Every UK Number 1: The 50s – Out Now on Kindle!

Today sees the release of my first book! Every UK Number 1: The 50s is available on Amazon’s Kindle Store at £3.99 here. Members of Kindle Unlimited are able to read for free via their monthly subscriptions. If you’re into vintage music, pop culture and social history, it would make for great lockdown reading. Hope you enjoy!

The UK singles chart is the soundtrack to our lives and a barometer of the nation’s mood and tastes. And ever since 1952, the battle for the number one spot has had us all talking as well as dancing. 

In this fascinating spin-off from everyuknumber1.com, as seen in the Daily Mirror, music journalist Rob Barker comprehensively reviews all the best-sellers of the Fifties, delving into the wild lives of the artists and the real stories and secrets behind the hits. He also counts down the influential events that shaped them, as we moved from rations to never having it so good.

Elvis Presley, Buddy Holly and Cliff Richard were among those who transformed the lives of young people throughout Britain, and taught a country battered by war how to have fun again. 

Find out which chart topper was written by an illiterate rapist who formed his own prison band. Learn about the strange early days of the charts, which led to the number one spot being held by two acts at the same time, with different versions of the same banned song. Who was the first woman to top the charts? And which hitmaker lives on as Cockney rhyming slang? 

Every UK Number 1: The 50s has all the answers on the decade in which pop took its first steps, before rock’n’roll shouldered in and left the baby boomers all shook up. 

292. Matthews Southern Comfort – Woodstock (1970)

Matthews Southern Comfort, led by former Fairport Convention singer Ian Matthews, had a surprise number 1 with this beautiful cover of Joni Mitchell’s epitaph to the Woodstock Music and Arts Festival 1969, which also seemed to mourn the end of the optimism of the hippy movement, and touched a nerve following the recent death of the festival’s headliner Jimi Hendrix. Of the three famous versions out there, this is the best.

Mitchell hadn’t actually attended or performed at the festival as her manager had told her to appear on The Dick Cavett Show instead. She was in a relationship with Graham Nash at the time, though and he was there performing as part of his new supergroup with David Crosby and Stephen Stills. Watching the events unfold on TV from her hotel room had a profound effect on the singer-songwriter, and she put pen to paper.

Woodstock turned Max Yasgur’s farm that hosted the festival into the garden of Eden, and the journey to the site became a spiritual journey that would lead to enlightenment. Mitchell imagines meeting a child of God on their way to the site, starts to feel like she can be a part of a movement, and before you know it there are half a million likeminded souls.

She began performing her new song only a month after Woodstock, at the Big Sur Music Festival. Her recorded version found its way on to her third album Ladies of the Canyon in March 1970. It’s a sparse, low-key arrangement, performed on an electric piano. Sadly, it’s somewhat spoilt by her annoying double-tracked backing vocals.

Around the same time, Crosby, Stills, Nash & Young (for Neil Young had joined the fray) released their version on the album Déjà Vu. They had recorded a version with Jimi Hendrix while working on the song, released on the outtakes album Both Sides of the Sky (2018). I’m a huge fan of CSNY, but find their version of Woodstock somewhat of a misfire. They ditch the haunting melancholy of the original and turn it into a rather bog-standard rock anthem. An alternate take was used to close Michael Wadleigh’s Woodstock documentary (1970). Which brings us to Matthews Southern Comfort. But who were they?

Ian Matthews MacDonald was born 16 June 1946 in Barton-upon-Humber, Lincolnshire. When he was 12 the MacDonalds moved to Scunthorpe, close to where I live. He left school at 16 and worked as an apprentice signwriter, and by the mid-60s he was performing in local bands. MacDonald moved to London in 1965 and formed surf music trio The Pyramid.

In the winter of 1967 he was recruited to sing for the then-new rock band Fairport Convention, and was among the line-up to record their eponymous debut (1968) and follow-up What We Did On Our Holidays in 1969. Sometime between the two, MacDonald changed his name to Ian Matthews (his mother’s maiden name), to avoid confusion with Ian MacDonald of King Crimson.

However, the second LP by the band saw them moving toward the traditional folk for which they would become so influential, and Matthews departed during the making of Halfbricking in 1969.

He quickly began work on his debut solo album, Matthews’ Southern Comfort, featuring more of the US country sound he performed. The line-up featured former Fairport colleagues like Richard Thompson, and included his own material as well as covers. Matthews put together a touring band, called Matthews Southern Comfort (minus the apostrophe), featuring lead guitarist Mark Griffiths and Gordon Huntley on pedal steel guitar from the album, plus new members Carl Barnwell on guitar, bassist Andy Leigh and Ray Duffy on drums.

Matthews Southern Comfort released their debut LP Second Spring in July 1970, and the world shrugged. However, a month prior to that they had recorded a set for BBC Radio 1’s Live in Concert. They needed one final song, and Matthews had recently bought Mitchell’s Ladies of the Canyon. The band kept their version of Woodstock faithful to the original, and it went down so well, the BBC contacted their label about it. Uni Records suggested it was recorded and added to their next album, Later That Same Year. Matthews refused, but said it could become a single. However, while recording the new version, the arrangement was radically altered, in part to suit Matthews’ voice.

Apparently Mitchell later told Matthews this was her favourite version of Woodstock, and I agree completely. This recording is sublime. Matthews Southern Comfort perfectly capture the sadness of the end of an era, the feeling that the counterculture didn’t pull it off. That we never did get ‘back to the garden’. Of special note is Huntley’s steel guitar, giving the song a sense of yearning for what could have been, the circular guitar sounds (mixed down in the single version) and Matthews’ tender voice and the lovely harmonies. This version is what Crosby, Stills, Nash & Young’s should have sounded like.

MCA Records, the parent company of Matthews Southern Comfort’s record label, only agreed to release Woodstock if CSNY’s version tanked, which it did. But they refused to spend money on promotion upon its release in July. Luckily for Matthews and co, they had a fan in BBC DJ Tony Blackburn, who made it Record of the Week on his Radio 1 breakfast show. Here’s a great example of how long it could take a single to climb the charts back in the day. Three months to make it to number 1!

Top of the Pops would show a lovely promo film during Woodstock‘s weeks at number 1, with a beautiful hippy girl wandering around the streets and looking at posters of the Woodstock film. Doesn’t sound like much, but it’s pretty fitting.

Were the band pleased to be chart-toppers? Not really, it turned out. Matthews didn’t like the extra demands on his time being a pop star entailed, and he walked out in December, making Woodstock their final single. He went solo, and the rest of the line-up continued as Southern Comfort, releasing three albums between 1971 and 1973.

Matthews recorded two albums in 1971 (If You Saw Thro’ My Eyes and Tigers Will Survive), before forming a new group called Plainsong, which included Andy Roberts. When they collapsed Matthews continued to record while living in Los Angeles, working with Michael Nesmith of The Monkees at times during the 80s and 90s. He has gone by the name Iain Matthews ever since 1989.

In 2000 he moved to Amsterdam and continues to record and perform, sometimes reviving Matthews Southern Comfort or Plainsong. Matthews co-wrote Thro’ My Eyes: A Memoir with Ian Clayton, released in 2018.

There are similarities shared between Woodstock and Scott McKenzie’s 1967 number 1 San Francisco (Be Sure to Wear Flowers in Your Hair). Both are folk songs written to commemorate counterculture festivals and give them mystical meaning. Yet by the time we get to Woodstock, it’s over. Hendrix’s death in September and this track are a full stop on the 60s. And yet, the festival scene certainly wasn’t over, with the very first Glastonbury Festival taking place the day after Hendrix’s death and celebrating its 50th anniversary this June, bigger than ever. And the next number 1 would be a very fitting postscript.

