274. The Rolling Stones – Honky Tonk Women (1969)

No sooner have we reached the end of the Beatles’ 17 number 1s, than it’s now time to say goodbye to the Rolling Stones. But before we look at the backstory to their eighth and last number 1, it’s time to see what was in the news during their five-week run with Honky Tonk Women.

The day the single usurped Something in the Air, 23 July, saw the debut of BBC Two’s long-running snooker tournament Pot Black. The Beeb had been looking for programmes that could exploit its new colour transmissions, and they struck gold by turning snooker from a minority sport into one of the most popular in the UK. The show ran until 1986, but returned for many specials well into the 21st century.

On 1 August, the pre-decimal halfpenny ceased to be legal tender. The rest of the first half of August’s news was mostly taken up by the start of one of the late-20th-century’s biggest conflicts – The Troubles in Northern Ireland.

The Battle of the Bogside began on 12 August in Derry. The Taoiseach of the Republic of Ireland, Jack Lynch, made a speech the day after the ruins began requesting a United Nations peacekeeping force for Northern Ireland. On 14 August, British troops were deployed to restore order, and by the time they had, eight people had been shot dead, over 750 were injured, and over 400 homes and businesses had been destroyed. It was only the beginning.

Since the Rolling Stones’ triumphant comeback in 1968 with Jumpin’ Jack Flash, they hadn’t released any UK singles, but the album it came from, Beggars Banquet, was a real return to form, and the start of a run of classic LPs. Some of the tracks, including epic opener Sympathy for the Devil, are among the finest rock songs of the late 60s.

In December 1968 they filmed the concert special The Rolling Stones Rock and Roll Circus for the BBC. The line-up included Taj Mahal, the Who, Jethro Tull, Marianne Faithfull and a one-off appearance by supergroup the Dirty Mac, consisting of John Lennon, Yoko Ono, Eric Clapton, Keith Richards and Mitch Mitchell. The Stones withheld the show, believing their appearance to be substandard, though some claim they felt the Who outshone them. It eventually surfaced in 1996, and is worth a watch.

Mick Jagger and Keith Richards holidayed together that Christmas in a ranch in rural Brazil, and while there they became inspired to write their next single. There is not an ounce of Brasilia in either version, but it did bring to mind Americana, country and roots. Originally they had in mind the version that surfaced on next album Let It Bleed. Country Honk was, as the name implies, a country version of Honky Tonk Women, with slightly different lyrics (the first verse is set in Jackson, Mississippi rather than Memphis, Tennessee) and Byron Berline on fiddle.

Multi-instrumentalist Brian Jones featured on the demos for this track, recorded that March. It would be the last material he performed on. By the time the band regrouped in June, they had met with Jones at his home. Increasingly paranoid and drug-addled, the former bandleader had been contributing less and less, and couldn’t compete with Jagger and Richards’ growing control any more. He left the band.

Seeking a replacement, their keyboardist Ian Stewart and bluesmith John Mayall recommended a 20-year-old guitarist called Mick Taylor to Jagger. He had replaced Peter Green in John Mayall’s Bluesbreakers in 1967 when he left to form Fleetwood Mac. The Stones invited Taylor to a session, and he believed he was only wanted as a session musician, but they were impressed and he was asked to continue. He overdubbed guitar on to Country Honk and the new electric version they were planning to release as a single, called Honky Tonk Women.

Richards later claimed that Taylor had transformed the single, but the newest member of the group insisted his contribution was minimal. Whatever he actually did, he’s listed with Richards as lead guitarist. Richards also provided the rowdy backing vocals and rhythm guitar. Along with the usual roles for the rest of the band, the single featured backing vocals from Reparata and the Deltrons, who had a hit in 1968 with Captain of Your Ship, Nanette Workman (slyly credited as ‘Nanette Newman’) and Doris Troy, later to be best known for her orgasmic wailing on Pink Floyd’s The Great Gig in the Sky. Steve Gregory and Bud Beadle duetted on saxophones, and producer Jimmy Miller was the man behind the cowbell.

