203. The Walker Brothers – Make It Easy on Yourself (1965)

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Long before Scott Walker was ordering a percussionist to punch a side of pork, he was a 1960s pop idol with his pretend siblings. The Walker Brothers first found fame with this first of two number 1s, Burt Bacharach and Hal David’s Make It Easy On Yourself.

John Maus, born in New York in 1943, was a child television star. In the late 50s he was friends with Ritchie Valens, and following the La Bamba hitmaker’s tragic death, he was an honorary pallbearer at his funeral. Later, he befriended future Beach Boys David Marks and Dennis and Carl Wilson, and he helped teach them how to play the guitar. He formed a musical partnership with his sister, and they were known as the acoustic duo John and Judy. In 1961, they met Scott Engel.

Engel, born in Hamilton, Ohio in 1943, had also been a child actor and singer, and in the late 50s he was marketed as a teen idol, with Eddie Fisher (one of the first number 1 stars in the UK) pushing him for stardom. Engel had intellectual tastes from an early age, and loved progressive jazz, Beat poetry and European cinema. When he met John Maus he was in the instrumental group the Routers.

Engel and Maus briefly backed John’s sister and they became Judy and the Gents. Somewhere around this time, the 17-year-old Maus got hold of an ID card for John Walker, enabling him to perform in clubs while underage. The name stuck, and he was sick of people getting his surname wrong anyway. After breaking away from Judy Maus, Engel and Walker were briefly part of the Surfaris, the group that had recorded Wipeout in 1963. At least, they were part of the touring group, none of whom recorded their singles.

In 1964, they decided to work together as the Walker Brothers Trio, with Al ‘Tiny’ Schneider on drums. Walker was lead vocalist and guitarist and Engel was bassist and provided harmony vocals. At some point Schneider left and they continued as a duo before meeting new drummer Gary Leeds. All three were photogenic and soon ended up on TV shows including Shindig. They signed with Mercury Records and recorded their debut single, Pretty Girls Everywhere. It was Maus’ idea they should all take the surname Walker, and I still find it odd that Engel continues to go by the name Scott Walker after all these years. I guess he must still have a soft spot for his time as a pop star.

Gary Walker had recently toured the UK with PJ Proby, and convinced John and Scott that the Walker Brothers should try their luck as pop stars on these shores. It was his father that financed their first trip early in 1965. Their first single barely scraped into the charts, but they had better luck with Love Her. This follow-up featured Scott on lead vocal, and upon its success, Scott began moving into the lead spot in the trio.

They found an ideal producer in Johnny Franz. He was one of the top UK producers of the 50s and 60s, and by this point had produced six UK number 1s, from Winifred Atwell’s Let’s Have Another Party in 1954 to Juliet by the Four Pennies in 1964. Franz was very effective at lavishly orchestrated 60s pop, which made him a natural choice to produce a Bacharach and David song. Make It Easy on Yourself was a decent slab of break-up melodrama from the genius duo, and became the songwriters’ sixth UK number 1. It had first been a hit in 1962 for Jerry Butler, based on a demo from Dionne Warwick.

Make It Easy on Yourself comes out on the losing side when compared to that other big heartbreak song of 1965, You’ve Lost That Lovin’ Feelin’. Nobody does the Wall of Sound better than the creator, Phil Spector. Having said that, the Walker Brothers and Franz put in a decent try. The track opens with a wordless version of the chorus, and that first line, ‘Breaking up is so very hard to do’, set to Scott’s smooth baritone, sets things off nicely. It can’t keep the momentum going though, and the verses don’t have the tension and drama of the Righteous Brothers’ number 1. How many songs do, though? Oh, this song also features legendary session drummer Clem Cattini, who took part in a frankly ridiculously long list of UK number 1s over the years, the most recent of which had been the Bachelors’ snore-fest Diane in 1964.

Scott’s vocal is perhaps a little too polished and mannered to carry off the emotion… unless this is a deliberate ploy to make the protagonist sound in denial. You can easily imagine several other singers’ releasing this, such as Cilla Black, which means the Walker Brothers, in particular Scott, were still too green to put their own stamp on their releases. Their next number 1 was a big improvement.

Written by: Burt Bacharach & Hal David

Producer: Johnny Franz

Weeks at number 1: 1 (23-29 September)

Births:

Olympic athelete Phylis Smith – 29 September 

202. The Rolling Stones – (I Can’t Get No) Satisfaction (1965)

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What is it with these legendary songs that were supposedly written in the sleep of their composers? Paul McCartney has always said Yesterday came to him in a dream. He rushed to the piano in the Asher household the following morning to play the melody, and was convinced at first that somebody else must have written it. But Scrambled Eggs, as he originally called it, was a Lennon and McCartney original.