Written by: Joni Mitchell

Producer: Ian Matthews

Weeks at number 1: 3 (31 October-20 November)

Births:

The Divine Comedy singer-songwriter Neil Hannon – 7 November
Actor Harvey Spencer Stephens – 12 November
Race walker Verity Snook-Larby – 13 November

Deaths:

Liberal MP Alasdair Mackenzie – 8 November
Labour MP Bessie Braddock – 13 November

Meanwhile…

17 November: The Sun newspaper featured a Page Three girl for the first time. This tradition made stars of Samantha Fox and Maria Whittaker among others, but divided public opinion. However it continued for 44 years, until 2015.

20 November: The 10 shilling note ceased to be legal tender.

291. Freda Payne – Band of Gold (1970)

Multi-talented American singer Freda Payne enjoyed an impressive six weeks at number 1 with this soul track, featuring noteworthy lyrics that have been much misunderstood over the years due to cuts made before its release.

Freda Charcillia Payne was born in Detroit, Michigan on 19 September 1942. Her younger sister was Scherrie, who became the final lead singer of The Supremes in time. Growing up, the elder Payne enjoyed female jazz singers like Ella Fitzgerald and Billie Holiday, which would later have an impact on her singing style. She attended the Detroit Institute of Musical Arts as a teenager, and also recorded jingles for the radio, as well as taking part and winning various talent shows.

In the early 60s Payne toured as a jazz singer with big names such as Quincy Jones and Bill Cosby, leading to her debut album in 1963, After the Lights Go Down Low and Much More!!! for Impulse! Clearly, exclamation marks were popular back then. Three years later came the follow-up How Do You Say I Don’t Love You Anymore for MGM Records, and TV appearances on various chat shows.

Payne spent the next few years dipping her toes into acting, until 1969 when she was contacted by old friends and hitmakers Eddie Holland, Lamont Dozier and Edward Holland Jr. Holland-Dozier-Holland had left Motown in 1968 and formed their own label, Invictus, also home to Chairmen of the Board and the first Parliament album, Osmium. Her first single for Invictus was the long-forgotten Unhooked Generation. Holland-Dozier-Holland then offered her Band of Gold, which they’d written with Ron Dunbar, but due to their dispute with Motown, they were forced to use the pseudonym Edyth Wayne in the credits.

Band of Gold touched on an unusually adult theme for its time. It’s about a recently wed woman, already separated from her husband, due to their honeymoon going awry. They ended up sleeping in separate rooms, with her hoping he would return and try to make love to her once more.

So, what went wrong? The ambiguous lyrics have been open to interpretation – her husband must surely be impotent, or gay? Over the years, Band of Gold became popular in the gay community thanks to the latter theory, one that was borne out by an interview Lamont Dozier did for Songfacts (songfacts.com), where he confirmed the husband loved his new wife, but was unable to get it up as he was a secret homosexual.

But according to Dunbar, the original version of Band of Gold explains exactly what the issue was. The first verse originally ended with ‘And the memories of our wedding day, and the night I turned you away.’ The original bridge also said ‘Each night, I lie awake and I tell myself, the vows we made gave you the right, to have a love each night’. Apparently, Payne has also said she didn’t want to record Band of Gold because she felt too old to come across like a naive, virginal teenager. So there we have it – the poor guy, believed to have been unable to get it up for all these years, was given the cold shoulder from his new wife, and walked out. A messy start for the poor newlyweds, and we’ll never know if they ironed out their differences.

I was surprised upon first listen to hear this was number 1 for so long. Not because it isn’t decent – it is, but it took a few listens to make an impact on me. It helps if you pay attention to the lyrics, which I didn’t at first, and I assumed it was about a guy cheating on his bride, or something along those lines. Payne performs it well, sounding indignant (which also helped create the confusion – she sounds like she’s been let down between the sheets) and hurt at the same time. The stomping rhythm is very Motown, and the tune gets under the skin eventually.

I also like the electric sitar, played by session guitarist Dennis Coffey, who also played on Edwin Starr’s War, among others. Lead guitar comes from Ray Parker Jr, that’s right, the man behind the theme to Ghostbusters in 1984. The backing vocals were performed by Scherrie, Pamela Vincent, Joyce Vincent Wilson and Telma Hopkins. Wilson and Hopkins would soon be members of Dawn, number 1 artists with Tony Orlando in 1971 and 1973.

Band of Gold had a formidable run, and reached number three in the US, but Payne couldn’t get anywhere near repeating the feat. Deeper and Deeper, released at the end of the year, reached number 33 in the UK, but none of her singles reached the top 40 after that. However, Bring the Boys Home, her anti-Vietnam War single, did well in her home country in 1971

Payne left Invictus in 1973, and signed with Capitol Records in 1977, releasing three disco albums between then and 1979. Hot was her final LP for 16 years.

Sensing her music career was stalling, Payne concentrated on acting in the 80s. She also briefly hosted her own talk show in 1981, Today’s Black Woman. Only one single was spawned in this decade – In Motion, in 1982.

In 1995 Payne recorded a comedy album, called, bizarrely Freda Payne Sings the (Unauthorized) I Hate Barney Songbook: A Parody. Was she not a fan of the purple dinosaur? The following year came the festive  Christmas With Freda and Friends, featuring a duet with her sister.

The new millennium began with the soul singer appearing on the big screen alongside comedian Eddie Murphy in Nutty Professor II: The Klumps (2000). She’s been releasing music sporadically ever since, and recorded Saving a Life, a duet with Cliff Richard, in 2011, which led to her supporting him on a UK tour. Her last album to date is Come Back To Me Love in 2014 – was this a message for Darlene?

Band of Gold is a curious number 1, sounding rather like a forerunner to disco and yet very much old-school Motown at the same time. Rather a bridge between what had passed and what was to come. It’s been covered several times since, by stars including Belinda Carlisle, but nobody has matched Payne’s original.

Written by: Edyth Wayne & Ron Dunbar

Producer: Brian Holland & Lamont Dozier

Weeks at number 1: 6 (19 September-30 October)

Births:

Actress Emily Lloyd – 29 September

Footballer Richard Hancox – 4 October

Footballer Jason Cousins – 4 October

SNP MP Tasmina Ahmed-Sheikh – 5 October

Olympic rower Sir Matthew Pinsent – 10 October

Footballer Andy Marriott – 11 October

Meanwhile…

19 September: The first Glastonbury Festival was held. Then known as the Worthy Farm Pop Festival, farmer Michael Eavis had been inspired after attending a blues festival at the Bath & West Showground. 1500 watched Tyrannosaurus Rex headline after The Kinks pulled out.

3 October: Tony Densham, driving the ‘Commuter’ dragster, set a British land speed record at Elvington, Yorkshire, averaging 207.6 mph over the flying kilometre course.

5 October: BBC Radio 4 first broadcast the consumer affairs magazine programme You and Yours, a mainstay to this day.

15 October: The new Conservative government created the Department of Trade and Industry and the Department of the Environment.
Also this day, Thames sailing barge Cambria, the last vessel trading under sail alone in British waters, loaded her last freight, at Tilbury.

19 October: British Petroleum announced it had found a large oil field in the North Sea.

23 October: The Mark III Ford Cortina went on sale.

288. Mungo Jerry – In the Summertime (1970)

For a while, weirdly, it looked like Mungo Jerry may be the heirs to The Beatles’ throne. This rock/pop/skiffle/jug band scored 1970’s biggest-selling number 1, and one of the most memorable summer anthems of all time with their debut single In the Summertime. ‘Mungomania’ was a very real thing.

