did.
Fekaris and Perren formed their own production company and made Reunited with Peaches and Herb, which became a hit. Afterwards they decided to give I Will Survive to the next singer they worked with. Gaynor was the lucky one.
https://youtu.be/ARt9HV9T0w8
Review
On Gaynor’s previous hits, her voice was pitched up in order to make her songs faster for playing on the dancefloor. And as with most disco songs, the productions would feature a more polished, layered production. It’s interesting to consider whether I Will Survive would have been treated the same way had it been considered for the A-side originally. I’m not sure it would have the same power if it had been.
The highlight of the track is Gaynor’s raw, soulful performance. You really feel the hurt and anger in her voice and the message of the song suits an untamed vocal without any studio trickery. Though the performance is raw and the production understated, the piano at the beginning and the strings after the chorus do a great job of adding to the drama of the song.
Pop songs about love going wrong often portray the ‘loser’ as weak. Even the icy cool Debbie Harry lets the mask slip briefly inHeart of Glass. But what Gaynor does is fool us into thinking she’s not over her heartbreak during those opening lines. But once she sings ‘And I grew strong, and I learned how to get along’, the song moves up a notch, and from then on, Gaynor sounds like someone you shouldn’t mess with as she belts out those lyrics to I Will Survive.
Obviously, I Will Survive has survived and will always be considered one of the highlights of the disco era. It’s an alluring theme for a song, that of empowerment for the underdog, so there’s no wonder it was adopted, as previously mentioned, by feminists and the LGBTQ+ movement, both fighting back against an era in which political correctness wasn’t high on the agenda of mainstream culture.
However, although there is a lot to enjoy here, I Will Survive is not up there with my favourite disco songs. A lot of that, to be fair, isn’t down to the song, or to Gaynor. It’s the way it’s been done to death over the years by the media. It’s all the parodies. It’s drunk people bawling it when leaving the pub, followed by It’s Raining Men. It’s just a bit tiresome, sadly.
I used to wonder why Gaynor’s performance seemed slightly weird in the video to I Will Survive. It was filmed at the New York discotheque Xenon. Her stance is unusual and she looks genuinely pained. She was. Giving the song a whole new dimension is the fact that in 1978 Gaynor fell over a monitor on stage during a choreographed tug-of-war with her dancers. She was paralysed from the waist down and thought she would never walk again. Surgery helped Gaynor back on her feet but she recorded the song, and the video, in a lot of pain and wearing a back brace. It wasn’t until further surgery in 2018 that the pain went away.
As for the rollerskating dancer in the video, that was Sheila-Reid Pender from skating group The Village Wizards. Gaynor and Pender were filmed separately and didn’t meet until 2014 at a book signing event held for Gaynor’s autobiography, We Will Survive.
After
The song was a global smash and topped the charts in many countries. It came along just in time, as by the end of the year the disco backlash, mainly a thinly veiled excuse for homophobes, racists and sexists to vent anger, had begun.
Hits were few and far between from then on. Let Me Know (I Have a Right) climbed to 32 in the UK in 1979 but it was four years before her next success. She became a Christian in 1982 and distanced herself from what she considered a sinful past. Then in 1983 her version of I Am What I Am also became adopted by the gay community as an anthem and climbed to 13 in the UK chart.
For the rest of the 80s Gaynor continued to release music but nothing troubled the mainstream. DJ and producer Shep Pettibone remixes of I Will Survive were released in 1990. They didn’t chart, but Phil Kelsey’s remix in 1993 coincided with a nostalgic interest in disco and peaked at five. With Gaynor back in the public eye she turned to acting in the late 90s, with cameos in That 70s Show and Ally McBeal.
The Outro
Gaynor continues to release albums sporadically, and of course, I Will Survive has been revisited many times over her career, with remixes, Spanish language versions and lyrics sometimes rewritten to reflect her Christian beliefs and also referencing tragedies such as Hurricane Harvey in Texas in 2017. Her most recent album, the roots gospel collection Testimony, earned Gaynor her second Grammy, 20 years after her first.
There’s been many covers of I Will Survive over the years and the rock version by Cake in 1996 is well worth a mention.
The Info
Written by
Dino Fekaris & Freddie Perren
Producer
Dino Fekaris
Weeks at number 1
4 (17 March-13 April)
The Info
Births
9 April: Actor Ben Silverstone 10 April: Singer Sophie Ellis-Bextor
Deaths
19 March: Actor Richard Beckinsale 23 March: Footballer Ted Anderson 24 March: Founder of Tesco Sir Jack Cohen 30 March: Tory MP Airey Neave
Meanwhile…
17 March: Nottingham Forest defeat Southampton 3-2 at Wembley Stadium to win the Football League Cup for the second year running.