The Rolling Stones really know how to write brilliant intros, and Honky Tonk Women is one of their most memorable, thanks to the cowbell, and Watts’ raunchy drumbeat. Jagger begins to tell his tales of sexual conquest in a louche drawl, boasting about picking up a ‘gin soaked bar-room queen in Memphis.’ They’re pretty risqué lyrics for the day, with references to ‘a ride’ and laying divorcees, but Jagger gets around it by ramping up the accent to a comical degree, making some of the words almost intelligible. I love the lyric ‘she blew my nose and then she blew my mind’.

Musically, it’s not too adventurous, throwaway even. It’s not up to the standard of most of their number 1s, and sees the start of the Rolling Stones settling into their role as the ultimate good-time rock’n’roll band. Only two verses and it’s over in under three minutes, but it’s still a lot of fun.

But just before its release, the fun stopped for Brian Jones. He was found dead in his swimming pool on 3 July. Death by misadventure was the official reason, but his liver and heart were both enlarged from his pursuit of drink and drugs. He was 27, that infamous age that many rock stars have died at.

The Stones were scheduled to perform a free televised concert at Hyde Park on 5 July. Planned in part to unveil their new guitarist, it became a wake for Jones. In an example of pure black comedy, butterflies were let out into the crowd, but many had died, so they were simply banged out of boxes onto the floor as the band got started. It’s what Jones probably wouldn’t have wanted.

The Rolling Stones were the last British band to have a number 1 in the 60s. They have never topped the singles charts since, and it’s unlikely they will until perhaps Jagger or Richards die… so, some time in the 31st century, perhaps. The classic albums kept coming for a while though, with Let It Bleed their final LP of the 60s, released 5 December, featuring Gimme Shelter and You Can’t Always Get What You Want.

Unfortunately the 60s came to a tragic end for the Stones. A day after its release they headlined the Altamont Free Concert. It was a bad idea to have the Hells Angels providing security, and several scuffles between them and the crowd ended with armed fan Meredith Hunter stabbed and beaten to death, during, of all songs, Sympathy for the Devil.

The 70s began with the band having left Decca records to set up Rolling Stones Records. The first material released, Sticky Fingers (1971), contained Brown Sugar and Wild Horses. They became tax exiles, moved to France and recorded the double album Exile on Main Street. Raw and ragged, it’s considered by many to be their last classic, as the rest of the 70s saw commercial success but lukewarm reviews from critics, starting with Goat Head’s Soup in 1973.

Miller departed as producer, and then Taylor left after the release of the Glimmer Twins-produced It’s Only Rock’n’Roll in 1974. Faces guitarist Ronnie Wood had contributed to the title track, but his group were still taken by surprise when he took up an offer to join the Rolling Stones. But frustrations over numerous drug offences affecting the group’s abilities to tour meant this wasn’t the best period for Wood to be joining them.

Fortunately things picked up again in 1978 with the release of Some Girls, which featured their last classic, the disco-influenced Miss You. Despite the Stones being on top again, a rift developed between Jagger and Richards. Nevertheless, 1981’s album of outtakes contained Start Me Up, another huge hit.

Jagger became too busy with a solo album to concentrate much on the Rolling Stones, and their output suffered, like many 60s/70s legends, from substandard material recorded with bombastic production techniques.

In 1985 Jagger had a number 1 single with David Bowie for Live Aid, featuring one of the stupidest, most unintentionally hilarious videos of all time. I am of course referring to Dancing in the Street. That same year saw the death of the Stones’ keyboardist Ian Stewart, who had been there from the start. With both of the Glimmer Twins releasing solo albums, these were lean years for the Rolling Stones.

They were inducted into the Rock and Roll Hall of Fame in 1989, along with Jones, Stewart and Taylor, and this helped thaw the frosty relationship of Jagger and Richard, who put aside their differences and began work on their first album in three years, Steel Wheels. It was the best they’d made in a while, though nowhere near their best, which was now a distant memory.