Mungo Jerry formed from the ashes of 60s rock’n’roll and blues band The Good Earth, featuring, among others, singer-songwriter and guitarist Ray Dorset and keyboardist Colin Earl. The other half of the band were gone by the end of 1968, and with one remaining commitment – the Oxford University Christmas Ball of 1968 – left to go, Dorset hired Joe Rush to play double bass. The Good Earth played again when the night was over, performing folk, skiffle and jug band originals and covers.

This more low-key, acoustic version of the band went down well, and they built a following thanks to regular gigs. Banjoist, guitarist, and blues harp player Paul King made them a quartet. Rush left, to be replaced by Mike Cole, and they changed their name to Mungo Jerry, taking the name from TS Elliot’s poem ‘Mungojerrie and Rumpleteazer’, as featured in Old Possum’s Book of Practical Cats.

Mungo Jerry signed with Pye Records, who placed them on their progressive imprint Dawn Records. They set to work recording their eponymous debut album, and the tracks that would make up their first single. This was to be one of, if not the first maxi-single in the UK. Vinyl maxi-singles were played at 33⅓rpm, rather than 45, and featured more than two tracks.

Dorset was still working his day job in a lab for watchmakers Timex when he came up with lead track In the Summertime, which he knocked off in 10 minutes. Clearly he could tell this ditty could make for a great debut for Mungo Jerry, but it’s unlikely he knew the impact this tale of youthful freewheeling would have for the next half a century.

Much like Norman Greenbaum’s Spirit in the Sky, In the Summertime will be the one track associated with Mungo Jerry (despite a second, long-since-forgotten, number 1), has been used countless times in the media, and is a tune neither I or millions more will ever tire of. It’s all about that loveable, rickety old backing track, really, with a distinctive rhythm created by Dorset stomping and playing an African percussive instrument called the cabasa. I assume it’s also him doing the breathy interjections. Dorset’s an interesting character. His voice has an unusual bleating quality, like a friendly sheep. Footage of him from back in the day though, such as in the video they filmed for the single, above, used to scare me when I was younger. I used to think, with all the teeth and sideburns, he was some kind of hairy villain. Special mention must go to Earl’s piano riff, too.

50 years on, its the lyrics that prove problematic. In the Summertime is a song about being young, about the generational divide of 1970. You could even call it a somewhat passive-aggressive statement of intent:
‘We’re no threat, people,
We’re not dirty, we’re not mean,
We love everybody but we do as we please’

Dorset and his gang are happy-go-lucky, but in the end, they’ll do what they want, so don’t stop them. And that involves womanising and driving recklessly, possibly while under the influence. The lyric ‘If her daddy’s rich take her out for a meal/If her daddy’s poor just do what you feel’ may have just sounded cheeky back then, but it’s unpleasant to hear these days.

And of course, thanks to a memorable public information film from 1992, it’s ‘Have a drink, have a drive/Go out and see what you can find’ that stands out the most. Anyone that saw this at the time will likely never get the graphic image of the drink-driving accident out of their head whenever they hear this song. But because my mind has unlimited storage for 80s adverts, I also can’t hear it without picturing the curly-haired juggler of oranges in the rewritten version for Outspan. Pretty sure that’s Dorset himself singing ‘Grab an Outspan, the small ones are more juicy naturally’.

Despite the bad vibes of some of Dorset’s lyrics in the 21st century, it’s such an addictive song, it seems it’s never going to go away, and I’m glad about that. In the Summertime stayed at number 1 for seven weeks that summer – the lengthiest run of the 70s until Queen’s Bohemian Rhapsody managed nine weeks in 1975/76. The UK’s brief flirtation with Mungomania had begun.

Jamaican-American rapper Shaggy released a version of In the Summertime in 1995, which reached number five that summer. Featuring his mate Rayvon, it eschewed the drink-drive references, but kept the rest of the dodgy bits intact.

Written by: Ray Dorset

Producer: Barry Murray

Weeks at number 1: 7 (13 June-31 July) *BEST-SELLING SINGLE OF THE YEAR*

Births:

Singer-songwriter MJ Hibbett19 June
Field hockey player Russell Garcia – 20 June
Field hockey player
Christine Cook22 June
Footballer David May – 24 June
Actress Lucy Benjamin – 25 June
Footballer Steve Morrow – 2 July
Singer-songwriter Martin Smith – 6 July
Boxer Wayne McCullough
– 7 July
Take That singer
Jason Orange – 10 July
Actor John Simm – 10 July
Conservative MP Saj Karim
11 July
Children’s TV presenter
Andi Peters – 9 July
Director Christopher Nolan – 30 July
Actor Ben Chaplin – 31 July

Deaths:

Scottish sociologist Robert Morrison MacIver – 15 June
Artist Edwin La Dell – 27 June
Dramatist Githa Sowerby – 30 June
Publisher Allen Lane – 7 July
Conservative MP Iain Macleod – 20 July

Meanwhile…

13 June: Actor Laurence Olivier was made a life peer in the Queen’s Birthday Honours list. Olivier was the first actor to be made a lord.

14 June: England’s defence of the FIFA World Cup came to an end when they lost 3-2 to West Germany at the quarter final in Mexico (see here).

17 June: The bodies of two children were discovered in shallow graves in woodland at Waltham Abbey, Essex. The bodies were believed to be those of Susan Blatchford (11) and Gary Hanlon (12). The tow children had last been seen alive near their homes in North London on 31 March. This became known as the “Babes in the wood” case.
Also on this day, British Leyland launched its luxury Range Rover.

18 June: The first general election in which 18-year-olds were entitled to vote. Opinion polls pointed towards a record third consecutive victory for the Labour government, led by Harold Wilson.

19 June: Edward Heath’s Conservative Party defied expectations, to win the election with a majority of 30 seats. Notable new MPs included future Labour leaders Neil Kinnock and John Smith for Labour, and Kenneth Clarke, Kenneth Baker, Norman Fowler and Geoffrey Howe, who would all serve in Margaret Thatcher’s Conservative Cabinet in the 80s.

21 June: British golfer Tony Jacklin won the U.S. Open.

22 June: The Methodist Church allowed women to become full ministers for the first time.

26 June: Riots broke out in Derry over the arrest of Mid-Ulster MP Bernadette Devlin.

29 June: 32-year-old Caroline Thorpe, wife of Liberal Party leader Jeremy Thorpe, died in a car crash.

3 July: British Army soldiers battled with IRA troops in Belfast, leading to the deaths of three civilians.
Also on that day, 112 were killed when Dan-Air Flight 1903 from Manchester to Barcelona crashed in the mountains of Northern Spain. There were no survivors.

8 July: Roy Jenkins became Deputy Leader of the Labour Party.

14 July: 5 speedway riders were killed in Lokeren, Belgium when a minibus carrying members of the West Ham speedway team crashed into a petrol tanker after a brief tour. One of the casualties was Phil Bishop, a founding member of the West Ham speedway team from before World War Two.

15 July: Dockers voted to strike, leading to a state of emergency the following day.

16–25 July: The British Commonwealth Games were held in Edinburgh. Australia came first, England second, Scotland fourth and Northern Ireland were 10th on the medal table.