And in the same year came (I Can’t Get No) Satisfaction by the Rolling Stones. Mick Jagger and Keith Richards had written their first number 1, The Last Time, earlier in 1965, although how much they can lay claim to that is debatable considering they pinched the chorus from the Staple Singers. Nonetheless, their songwriting was improving. The fact this song came soon after makes that a hell of an understatement.

Richards claims he woke up one morning and had a half memory of recording himself trying out a song that had come to him in the night. Playing back the recording, he heard himself playing (I Can’t Get No) Satisfaction on an acoustic guitar for two minutes, singing the song’s title, followed by the sound of the pick hitting the floor and then him snoring for 40 minutes until the tape side ran out. Like McCartney, Richards was sure someone else had already written this song. He was worried it sounded like Martha & the Vandellas’ Dancing in the Street in particular.

Are the stories for these songs true? Did two of the most memorable pop songs of all time appear in their creators’ subconscious? Or did they lie to add to the legend? I guess we’ll never know, but if both are true, it’s fascinating.

The Rolling Stones entered Chess Studios in Chicago to record (I Can’t Get No) Satisfaction on 10 May. Mick Jagger wrote the lyrics four days beforehand by a swimming pool. Apart from the aforementioned line, that is. The original recording wasn’t the version we know and love, and feature Brian Jones on harmonica. This version was the first the public heard of the track, however, when they debuted it on US telvision series Shindig. Two days later they tried again at RCA Studios in Hollywood, with Charlie Watts adding a new beat, and Richards performing the famous riff through a Gibson fuzzbox. This hadn’t been done on a released record before, and added a scratchy rawness to their sound. But that was fine, because he had no intention of it appearing on the released single. It was only there as a guide for what he wanted a brass section to perform.

What else can be said about (I Can’t Get No) Satisfaction? How many superlatives exist? This was more dangerous than pop and rock’n’roll and to me, it’s one of the first singles you can call rock, along with You Really Got Me by the Kinks. Richards’ riff is like the musical equivalent of the big bang, it’s so important and incredible. And although it’s impossible to imagine a time in which it never existed, (I Can’t Get No) Satisfaction never, ever, sounds boring. That fuzzy riff is so primitive, it’s somehow meant the song has remained fresh in the same way the base raunch of You Really Got Me has. It’s such a fantastic riff, it would have no doubt sounded great from a brass ensemble, but would it be as immortal as the version we know? I doubt it.

Lots of credit should also go to Jagger, whose lyrics fit perfectly. This really spoke to his generation, and it’s hard sometimes to think a song that encapsulates feelings of alienation brought on by advertising could come from a man who later became obsessed with money like Jagger did. Despite all the plaudits the Stones have had thrown at them over the years, I don’t think Jagger has ever really got the credit he deserves as a lyricist. Some of his songs from 1965 through to the early-1970s are as sharp as pop and rock music gets. There’s a real dry wit on display here. It’s only now that I discover that although many people found this song dangerously sexually charged at the time, the filthiest lyric of all escaped most people, including me. When Jagger sings: ‘And I’m tryin’ to make some girl/Who tells me baby better come back later next week/’Cause you see I’m on a losing streak’ the ‘losing streak’ in question is the girl’s period. Clever, Jagger, you filthy beast. As great as the lyrics are though, I guess that riff overshadows, well, nearly everything. Bill Wyman’s bass also complements it brilliantly though.

Once the track was completed, everyone bar the songwriters was convinced it needed no brass overdubs, and that they’d hit upon something truly special. Luckily for everyone, Jagger and Richards were outvoted, and (I Can’t Get No) Satisfaction was quickly released a month later in the US, a well as featuring on the American version of their third album, Out of Our Heads. A month later it was the US number 1. UK buyers had to wait a while longer, as Decca were already about to release a live EP by the Rolling Stones. Released in August, the song divided public opinion. To older people and the BBC, it was disgusting. To pirate radio and teenagers and young adults, it was fucking brilliant. We know who was right. The BBC relented and on 9 September it began an all-too-short fortnight at number 1.

The Rolling Stones were suddenly in a new league, and rightly considered on the same level as the Beatles. Jagger and Richard had gone from blues copyists to premier songwriters. Although the whole band stood to benefit from this, 1965 marked the year in which Brian Jones began to feel sidelined.

(I Can’t Get No) Satisfaction is up there with She Loves You as one of the songs that defines music, let alone the 60s. There have been countless covers from the good, the bad and the downright odd over the years, including Otis Redding, Devo, Britney Spears, the Residents, Samantha Fox and Cat Power.