Bassist Bill Wyman decided to leave in 1991, but the news was kept secret until 1993. He went on to form Bill Wyman’s Rhythm Kings. We won’t go into his love life, because as we all know, he’s on extremely dodgy ground there. Darryl Jones has been their bassist ever since, yet for some reason he isn’t given recognition as a ‘full’ member of the band. I just hope it has nothing to do with the colour of his skin. And that isn’t an insinuation, just a genuine hope.

The Stones took a break after touring and then released Voodoo Lounge in 1994, which was their most critically acclaimed in years, followed in quick succession by the half-decent Stripped (1995). They brought the 90s to a close with Bridges to Babylon (1997).

Their last album of original material to date, A Bigger Bang, was released in 2005. 2012 marked the 50th anniversary of the band’s formation, so the Stones embarked on yet another mammoth tour off the back of their 1000th greatest hits compilation.

In 2013 Michael Eavis finally got his wish and they headlined the Pyramid Stage at Glastonbury Festival. As I’ve mentioned before on this blog, I was lucky enough to be there, and they surpassed my expectations, playing a set of classic material. What really stood out was how much they seemed to relish the opportunity. They didn’t phone their set home, they attacked it with all the energy of a band more than half their age. It’s truly incredible how they can still have so much passion, really.

It’s a long, long time since the Rolling Stones were known as the most dangerous band in the world. You could argue they are just a money-spinning brand now, and to be fair, I’ve made that argument before. But seeing them at Glastonbury changed my opinion. Granted, we haven’t needed most of their recorded output since the early 80s, but it became clear to me that they actually get a kick out of still performing, even after all this time. Jagger recently had heart surgery, and is back on stage after a few months. The man is 75. He must have sold his soul to the devil to carry on the way he is. Look at Keith. He definitely has.

Their tally for number 1 singles may not match the Beatles or Elvis Presley , but the Rolling Stones outlasted them, through drug addictions, prison and deaths. They will come to an end one day though, and it may take that for people to realise not only that the Glimmer Twins were once one of the most talented songwriting teams of all time, but that we have lived through a true musical phenomenon, the like of which we’ll never see again.

Written by: Mick Jagger & Keith Richards

Producer: Jimmy Miller

Weeks at number 1: 5 (23 July-29 August)

Births:

Paralympian Tanni Grey-Thompson – 26 July
Bounty hunter Domino Harvey – 7 August
Joe Swail – Northern Irish snooker player – 29 August

Deaths:

Physicist Cecil Frank Powell – 9 August
Novelist Ivy Compton-Burnett – 27 August

233. The Tremeloes – Silence Is Golden (1967)

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May 1967, and much had changed since Brian Poole and the Tremeloes were at number 1 with Do You Love Me? four years previous. Beatlemania had just begun, and with Poole and co toppling the mighty She Loves You, the future bode well for the beat group from Dagenham. However, they simply couldn’t compete with the Fab Four, and as fashions changed, their fortunes were mixed. In 1964 they had two top ten hits with covers of Roy Orbison’s Candy Man and the Crickets’ Someone Someone, but sales dropped the following year for I Want Candy and Good Lovin.

In 1966, singer Brian Poole left the group to try out a solo career. This didn’t work out, and he went on to form a label called Outlook Records. By the 1970s he was working in his brother’s butchers. He would later have career in cabaret though, and his daughters Karen and Shelly made it to the charts in 1996 as Alisha’s Attic.

In addition to Poole’s departure, bassist Alan Howard left, so only rhythm guitarist and keyboardist Alan Blakley and drummer Dave Munden remained from the original line-up. They regrouped as a four-piece with new bass player Len ‘Chip’ Hawkes (father of 90s one-hit wonder Chesney Hawkes), and were now known as simply the Tremeloes. Making a conscious decision to cover more ‘hip’ material, their first two singles were versions of Paul Simon’s Blessed and the Beatles’ Good Day Sunshine. Neither charted, but a cover of Cat Stevens’ Here Comes My Baby reached number six.