17 July: Lord Pearson proposed a settlement of dockers’ strike.

30 July: The dockers’ strike was settled.

31 July – The last issue of grog in the Royal Navy was distributed.

287. Christie – Yellow River (1970)

Here’s a number 1 with an unusual story. Yellow River, Christie’s sole chart-topper, could in a sense also be classed as The Tremeloes’ third number 1, if they hadn’t thrown it away.

Leeds-born singer-songwriter Jeff Christie, born Jeffrey Christie on 12 July 1946, had been a member of rock band The Outer Limits, who had released singles in the late 60s. He had been inspired to write Yellow River after imagining a soldier looking forward to returning home to Yellow River (probably a mythical place) after the American Civil War, and probably thought it would work well with the anti-Vietnam War sentiment of the time.

Christie offered the song to The Tremeloes, who liked it, and recorded it ready to release as a single, but then they went to number two with, ironically, Call Me Number One, and they decided to steer away from pop towards a more progressive sound.

Tremeloes guitarist Alan Blakley’s brother Mike was in a struggling band called The Epics, which also included guitarist Vic Elmes. The story gets muddy here, but someone, possibly Alan, to help Mike, and maybe feeling guilty about ditching Yellow River, suggested its songwriter travel to London to record a new vocal over the track himself, and he did so, forming a new band for its release, called Christie and featuring Elmes and Mike. Their debut single was released on 23 April.

The chorus to Yellow River has existed in my subconscious for years, after I heard a snatch of it on some advert for a compilation album, but also due to the jingle being used in adverts for phone book Yellow Pages when I was a child, before the days of JR Hartley. Bad move by The Tremeloes – it’s a good tune, and way better than their previous number 1s Do You Love Me? and Silence Is Golden.

Apparently, Christie were keen to be considered the British answer to US country rock trio Creedence Clearwater Revival, and they do a great job of living up to that here, except of course, it’s not them behind that speedy finger-picked guitar, effervescent rhythm and top drumming – it’s The Tremeloes. Okay, there’s a fair few number 1s better than this in 1970, but that chorus in particular is a real ear worm. It’s easy to see why it topped the charts, even if it was for only a week. Steer clear of the later remake as it’s leaden by comparison.

Follow-up single San Bernadino, also from their eponymous debut album, was released in October, and reached number seven in the UK, and number 1 in Germany. But the success proved short-lived, and Blakely left before the release of 1971 album For All Mankind. Elmes’s departure in 1973 left Christie as the only remaining original member. No amount of line-up changes (and there were more) could capture that initial momentum though, and in 1976, after Navajo reached number 1 in Mexico, they split up.

Jeff Christie went solo in 1980 for a couple of singles, and then probably did quite well out of the Yellow Pages campaign. He reformed Christie in 1990 with backing from members of the band Tubeless Hearts, and they bid to represent the UK in the 1991 Eurovision Song Contest with Safe in Your Arms, but failed. They have toured and recorded intermittently ever since.

Written by: Jeff Christie

Producer: Mike Smith

Weeks at number 1: 1 (6-12 June)

Deaths:

Novelist EM Forster – 7 June

Meanwhile…

10 June: Earlier in 1970 the Tories were enjoying a few months after the Conservatives had enjoyed opinion poll leads of more than 20 points, and looked likely to form the next government, but the tide had turned. Labour were now several points ahead of the Conservatives, with eight days to go before the general election. Labour’s win would be a record third-in-a-row, if it happened.

281. Edison Lighthouse – Love Grows (Where My Rosemary Goes) (1970)

It’s time to delve into the 70s. A fascinating decade, if not always an enjoyable one, when it comes to number 1 singles, but rarely dull.

In 1970, The Beatles were (nearly) gone, and pop scratched its head in search of its next move. There was a year to go until glam rock reared its beautiful glittery sparkly head, and the hippy dream was turning somewhat sour.

The bubblegum pop of the last two years was still going strong as the decade dawned, however, and finally the undercover paedophile Rolf Harris relinquished his grip on the top spot to Edison Lighthouse.

Love Grows (Where My Rosemary Goes) had been written by Tony Macauley and Barry Mason, who between them had plenty of experience at writing number 1s. Macauley had co-written Baby Now That I’ve Found You and Let the Heartaches Begin, and Mason co-wrote The Last Waltz and I Pretend. This first new number 1 of the 70s certainly has Macauley’s joyous pop stamp all over it, Mason’s perhaps less so as he was more used to MOR ballad material.

Originally they gave the song to Jefferson, former guitarist with The Rockin’ Berries. That demo remained unreleased however, and instead they offered it to a session singer called Tony Burrows.

Born Anthony Burrows in Exeter, Devon on 14 April 1942, he had been a member of The Kestrels in the early 60s, and subsequently vocal trio The Ivy League, before they became The Flower Pot Men, who became one-hit wonders with Let’s Go to San Francisco in 1967. Despite their short-lived success, at one point they featured future Deep Purple members Jon Lord and Nick Simper.

In effect, Edison Lighthouse was originally Macauley, Mason, Burrows and session musicians. The writers chose the name as a play on the Eddystone Lighthouse off the coast of Devon. Upon its release in November 1969, the single rapidly gained attention, allegedly becoming the fastest-climbing number 1 up to that point. This meant finding Burrows a backing band for Top of the Pops appearances. They picked Greenfield Hammer for the job following an audition a week before their debut on the show, making the initial line-up of Edison Lighthouse Burrows on vocals, Stuart Edwards on lead guitar, Ray Dorey on guitar, David Taylor on bass and George Weyman on drums.

I’ve been watching lots of off-air recordings of Top of the Pops of late from 1970, so I’ve heard plenty of this track, and that’s no bad thing. Okay, it’s pretty much just a chorus and the verses are afterthoughts, but a chorus so uplifting and catchy is not to be sniffed at. The lyrics are your typical 60s flower power fare, about a dreamlike girl who’s captured the singer’s heart. However, some people believe there’s a filthy meaning behind these words:

‘There’s something about her hand holding mine
It’s a feeling that’s fine
And I just gotta say
She’s really got a magical spell
And it’s working so well
That I can’t get away’

Yes, they think it might be about getting a handjob. I don’t agree, personally, and I tend to look out for stuff like that. Of course, there’s a chance the writers deliberately left it up to interpretation as a sly joke, who knows? Whatever the meaning, Love Grows (Where My Rosemary Goes) is reminiscent of Love Affair’s Everlasting Love, and a decent start to the 70s number 1s.

Burrows was an incredibly busy bunny during those first few months of 1970. He found himself on Top of the Pops appearing as the singer in Edison Lighthouse, as part of White Plains (performing My Baby Loves Lovin’) and as lead singer in an early incarnation of Brotherhood of Man, performing United We Stand. At the same time, he also had a hit as one half of The Pipkins with Gimme Dat Ding. No wonder he soon quit Edison Lighthouse – he must have thought success was guaranteed no matter who he recorded with.

Macauley owned the name Edison Lighthouse, and replaced Burrows with actor and singer Paul Vigrass. He was the first in a long list of line-up changes over the next few years. Nothing was able to match their debut single’s success. The closest they came was when It’s Up to You, Petula reached number 49 in 1971. Edison Lighthouse called it a day in 1972 after the single Find Mr Zebedee. As is so often the case with bands of this era, the name Edison Lighthouse now belongs to different groups – Brian Huggins in the UK, and Les Fradkin in the US. Original guitarist Edwards died of cancer in 2016.

As for Burrows, he only had one ‘hit’ under his own name – a cover of Melanie Makes Me Smile in the US in 1970. He did however continue as a session singer, helping out both Elton John and Cliff Richard over the years, to name just two.