I was one of the lucky ones who finally got to see the Rolling Stones at Glastonbury Festival in 2013. I’m not a superfan, and was expecting dips in the set, but overall it was a triumph and well worth the wait. Their final song was (I Can’t Get No) Satisfaction. I’ve had many amazing monents at Glastonbury over the years. That ranks as one of the best.

Written by: Mick Jagger & Keith Richards

Producer: Andrew Loog Oldham

Weeks at number 1: 2 (9-22 September)

Deaths:

Cricketer JW Hearne – 14 September
Geologist Arthur Holmes – 20 September 

201. Sonny & Cher – I Got You Babe (1965)

sonny-cher-1965.jpgBands like the Beatles and the Byrds were on the cutting edge of the rise of the hippy movement, but Sonny & Cher’s I Got You Babe was a very mainstream anthem for the ‘love generation’. Although Cher has hit number 1 several times during her subsequent solo career, this was the duo’s sole chart-topper together.

Salvatore Bono was born 16 February 1935 in Detroit to Italian parents. His mother gave him the nickname ‘Sonny’ that remained for the rest of his life. At the age of seven his family moved to Inglewood, California. He attended high school there, but dropped out to concentrate on music. While trying to break into the business he tried various jobs, including being a waiter and a butcher’s helper. He began his music career at Speciality Records, where he wrote Things You Do to Me for Sam Cooke. By the early 1960s Bono found himself working for Phil Spector as a promotion man, percussionist and gofer at Gold Star Studios in Hollywood. In November 1962 he met 16-year-old Cherilynn Sarkisian in an LA coffee shop.

Sarkisian had been born on 20 May 1946 in El Centro, California. Her father John was a half-Armenian, half-American truck driver with drink and gambling problems, and her mother Jackie Crouch was an occasional model and actress with Irish, English, German and Cherokee ancestry. Their relationship was stormy and they divorced when Cherilynn was only ten months old. Crouch changed her name to Georgia Holt and had several more rocky marriages and divorces while moving her family around the country. They were so poor, Cherilynn’s shoes were held together with rubber bands at one point. By the time she was nine she had devloped an unusually low voice and a love of showbusiness. She fell in love with Audrey Hepburn in Breakfast at Tiffany’s (1961) and began developing an outrageous persona. At 16 she dropped out of school, left home and moved to Los Angeles with a friend, and that’s where she met 27-year-old Sonny Bono. They quickly bonded, and Bono introduced her to Spector, who let her become a backing singer on several important records, including the Ronettes’ Be My Baby (and just before hitting the big time, the Righteous Brothers’ You’ve Lost That Lovin’ Feelin’). Bono got a taste of success in 1963 when he co-wrote Needles and Pins with Jack Nitzsche, which became a UK number 1 for the Searchers in 1964. Also that year, Spector produced her first single, Ringo, I Love You under the name Bonnie Jo Mason. The Beatlemania cash-in flopped.

Bono and Sarkisian became lovers, and wed unofficially in a hotel room in Tijuana, Mexico later in 1964.  Bono wanted her to be a solo star but she suffered stage fright and encouraged him to perform too. They became Caesar & Cleo, but three singles bombed. At the same time, he produced some solo singles for her. The second, released in 1965, was a cover of Bob Dylan’s All I Really Want to Do, and it faced a chart battle with a version by the Byrds. It did well in the US, and by the time of her first solo album she was known as Cher. As a duo, they became Sonny & Cher and worked on their debut album, Look at Us. Among the material was Bono’s upbeat answer to Dylan’s break-up song It Ain’t Me Babe. Members of session musician legends the Wrecking Crew were assembled to provide the backing.

Sonically, the duo’s time working with Spector was clearly an influence on the production of I Got You Babe. It’s a less lavish version of his Wall of Sound, but similar in dynamics with the way it builds to what seems a climax, before falling back on itself. Sonny & Cher are no Righteous Brothers, though. That might be harsh on Cher, who we all know has a powerful set of lungs, but Bono’s fooling nobody with his ‘poor man’s Dylan’ vocals. However, he serves his purpose and gives the song an everyman appeal. It’s easy to see how they charmed audiences, and I Got You Babe is very hard to dislike. A lot of that is down to that hook throughout the song, but what exactly is it? After researching, I still don’t know, but it seems it’s either an ocarina or an oboe. So, at least I’ve narrowed it down to ‘something probably beginning with o’.