For reasons unknown, they decided to follow this with Silence Is Golden. Previously a B-side for the Four Seasons, it had been written by their producer Bob Crewe and group member Bob Gaudio, the duo responsible for The Sun Ain’t Gonna Shine Anymore. The Tremeloes version closely followed the sound and arrangement of the original, with the band apeing the Four Seasons’ distinctive harmonies.

It had been three years since the original version of Silence Is Golden, and tastes had changed, so what were the Tremeloes thinking? Actually, scratch that, what were the British public thinking to take it to number 1 and make me look stupid?

It’s not that it’s a terrible song (although certainly no classic like The Sun Ain’t Gonna Shine Anymore), it’s just an unusual chart-topper as tastes had changed since 1964 and we’re here at the start of the Summer of Love, such an exciting time for music, and somehow, this single was at number 1 for five whole weeks.

What makes it worse is the lyrics suggest the singer is feeling sorry for themselves because a girl they care for is being mistreated by their lover, and they daren’t do anything about it, so ‘Silence is golden, but my eyes still see’. Well, forgive me for not thinking you should have a word with yourself and do something about the situation… A rather mediocre number 1, and the harmonies make me slightly nauseous.

The rest of the 60s were a mixed bag for the Tremeloes, with singles failures like Bob Dylan’s I Shall Be Released in 1968, and big hits such as (Call Me) Number One in 1969, which ironically went to number two.

In 1970 they were set to release a song called Yellow River by Jeff Christie as their follow-up. However when they changed their minds, producer Mike Smith removed their vocals and replaced them with Christie’s lead. It was a number 1 that June, while the Tremeloes’ By the Way bombed.

From 1972 onwards the group went through several line-up changes, with Munden the only constant throughout. Hawkes left to record solo albums but returned in 1979. In 1983 the original quartet reformed briefly. Hawkes left again in 1988 to manage his son, whose The One and Only was a big number 1 in 1991. To celebrate the 40th anniversary of the band, Brian Poole, Chip Hawkes and the Tremeloes toured together in 2006. Poole is to briefly appear with them again this year, before retiring from touring.

While Silence Is Golden reigned, Tottenham Hotspur defeated Chelsea 2-1 in the first all-London FA Cup final at Wembley Stadium (20 May). On 25 May, Celtic FC became the first British and Northern European team to reach a European Cup final and also to win it, beating Inter Milan 2-1. That same day, Conservative MP Enoch Powell attacked the Labour government, calling Britain the ‘sick man of Europe’.

28 May saw Sir Francis Chichester arrived in Plymouth after completing a single-handed sailing voyage around the world in his yacht Gipsy Moth IV. It had taken him nine months and one day. A day later, the first Spring Bank Holiday occurred on the last Monday of the month, replacing the former Whitsun holiday in England and Wales. The Tulip Bulb Auction Hall hosted music festival Barbeque 67, featuring up-and-coming rock acts the Jimi Hendrix Experience, Cream and Pink Floyd.

The first day of June heralded the release of the Beatles’ landmark album Sgt. Pepper’s Lonely Hearts Club Band, as well as the eponymous debut of a singer called David Bowie.

Three days later, the Stockport Air Disaster was all over the papers when British Midland flight G-ALHG crashed in Hopes Carr, Stockport, killing 72 people.

Written by: Bob Crewe & Bob Gaudio

Producer: Mike Smith

Weeks at number 1: 5 (18 May-7 June) 

Births:

Politician Graham Brady – 20 May 
Footballer Paul Gascoigne – 27 May 
Oasis singer-songwriter Noel Gallagher – 29 May 

Deaths:

Poet John Masefield – 12 May
Children’s presenter Derek McCulloch – 1 June 
Author Arthur Ransome – 3 June 

222. The Beatles – Eleanor Rigby/Yellow Submarine (1966)

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The Beatles spent the majority of the spring of 1966 on one task: the masterpiece that was Revolver. From George Harrison’s sarcastic counting at the start of Taxman to the dying seconds of Tomorrow Never Knows, it was a startling leap forwards in the sonic palette of the world’s biggest group.