Written by: Tony Macauley & Barry Mason

Producer: Tony Macauley

Weeks at number 1: 5 (31 January-6 March)

Births:

Actress Minnie Driver – 31 January
TV and radio scriptwriter Rob Shearman – 10 February
Actor Simon Pegg – 14 February
Sailboat racer Ian Walker – 25 February
Field hockey player Tina Cullen – 1 March

Deaths:

Philosopher Bertrand Russell – 2 February
Cricketer Herbert Strudwick – 14 February
RAF fighter commander Hugh Dowding – 15 February
Painter Arthur Henry Knighton-Hammond – 28 February

Meanwhile…

13 February: A demonstration at the Garden House Hotel by Cambridge University students against the Greek military junta led to police intervention with eight students receiving custodial sentences for their part.
Plus, Brummie rockers Black Sabbath released their self titled landmark debut album in the UK – the first major heavy metal album.

19 February: The Prince of Wales joined the Royal Navy.

23 February: Rolls-Royce asked the government for £50,000,000 towards developing the RB 211-50 Airbus jet engine.

27 February-1 March: The first National Women’s Liberation Conference was held, at Ruskin College in Oxford.

2 March: Four years after independence was declared, Rhodesian Prime Minister Ian Smith declared Rhodesia a republic, breaking all ties with the British Crown. The government refused to recognise the new state for as long as the Rhodesian Government opposed majority rule.

6 March: An outbreak of rabies in Newmarket, Suffolk caused the importation of pets to be banned.

279. The Archies – Sugar Sugar (1969)

The slick pop of Sugar Sugar by cartoon band The Archies was the penultimate number 1 of the 60s, sitting pretty in the top spot for close to two whole months, and only narrowly missing out on the Christmas number 1 spot.

Artists like The Beatles and Bob Dylan had made self-penned songs fashionable, and for most of the 60s, it was they and others of their ilk that often reached the top spot. But as the pop audience matured and moved on to buying albums, the gap was starting to be filled by bubblegum pop – squeaky-clean commercial songs, like Dizzy, made to order by hit-making teams, much like in the 50s, and given to singers such as Tommy Roe.

It would be a lie to say this type of thing had ever really gone away though. Motown aped the production-line of the car factories of its hometown Detroit, and The Monkees were a pop phenomenon whose songs were mostly written and recorded by other musicians, until they broke free. And it was Don Kirshner, the man that had been dumped by The Monkees, that came up with the idea of turning a comic into a band in 1968.

From his point of view, it was a no-brainer. All had been going well until The Monkees got too big for their boots – why not start over, only this time, why not remove all pretence that the band is real? And why not use cartoon characters that already had a huge audience to give the project a head start? After all, it had worked in the 50s – Alvin and the Chipmunks had been and still are very successful.

Kirshner was hired by CBS in late 1967 to be musical supervisor on their new Saturday morning cartoon series The Archie Show. Based on popular characters from The Archie Comics, which began in 1941, it followed the adventures of a bunch of all-American teenage friends from Riverdale High School that had formed a band.

17-year-old Archie Andrews was the central figure, lead singer and rhythm guitarist. His best friend Jughead Jones was their drummer, with wisecracking Reggie Mantle on bass. But unusually, this wasn’t just a boy’s own setup, very unusual for that time. Rich girl Veronica Lodge also sang and played keyboards, and tomboy Betty Cooper was lead guitarist and percussionist. Girl power!

The show had a 17-episode run, premiering in the US in September 1968 until January 1969. Kirshner’s job was to hire the songwriters and musicians for the songs The Archies would be performing. He wasted no time in hiring Jeff Barry to co-produce with him. Barry, together with Ellie Greenwich, was responsible for some of the biggest pop hits of the decade, including Da Doo Ron Ron, Then He Kissed Me and Do Wah Diddy Diddy, a number 1 for Manfred Mann in 1964. He had co-written Tell Laura I Love Her with Ben Raleigh, which had been a UK number 1 for Ricky Valance in 1960, and worked with Kirshner on The Monkees’ hits, including producing their UK chart-topper I’m a Believer.

For their eponymous debut album, The Archies music was performed by singer Ron Dante, drummer Gary Chester, guitarist Dave Appell, bassist Joey Macho (great name) and keyboardist Ron Frangipane (even better name). Kirshner had wanted Kenny Karen to be the vocalist, but Barry liked Dante, who had been the singer novelty parody band The Detergents. He was also in the rock group The Cuff Links.

The first single released, Bang-Shang-A-Lang (sounds like a Bay City Rollers song title) did okay, reaching number 22 on the Billboard chart in the US, so the project continued.

For the sessions for second album, Everything’s Archie, Kirshner left Barry to produce alone. Among the material was a song by Barry and Canadian singer-songwriter Andy Kim. Sugar Sugar was catchy as hell, and encapsulated bubblegum pop totally. It was all wide-eyed innocence, as sweet as the title suggested and contained hook upon hook. Kim also plated guitar and joined Dante on the vocals, and Toni Wine performed the female voices. Wine was a songwriter too, and had co-written A Groovy Kind of Love with Carole Bayer Sager for The Mindbenders. Joining them and the line-up of the debut album was guitarist Sal DiTroia and Ray Stevens provided the all-important handclaps.

Sugar Sugar was so strong, they decided to release it before the LP was completed. Allegedly, because previous single Feelin’ So Good (S.K.O.O.B.Y-.D.O.O.) hadn’t performed well, Kirshner decided not to reveal the identity of the band behind Sugar Sugar when DJs got their hands on it in May 1969. Whether this is true or not, it was some time before it became really big. It eventually climbed to the top in the US that September, and the UK a month later.

I totally get the reasons for Sugar Sugar‘s enduring popularity, for all the reasons I’ve given above, and more – mostly the infectious keyboard interjections in the chorus, obviously. It has all the ingredients needed for a pop song. But it’s never done much for me. Even as a child, I found it a bit too sickly-sweet and cloying. I found the lyrics silly and the ‘band’ irritating, having never actually seen the cartoon, just the clips compiled to make a music video.

As an adult, it’s all a bit too cynical and professional for my liking. Don’t get me wrong, I no longer feel, as I did in my 20s, that music is only any good if the artist is ‘4 Real’, but try as I might, Sugar Sugar mostly leaves me cold. The ‘Pour your sugar on me, honey’ line is quite good though, and sung with some much-needed passion.

Sugar Sugar was the best-selling song of 1969 and stayed at number 1 for eight weeks – a feat that was last achieved by The Shadows with Wonderful Land in 1962. I can only assume the TV show was being shown in the UK at the time and doing well too, otherwise, why would it perform even better here than in the US? Whatever the reasons, it was a sign of things to come in the following decade, as bubblegum pop continued to sell hugely, and innocent acts like The Osmonds entrancing children. The idea of cartoon bands surfaces in the charts from time to time – Damon Albarn’s Gorillaz, for example.

Filmation continued to produce various Archies TV shows until 1978, but the musical project had ground to a halt before then. Nothing matched Sugar Sugar, and after follow-up Jingle Jangle (not featuring Jimmy Savile), the band’s success tailed off sharply. Fourth album Sunshine in 1970 (which has great sun-drenched, slightly sinister artwork that wouldn’t look out of place on a Boards of Canada release) was the last to feature Jeff Barry and Andy Kim properly, and was more grown-up than previous releases. 1971’s This Is Love was the final regular release.