18 March: Three men are killed in an explosion at the Golborne colliery in Golborne, Greater Manchester.
22 March: Sir Richard Sykes, ambassador to the Netherlands, is shot dead by a member of the Provisional IRA in the Hague.
28 March: The Labour government loses a motion of confidence by just one vote, which forces a General Election.
29 March: Prime Minister James Callaghan announces a General Election will be held on 3 May. Having missed the chance to call one before the Winter of Discontent swayed public opinion against Labour, all the major opinion polls point towards a Conservative win, which would make Margaret Thatcher the first female Prime Minister.
30 March: Tory Northern Ireland spokesman Airey Neave is killed by an Irish National Liberation Army bomb in the car park of the House of Commons.
31 March: The Royal Navy withdraws from Malta.
4 April: 19-year-old bank worker Josephine Whitaker is murdered in Halifax. Police believe she is the 11th woman to be murdered by the Yorkshire Ripper.
Brotherhood of Man took their perceived similarity too far with their second number 1 Angelo. When their next single tanked they followed it up with another song named after a man with a similar name to Fernando. It paid off yet again and gave them a hat trick of chart toppers.
Before
The quartet had released Highwayman after Angelo but scuppered a major chance of promoting it on the 1977 Royal Variety Performance by electing to play the former instead. Figaro was their first release from their seventh album B for Brotherhood. As usual, singers Lee Sheriden and Martin Lee penned the track with producer and manager Tony Hiller. I don’t want to be cruel and call them a low budget Stig Anderson, Benny Andersson and Björn Ulvaeus but…
Review
I was incredibly scathing about Angelo and couldn’t believe it when I saw they topped the charts a third time with what was bound to be another Fernando rip-off. So, put it down to very low expectations but I was pleasantly surprised by this. That’s mainly down to it not actually sounding like a straightforward ABBA copy. And I’m all for a bit of wah-wah guitar and the bawdy brass and song’s theme put me in mind of some kind of politically incorrect 70s British comedy film.
Figaro is a lecherous Spanish waiter intent on pursuing the opposite sex. The dirty dog is constantly at it, winking at the girls with his guitar and wandering the beaches looking for prey. The idea came about when Hiller’s daughter returned from a holiday with tales of real-life Figaros trying to romance her and other young ladies. It’s total throwaway nonsense of course, but it’s better than other Brotherhood of Man songs Angelo and Save Your Kisses For Me. Was the title this time around a reference to Bohemian Rhapsody?
After
Brotherhood of Man’s downfall came soon after. The next single Beautiful Lover was the last time they troubled the charts, peaking at 15. A compilation LP, Twenty Greatest, did at least give them their biggest album chart placing at six.
Hiller set up Dazzle Records in 1980 and signed his group but perhaps due to missing Pye’s promotional budget, they stopped selling well. They signed with Warwick Records. No, I’ve never heard of them either. Sheriden opted to leave in 1982 to study for a degree in music. He was replaced by Barry Upton, later a songwriter for Sonia and Steps.
Encouraged by the huge success of Bucks Fizz, Brotherhood of Man signed with EMI in 1982 and Hiller had high hopes of ripping off another Eurovision-winning group. A year later Hiller, Lee and Upton wrote a tune for A Song for Europe for Hiller’s male/female trio Rubic (how early 80s!) but they came fifth. When Upton decided to leave in 1984, the whole group called it a day.
However in 1985 Sheriden returned with Lee, Nicky Stevens and Sandra Stevens for a one-off TV reunion and decided to continue. They became stalwarts of the nostalgia circuit, becoming regulars at Butlins and other holiday camps. As well as their hits from the 70s they performed tracks like 1999 by Prince. That I have to hear.
The Outro
As 2000 dawned they cut back on touring but two years later they unveiled their show The Seventies Story, a nostalgic look back at the decade that brought them their glory years. They still tour now, sometimes with the current incarnation of Bucks Fizz and are often wheeled out for Eurovision-related shows, remaining one of the most successful winners of the competition.
The Info
Written by
Tony Hiller, Lee Sheriden& Martin Lee
Producer
Tony Hiller
Weeks at number 1
1 (11-17 February)
Trivia
Births
12 February:Welsh rugby player Gethin Jones
Meanwhile…
13 February: Anna Ford becomes the first female newsreader on ITV. Also on this day, an opinion poll conducted for the Daily Mail shows the Conservatives 11 points ahead of the Labour government, with an election due by October next year. The quick turnaround for the Conservatives, who last month were behind Labour, is believed to be due to Margaret Thatcher’s recent negative comments on immigration.
17 February: 12 people are killed by the Provisional IRA in the bombing of the La Mon restaurant in Belfast. It was one of the most horrific incidents in The Troubles, with some bodies left melted and unrecognisable by incineration.