The month after its completion, John, Paul, George and Ringo upset the first lady of the Philippines, Imelda Marcos by declining an invitation to breakfast while touring there. The subsequent riots left the group in considerable danger, and they were relieved to make it out in one piece.

Soon after they encountered controversy again in the US, after Lennon’s comments about Christianity (see Paperback Writer) were blown out of all proportion when fan magazine Datebook reprinted the comments. He tried to defend himself at a press conference, but found himself saying sorry anyway.

It is likely that they had already decided their US tour would be their last, anyway, but this fuss over nothing will have only helped their belief that there was little point any longer. They could barely be heard over the screaming, and the songs from their new album were going to be difficult to replicate without studio trickery.

Before the tour, however, came the release of Revolver to a stunned world. Unusually, they chose to release a double-A-side from the album on the very same day. That they chose two of the least traditionally pop-sounding tracks suggests to me it was a state of intent more than anything else. And as usual, it paid off, making Eleanor Rigby/Yellow Submarine the most unusual number 1 single yet.

In a 1966 interview, McCartney explained that Eleanor Rigby began life as he played around on the piano. He came up with the line ‘Miss Daisy Hawkins picks up the rice in the church’. A day later he added ‘Father McCartney’ He has always insisted there was no conscious decision to name the song after the Eleanor Rigby on the gravestone later discovered in the graveyard of St Peter’s Church in Liverpool. McCartney claims the forename came from Eleanor Bron, the female lead in Help! (1965), and the surname from a shop in Bristol.

As with many classic Beatles songs, there is some debate as to who did what. Paul played what he had to the other band members, as well as Lennon’s childhood friend Pete Shotton, at Lennon’s home. They are said to have contributed ideas, but it’s likely to be mainly a McCartney song, despite Lennon claiming several times to have a fair stake in it creatively. George Harrison is alleged to have come up with the haunting ‘Ah look at all the lonely people’ refrain, and Ringo Starr contributed ‘Writing the words of a sermon that no one will hear’. Shotton has stated the ending, in which Father McKenzie conducts Rigby’s funeral, came from him.

What is not in doubt is who did what in the studio. Although Yesterday had featured McCartney only with a string quartet, he insisted he wanted the ensemble for Eleanor Rigby to be much darker, and apart from the backing vocals from Lennon and Harrison for the refrain, he’s the only Beatle featured. This is the first time this had happened on a UK single release from the Fab Four. Macca had been listening to Vivaldi thanks to his girlfriend Jane Asher, and it was his idea to feature a violin.

George Martin did indeed arrange a stark performance from the string players, with the stabbing sounds in the verses making it akin to something from a horror film. He and Emerick demanded the players perform much closer to the mics than they were used to, and throughout recording they tried to move away in case they audibly messed up, causing Martin to lose his natural cool. The producer came up with the masterstroke of layering the backing vocals over Paul singing ‘All the lonely people’.

So much has been said about the lyrics to Eleanor Rigby over the years. It has a depth hitherto unseen in the pop charts. Since Ticket to Ride, the Beatles were taking steps to move away from the happy-go-lucky, direct pop material. Here, they cast it aside completely, to sing about loneliness and death, in an uncharacteristically blunt manner. This must have sounded simply astounding, the first time around.

So much is said, and for good reason, about the bold new musical direction of the Beatles when they released Penny Lane/Strawberry Fields Forever in 1967. Yet, surely, Eleanor Rigby/Yellow Submarine would have seemed a more incredible release? Maybe it’s because, as formidable as Eleanor Rigby is, it’s a song to appreciate rather than enjoy. The emotional detachment from the narrator to the characters perhaps rubs off on the listener a little too much in the end. It should put paid to the cliche that Lennon was always the ‘arty’ one of the duo, though.

Eleanor Rigby began in the studio on 28 and 29 April, and was finished on 6 June. The best way to hear it is the original mono version, or the reworked stereo version on 1, which corrects the error in which McCartney’s vocal is accidentally double-tracked at the start of the first verse.