Barry became interested in writing music for film and television afterwards, and Kim had a solo hit in 1974 with Rock Me Gently. After a short-lived solo career, Dante moved into production and did very well at it, producing hits for Barry Manilow. In 2008 he returned to the Riverdale teens, singing on The Archies Christmas Album. Kirshner continued to work in music for TV shows. He died of heart failure in 2011, aged 76.

Archie Comics continued to be mined, with Sabrina, the Teenage Witch proving to be the other most popular character. Archie Andrews was killed off in 2014, shot in the stomach while saving the life of his friend, Senator Kevin Keller. Riverdale was renamed Archie Andrews High School in his honour. 2017 saw the debut of TV drama series Riverdale, which turned the premise of the characters on its head, with the lives of Archie and co proving much darker than the original comic-strip could ever have been.

And while we’re on the subject of ‘dark’, if Sugar Sugar had lasted at number 1 a further week, it would have been Christmas number 1 and the final chart-topper of the decade. However, it was pipped by another hugely popular children’s song, now sadly infamous thanks to the singer.

Can you tell what it is yet?

Written by: Andy Kim & Jeff Barry

Producer: Jeff Barry

Weeks at number 1: 8 (25 October-19 December) *BEST-SELLING SINGLE OF THE YEAR*

Births:

Scottish actor Gerard Butler – 13 November
Rock drummer Michael Lee – 19 November
Conservative MP Sajid Javid – 5 December
TV presenter Richard Hammond – 19 December

Deaths:

Bandleader Ted Heath – 18 November
Princess Alice of Battenburg – 5 December

Meanwhile…

15 November: Regular colour TV broadcasts began on both BBC One and ITV.

16 November: The BBC One debut of much-loved children’s stop-motion animated TV series Clangers.

17 November: In a move that had a far-reaching effect on the British press, The Sun newspaper, previously a left-wing broadsheet, was relaunched as a right-wing tabloid. Despite falling circulation, it remains influential and one of the most popular newspapers in the country.

25 November: John Lennon returned his MBE in protest against the British involvement in Biafra, as well as supporting the US in Vietnam. The Beatles as cuddly establishment moptops seemed a long time ago.

10 December: It was announced that organic chemist Derek Barton had jointly won the Nobel Prize in Chemistry with the Norwegian Odd Hassel.

15 December: Barclays Bank purchased Martins Bank.

18 December: The abolition of the death penalty was made permanent by Parliament.
Also that day, the sixth James Bond film, On Her Majesty’s Secret Service, was released. This was the first and last to feature George Lazenby, after Sean Connery had quit the role.

278. Bobbie Gentry (Arranged by Don Tweedy) – I’ll Never Fall in Love Again (1969)

As the 60s drew to a close, one of the most successful songwriting partnerships of the decade, Burt Bacharach and Hal David, had one more UK number 1 in the bag, thanks to enigmatic US country music singer-songwriter Bobbie Gentry. The shocking Je t’aime… moi non plus made way after only a week for a more typical pop song, I’ll Never Fall in Love Again, making Gentry the final female artist to have a UK number 1 in the 60s.

A year previous, Bacharach and David had been asked to write the score for the musical Promises Promises, which was based on the 1960 comedy film The Apartment. David Merrick felt his production was missing a catchy song in the middle of the second act. Unfortunately, Bacharach was in hospital with pneumonia and unable to work his magic on a tune, but David didn’t waste time in coming up with some lyrics, and inspired by his friend, he wrote the line ‘What do you get when you kiss a girl?/You get enough germs to catch pneumonia/After you do, she’ll never phone you.’

Bacharach loved it, and as soon as he was well enough, he composed the tune, quicker, he said, than anything else he’d ever written. I’ll Never Fall in Love Again was ready for the Broadway premiere of Promises Promises on 1 December 1968, and, sung by Jill O’Hara and Jerry Orbach, became the most famous song of the show.

As always, singers queued up to record a Bacharach and David song, and it had even more hitmaking potential than usual as it was already popular. Johnny Mathis was first, in May 1969, then Bacharach, with female singers, shortly after. But it took trailblazing Bobbie Gentry, who was at the height of her popularity in the UK, to get it to number 1 here.

Gentry was born Roberta Lee Streeter on 27 July 1942 near Woodland in Chickasaw County, Mississippi. Her parents divorced soon after birth and her mother moved away, so Streeter was raised on her paternal grandparents’ farm. She loved music from a young age, so much so that her grandmother traded one of their cows for a neighbour’s piano. Aged seven, she composed her first song on it, My Dog Sergeant Is a Good Dog… aww.

While at school she taught herself to play the guitar, bass, banjo and vibraphone. Aged 13, she moved away from Chickasaw County to live with her mother in California, but she never forgot her childhood home, and based most of her material from place names around there.

Upon graduating in 1960 she chose her stage name, which was inspired by the 1952 film Ruby Gentry. The heroine of the movie was a girl born into poverty but determined to be successful. Bobbie Gentry meant business.

She started out at local country clubs, and upon moving to Los Angeles to major in philosophy, Gentry would occasionally perform in nightclubs. Blessed with a distinctive beauty, she also worked as a fashion model. She transferred to Los Angeles Conservatory of Music to develop her songwriting. Then in 1967, Capitol Records executive Kelly Gordon heard a demo tape that featured her self-penned Ode to Billie Joe.

Set to nothing more than Gentry strumming a guitar and a string arrangement added after she was signed, this unique tale of a family’s indifference to the news of a local boy’s suicide topped the Billboard chart in the US and made it to number 13 in the UK too. Such was its impact, the Tallahatchie Bridge that Billy Joe jumped off became a popular suicide spot, despite only being 20ft high.

Gentry was catapulted to fame. Her debut album that shared the name of her debut single knocked Sgt. Pepper’s Lonely Hearts Club Band off the top of the US charts, and she won three Grammy Awards in 1967. And what an inspiration for women – a female artist writing and producing her own material (even if, as Gentry alleged, her name was replaced by male producers in the credits) was extremely rare back then.

Although her second album, The Delta Sweete (1968) didn’t perform as well, the concept album based on life in the Deep South was loved by critics, and it was around this time the UK really took to Gentry. She even had her own BBC series, despite the fact none of her singles and albums were charting here. She also released a joint album with Glenn Campbell that year, too.

In a sign that the well was perhaps running dry, her 1969 album Touch ‘Em with Love consisted mostly of covers, and among those was its second single, I’ll Never Fall in Love Again.

It wasn’t unusual for Gentry to release covers – she recorded several Beatles songs – but I’ll Never Fall in Love Again was a rather MOR choice for such a hip, edgy feminist singer. It sounds like something from the mid-60s, which, whenever I’ve heard it crop up anywhere, is when I assumed it was released, and that Gentry was some swinging-60s, doe-eyed pop star. I’m going to guess that her management were keen on edging her towards a more light entertainment vein, to capitalise on her BBC series in the UK.

It opens well, with its pretty melody and great, memorable lyrics, and Gentry’s vocal is all wide-eyed melancholy. She sounds a little like Dusty Springfield, but also slightly off, and it turns out she had a cold when she recorded it. It’s very typical Bacharach and David, with clever lyrics offsetting the sugary-sweet tune. I’d argue it’s not one of their best songs though, and now I know it’s from a musical, perhaps that explains it. It may work better in the context of the show, which concerns a junior executive who aims to climb the corporate ladder by letting his apartment be used by his married superiors to conduct affairs. The final lines ‘So, for at least until tomorrow/I’ll never fall in love again’ are smart, but it outstays its welcome after the first minute. Had it been released a few years previous, my appreciation may have been higher.

But yes, the most interesting thing about this number 1 is the singer, and what happened next to Bobbie Gentry. Her follow-up single, Fancy, is considered by her fans to be perhaps her definitive work. A semi-autobiographical Southern Gothic track combined women’s lib with another catchy melody that blurred the lines of country, pop and soul. A number 1 in Canada, for some reason it failed to chart here.

Weirdly, her next album, also called Fancy, was renamed I’ll Never Fall in Love Again in the UK and featured a different track listing, to capitalise on her number 1, meaning it featured on two LPs in a row here.

In 1971 Gentry released her seventh and final album, Patchwork. Almost entirely self-penned and self-produced (she finally gained an official credit), it was critically adored, but didn’t sell. The introspective lyrics of the last song, Lookin’ In, suggested it was a final throw of the dice.

Like Elvis Presley, she spent most of the 70s in Las Vegas, with ever-more-elaborate stage shows that changed each year. She had an ‘Elvis spot’ in which she wore a high-collared bell-bottom jumpsuit like ‘the King’. There was also a 30-minute tribute to Sgt. Pepper’s Lonely Hearts Club Band. 1976 saw the release of the film Ode to Billy Joe, inspired by her debut hit, which she re-recorded for the movie.

Then in 1981, she walked out of showbusiness completely. She had just given birth to a son, Tyler, from her failed third marriage, and was caring for former partner and producer Kelly Gordon, co-writer of Frank Sinatra’s That’s Life, who died soon after of lung cancer. Rumours have circulated that, after her brief first marriage to casino magnate Bill Harrah ended in divorce, Gentry was so wealthy she need never work again, and so didn’t, choosing to live in a gated community in Memphis.

Whatever the reasoning behind her permanent disappearance from the public eye, it’s only added to Bobbie Gentry’s mystique. Last year, psychedelic alt-rockers Mercury Rev released their version of her second album The Delta Sweete, which briefly brought her back into the public eye. Now aged 77, it’s unlikely we’ll ever hear from her again. Fair play.

Written by: Burt Bacharach & Hal David

Producer: Kelso Herston

Weeks at number 1: 1 (18-24 October)

276. Creedence Clearwater Revival – Bad Moon Rising (1969)

Early autumn 1969 in the UK was surprisingly mild, reaching 20C in London in early October. Following the sci-fi apocalyptic worldview of In the Year 2525 (Exordium and Terminus) at number 1, US rock act Creedence Clearwater Revival brought further warnings of the planet’s destruction with Bad Moon Rising. Despite being one of the biggest American acts of the period, CCR never scored a number 1 single in the US, and this was their sole chart-topper in the UK.

CCR’s main man, John Fogerty, was born in Berkeley, California on 28 May 1945. His childhood was tough – in his memoir Fortunate Son he revealed that the Catholic School he attended would let him wet himself rather than take a trip to the toilet. His parents were alcoholics and divorced while he and his older brother Tom were still young.

In junior high school in 1959 he met Doug Clifford and Stu Cook. They formed a group called The Blue Velvets, who would play jukebox standards. They would also perform as Tom’s backing band, and before long he joined The Blue Velvets too. In 1964 they signed with the jazz label Fantasy Records. Before their first release under their ill-advised name change to The Golliwogs, the band switched roles. Clifford remained on drums, with Cook changing from piano to bass and most importantly, Tom was demoted from vocals to lead guitar, and John became the frontman and songwriter.

After two years, The Golliwogs’ existence was threatened (can’t believe I’ve just typed that) when John and Clifford chose to enlist in the army to avoid conscription, an experience which John hated. In 1967 Fantasy Records was bought by Saul Zaentz, who offered The Golliwogs the chance to record an album, providing they came up with a new name. Desperate for the group to avoid any accusations of racism, he accepted their first idea. ‘Creedence’ came from Tom, who had a friend, Credence Newball. ‘Clearwater’ was inspired by a commercial for Olympia Brewing Company, and ‘Revival’ represented their newfound commitment to the band.

Creedence Clearwater Revival were born in January 1968, with John and Clifford discharged from service, all four concentrated solely on their band. Debut single Porterville didn’t chart but their follow-up, a cover of 1956 rockabilly tune Susie Q did. Their eponymous debut LP was released that year too, featuring a mix of covers and original material from John.

It was while working on the follow-up, 1969’s Bayou Country, that they came up with one of their best-known songs. Proud Mary peaked at number two on the Billboard charts, and went to number eight here. It became their most-covered song, with the 1971 version by Ike and Tina Turner the best-known version.

CCR were working fast, and while Proud Mary was in the charts they were already at work on their third album Green River. Bad Moon Rising became the lead single. John Fogerty was inspired to write it after witnessing a scene with a hurricane while watching 1941 fantasy The Devil and Daniel Webster.

Following the hokum of Zager and Evans’ number 1, Bad Moon Rising is a song about the end of the world done right. Set to an uptempo, almost skiffle-style strum, the lyrics, telling of freakish weather that’s going to destroy us all, have only become more meaningful over the years. If what we read is true, and I’d put money on it being so, we’re not far off a bad moon rising at all.

There’s a whole other layer to the lyrics though, in which the danger isn’t from nature, but politics. It was once put to John that ‘I see a bad moon on the rise’ was misheard as ‘I see a bad moon on the right’, and he said he was glad, because that’s what he meant anyway. With Richard Nixon in the White House, Bad Moon Rising can also be interpreted as a protest song. And with Donald Trump and Boris Johnson now in a ‘special relationship’, things are worse than ever. On a lighter note, the line is also often misheard as ‘I see a bathroom on the right’, and John Fogerty often sings this instead in concert.

If it is too late for us, I suggest we adopt the CCR approach, which seems to be to have a bloody good time before we’re wiped off the face of the Earth. Southern-style country roots rock is a genre I’m not too knowledgeable of, and it’s hard for me to realise in 2019 just how influential and popular CCR were in the late-60s, early-70s, but if Proud Mary, Bad Moon Rising and Lookin’ Out My Back Door (courtesy of 1998 cult comedy The Big Lebowski) are anything to go by, I should perhaps do further investigating. Catchy as this single is, it’s still hard to picture it as a UK number 1 single, but it is a great tune.

Soon after the single’s release, but before hitting number 1, CCR performed at Woodstock Festival. The band blamed The Grateful Dead for leaving the audience half asleep before they came on, and they refused for their performance to be included in Michael Wadleigh’s documentary movie.

CCR released Willy and the Poor Boys that November, meaning an incredible three top 10 albums in one year. It contained more hits, Fortunate Son and Down on the Corner, and in July 1970 they released yet another. Cosmo’s Factory became their bestselling LP and featured Lookin’ Out My Back Door and a lengthy jam session version of I Heard It Through the Grapevine.

However, their speedy work rate and arguments over the younger Fogerty’s creative control came to a head, and shortly after recording their next album Pendulum, released December 1970, Tom Fogerty left the group.

They soldiered on as a trio, but further ructions ensued when John Fogerty did an about-face and told Cook and Clifford that the only way they could continue would be for them to contribute to the songwriting, and if they did, he would only contribute rhythm guitar to their tracks. This resulted in their final album, Mardi Gras in 1972, being critically panned. If John was trying to make a point, it worked. He later claimed he was behind most of the recording of all their material before that point, not just the songwriting. The others were little more than a backing band. Rolling Stone said that Mardi Gras may one day be known as Fogerty’s Revenge. In October 1972, it was announced that Creedence Clearwater Revival no longer existed.