The flip side, Yellow Submarine, couldn’t be more different. Over the years, as with many Beatles songs, the waters have muddied when it comes to authorship claims. In a joint 1967 interview Lennon and McCartney both took credit, with John having done the verses and Paul the chorus. Since then, McCartney has claimed the song was his and he had it in mind for Ringo Starr from day one, so he deliberately ensured his limited vocal range could take it. Originally there were going to be multi-coloured submarines, but he settled on yellow. According to Lennon in 1980, singer-songwriter and friend of the band Donovan came up with ‘Sky of blue and sea of green’.

Recording commenced on 26 May, and most of the track was finished in five takes. George Martin was ill with food poisoning, which caused the band to treat the session rather like a day at school when the class is allowed to play with board games. After much messing about, the job was done. Before finishing up, Lennon decided to add some flavour to the final verse by repeating Ringo’s lines a funny voice as if he was speaking through a megaphone. Due to an accident, the original stereo version missed out the start of Lennon’s interjections.

They returned to add sound effects on 1 June. George Martin was in his element, having spent his pre-Beatles production career making comedy records full of unusual noises for acts like the Goons, with whom the Fab Four shared a similar sense of humour. Most of the afternoon was spent recording a bizarre introduction, written by Lennon, in which Ringo said ‘And we will march to free the day to see them gathered there, from Land O’Groats to John O’Green, from Stepney to Utrecht, to see a yellow submarine, we love it!’. They did the right thing abandoning this idea – having heard it via a bootleg, it doesn’t really work.

A cupboard was then raided for sound effect items. Lennon blew bubbles into a glass, and even tried to replicate the sound of speaking underwater. Friends including roadie Mal Evans, who banged a big bass drum as everyone sang along to the final chorus in a conga line, and Rolling Stones guitarist Brian Jones, who clinked glasses together. According to Ian MacDonald’s book Revolution in the Head (1994), the snippet of a brass band you hear is from the 1906 recording Le Reve Passé. Apparently, hidden among the sound effects is the cash register you hear at the start of Pink Floyd’s Money.

What to make of Yellow Submarine, eh? Understandably, it divides opinion, probably more than any other Beatles song, and certainly any other single. Sometimes, if I’m honest, I can be listening to Revolver, it comes on, and I think ‘Oh nevermind, it’ll be over soon’. Like most novelty songs, it can be irritating. Why didn’t they just make it a B-side? Well, probably due to the drugs, and partly because they just could. This was 1966, the musical horizon was expanding rapidly, and the band’s imaginations were limitless at the time.

I can’t understand the fans who hate it, though. It’s a bit like those who use McCartney’s We All Stand Together as a stick to beat him with. Both tracks are bloody good children’s songs. I have a very early, hazy memory of being at school and learning about Yellow Submarine, which may have been my first exposure to the Beatles, so I can’t help but have a soft spot for this funny little song that was sung by the man who would narrate one of my favourite programmes growing up – Thomas the Tank Engine. And, all these years later, I would sing it to my eldest when it was her bath time as a baby.

Yellow Submarine was so iconic, a whole psychedelic animated feature film was released in 1968, named after it, and telling the tale of how the Beatles saved Pepperland from the Blue Meanies. It’s far from the best work linked to the Fab Four, and drags in places, but as always the songs are great, and there’s some astounding animation on display. I was blown away the first time I saw the film’s opening, featuring Eleanor Rigby.

Such was the group’s status at the time, this single, like all the others since From Me to You, hit number 1. However, it was the end of an era in some ways. On 29 August, the Beatles played their final gig, at San Franciso’s Candlestick Park. There would be no Christmas single in 1966, and famously, Penny Lane/Strawberry Fields Forever didn’t top the charts, ending an incredible run of 11 concurrent number 1s.

Written by: John Lennon & Paul McCartney

Producer: George Martin

Weeks at number 1: 4 (18 August-14 September)

Births:

Garbage singer Shirley Manson – 26 August