John Fogerty sporadically released solo material through the rest of the 70s. Tom did too, but to less success. Clifford and Cook remained close and worked together as session musicians. Apart from jamming together at Tom’s wedding in 1980, they never worked as a foursome again, becoming mired in legal battles over the years. John did briefly work with Cook and Clifford at their high-school reunion in 1983 though, but in their Blue Velvets incarnation.

Sadly, Tom died of AIDS in 1990 due to a tainted blood transfusion while undergoing back surgery. He and John were barely reconciled at the time of his death, and in his eulogy, John said ‘We wanted to grow up and be musicians. I guess we achieved half of that, becoming rock’n’roll stars. We didn’t necessarily grow up.’ He didn’t exactly cover himself in glory in 1993 when CCR were inducted into the Rock and Roll Hall of Fame. Fogerty refused to perform with his former rhythm section and arranged an all-star band instead. Tom’s widow was devastated. She’d even brought his funeral urn to the ceremony.

That, and the fact Fogerty took them to court over forming a new group, Creedence Clearwater Revisited, meant that Clifford and Cook were done with Fogerty. In recent years he has publicly mulled over the possibility of a reunion, but they always respond by saying that ship has sailed.

Fogerty seems more at peace with the past now. For a long time he refused to perform any of his old band’s material but now he’s rightfully proud of CCR’s accomplishments. They and The Band helped turn roots rock mainstream, yet held on to their rebellious streaks. And Bad Moon Rising has proven to be one of their most enduring songs, used time and time again in films and TV, most memorably in 1981 horror comedy An American Werewolf in London.

I briefly saw him at the ultra-soggy Glastonbury Festival 2007. I was in a very bad mood, the rain and mud had finally beaten me. I heard Bad Moon Rising, knew how he felt, sighed and wandered off. I wish I’d stuck around now.

Written & produced by: John Fogerty

Weeks at number 1: 3 (20 September-10 October)

Births:

High jumper Jo Jennings – 20 September
Welsh actress Catherine Zeta-Jones – 25 September
Footballer Paul Warhurst – 26 September
Singer/songwriter PJ Harvey – 9 October
Director Steve McQueen – 9 October

Meanwhile…

21 September: There was tension in the air on the warm streets of the capital, with police evicting squatters of the London Street Commune from 144 Piccadilly.

28 September: The National Trust acquired ownership of the island of Lundy.

1 October: The Post Office become a statutory corporation.

5 October: The first episode of classic surreal comedy series Monty Python’s Flying Circus was broadcast on BBC Two. Breaking new ground in comedy meant baffled audiences at first, but John Cleese, Graham Chapman, Michael Palin, Terry Jones, Eric Idle and Terry Gilliam would become comedy legends in time.

10 October: The Labour government accepted the recommendations of Lord Hunt’s report on policing in Northern Ireland, including the abolition of the Ulster Special Constabulary.

275. Zager and Evans – In the Year 2525 (Exordium & Terminus) (1969)

Folk duo Zager and Evans’ one and only hit In the Year 2525 (Exordium & Terminus) was a kitschy sci-fi doom-laden track that proved to be a timely release in the aftermath of the Apollo 11 moon landing. But it’s certainly no Space Oddity.

Denny Zager and Rick Evans were both born in Nebraska, in 1944 and 1943 respectively. They met at Nebraska Welseyan University in 1962. While there they joined the band The Eccentrics, along with drummer Danny Schindler (who later joined The Benders… stop laughing).

In 1965 Schindler left for Vietnam, and Evans then also left the group. At some point in the previous year, he had written the original, unheard version of In the Year 2525 (Exordium & Terminus), which was likely more in keeping with the fashionable folk-rock scene of the period.

They went into the studio to record their hit after becoming a duo in 1968, by which point they had backing from Mark Dalton on bass and Dave Trupp on drums, who both also played with The Liberation Blues Band.

I don’t think I’ve ever got over the fact that In the Year 2525 (Exordium & Terminus) doesn’t live up to its name. It should be cosmic psychedelic rock, like Funkadelic, but it’s musically dull, repetitive and dated – it doesn’t even stand up to scrutiny when you try and excuse it by saying ‘well it was written in 1964 originally’. Folk music was already in much more adventurous territory back then.

Zager and Evans think they are smarter than us and want us to know that humans are doomed. Now, I happen to agree with them, especially with the current state of our politics, and reading recently that we have 18 months left to save the planet from climate change, but many artists have made this point way, way better than Zager and Evans. The lyrics are awful. Sixth-form standard, if that. Some of their predictions are prescient, such as the rise of automation, but their time scales are stupidly huge. Every verse jumps up from 2525 to 6565, with various nightmare scenarios. Some genuinely horrible, such as ‘Ain’t gonna need your teeth, won’t need your eyes’, but some which are pure pulp fiction, like taking a pill every day that controls your thoughts. Sounds like an episode of Star Trek, which never did much for me.

Then we suddenly jump to talk of judgement day in 7510, purely because they want a number that rhymes with the dire line ‘If God’s-a-coming, he ought to make it by then.’ Well, you’d hope so, wouldn’t you?! But no, we shoot all the way up to 9595, and Zager and Evans are ‘kinda wondering if mankind is still alive’. All over the same boring rhythm. And then, we’re back in the year 2525, and it starts all over again! God, please don’t wait, put us out of our misery now!

I’m all for a bit of melodrama, but the pompous vocals lay it on so thick, it goes from laughable to just really grating. I kept this song in my collection for years, as I found it comically bad for a while, then after listening to it for this blog, I realised I don’t ever want to hear it again, and deleted it. It all also sounds like I imagine a no-deal Brexit could wind up, and we’re getting dangerously close to that. Much more enjoyable is Flight of the Conchords’ spoof of this sort of thing, The Distant Future.

With the decade drawing to a close, and man landing on the moon, thoughts were turning to what the future held, and if we even had one. And purely for these reasons, Zager and Evans found themselves at number one in the US and the UK. They seized the moment and recorded an album, 2525 (Exordium & Terminus) with Trupp and Dalton plus other musicians.

And how did they follow up their number 1 single? With Mr Turnkey, a song in which they expected the listener to feel sympathy for a convicted rapist as he kills himself in prison. Poptastic! Needless to say, they this sank without trace. I’m almost curious to hear such a terrible idea for a single. Almost, but not quite.

Zager and Evans released an eponymous album in 1970, before splitting up after 1971’s Food for the Mind. The one-hit wonders disappeared, though Evans later recorded with Pam Herbert and formed his own label, Fun Records in the late 70s, on which he released new material and re-recorded Zager and Evans songs.

Evans died in April 2018, to no media attention whatsoever, which makes me feel rather sad. I may be highly critical of the song, but he had his time in the spotlight and it should have been noted, however short it may have been. In spring this year, his recordings made it on to eBay after relatives disposed of his estate.

Zager is still alive and builds custom guitars at Zager Guitars in Lincoln, Nebraska.

Written by: Rick Evans

Producers: Zager & Evans

Weeks at number 1: 3 (30 August-19 September)

Meanwhile…

29-31 August: By the time Honky Tonk Women was knocked off its lofty perch after five weeks, the second Isle of Wight Festival was in full swing. 150,000 people witnessed Bob Dylan’s comeback, and The Who put on a memorable show. Other acts included Free, The Bonzo Dog Band and The Moody Blues.

11 September: Housing charity Shelter released a report that claimed up to 3,000,000 people were in need of rehousing due to poor living conditions.

16 September: Iconic 60s fashion store Biba reopened on Kensington High Street.