This simplistic take on flower power made Sonny & Cher huge stars in the UK. It was the Rolling Stones who suggested they come here, noting that, at the time, being stars in Britain first would give them a better chance in America. Their colourful, proto-hippy outfits turned heads on these shores. Further hits for the duo and Cher alone followed, including The Beat Goes On for the former and Bang Bang (My Baby Shot Me Down) for the latter. But despite their bell-bottoms and fluffy vests, they began to look rather square by the end of the 60s. Cher loved the heavier sound of bands like Led Zeppelin, but Sonny was having none of it. Their relationship suffered but they officially married in 1969 after she gave birth to their daughter Chastity.

The duo moved into TV in 1971 and The Sonny & Cher Comedy Hour was a hit for three years. They ran into relationship difficulties in 1972 but kept up appearances until they divorced in 1975. Despite reuniting for TV series The Sonny & Cher Show, the duo were effectively no more, certainly musically, as Cher carried on as a solo artist. Sonny Bono went into acting, including appearances in Airplane II: The Sequel (1982) and Hairspray (1988). They performed for the last time on Late Night with David Letterman in 1987, where they sang I Got You Babe.

As Cher became a huge star once more, Bono moved into politics after becoming frustrated with the red tape involved in opening a restaurant in Palm Springs, California. He served four years as their mayor, before running for the United States Senate. He was eventually elected to the House of Representatives in 1994 and managed to get a copywright extension law named after him. At some point, he also became a scientologist, but according to his last wife Mary, he tried to break away but they made life difficult for him. The Church denies this. Bono was killed on 5 January in 1998 when he hit a tree while skiing in California. Although Cher had proved she could be a superstar without him, and there may have still been some ill feeling between the duo over the years, she performed a eulogy at his funeral. Despite Cher’s fame, the baby boomers will always associate her with I Got You Babe. The epitaph on Sonny Bono’s headstone reads ‘AND THE BEAT GOES ON’.

And I Got You Babe goes on too. 20 years after first hitting the top, it went to number 1 in 1985. UB40 recorded it with Chrissie Hynde, and my God, was it dull. The original, memorable enough as it was, became forever immortalised in the romantic comedy Groundhog Day (1993), as the first thing weatherman Phil Connors hears every morning for years on end. He should have been grateful it wasn’t UB40’s version.

Written & produced by: Sonny Bono

Weeks at number 1: 2 (26 August-8 September)

Births:

Boxer Lennox Lewis – 2 September 

Deaths:

Speaker of the House of Commons Harry Hylton-Foster – 2 September

200. The Beatles – Help! (1965)

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On 6 August 1965 Elizabeth Lane was appointed as the first female High Court judge. She was assigned to the Family Division. That same day the BBC decided to pull the docu-drama The War Game from transmission as part of its The Wednesday Play strand on BBC1. Directed and produced by Peter Watkins, it portrayed the aftermath of nucelar war. It was deemed too horrifying for public consumption. However, it was publicly screened and shown abroad, and won the Academy Award for Best Documentary Feature in 1966. It was eventually transmitted on 31 July 1985.

The day before, the Beatles scored their eighth number 1 with the title track to their new film and album, Help!

But a few months before all this, John Lennon and George Harrison had their first encounter with LSD. They were having dinner at the house of Harrison’s dentist John Riley, who spiked their drinks with the mind-altering, life-changing drug. Lennon was understandably terrified, but Harrison enjoyed the experience. They both began to use the drug more often. Later that summer, in fact while Help! was number 1, they dropped acid with Ringo Starr for the first time at Zsa Zsa Gabor’s house during an all-star gathering, featuring David Crosby and Jim McGuinn of the Byrds, who turned Harrison on to Indian music, folk singer Joan Baez and Peter Fonda, who inspired the Revolver (1966) track She Said She Said by freaking the band out, continually saying ‘I know what it’s like to be dead’ because he had once accidentally shot himself. Paul McCartney sat out the acid and was converted in 1966.

Nonetheless, LSD was to change all four Beatles over the next few years, and their music, sometimes beyond all recognition from their early years. Help! was the last single of theirs that sounded like their Merseybeat days, but the lyrics were the most direct they had yet attempted.

Lennon was, as he later stated, going through his ‘Fat Elvis’ stage. This rebellious art student with a tragic childhood was struggling to come to terms with the Fab Four’s stratospheric rise. Learning that the Fab Four’s second film was going to be called Help! rather than Eight Arms to Hold You, Lennon took the opportunity to write his most personal lyrics to date. These lyrics were about him and him only. According to McCartney, Lennon asked him to come up with the countermelody, which he did on 4 April at Lennon’s house. On 13 April they entered the studio to record the song, and did so in 12 takes. The following month they re-recorded the vocals for the film version, which marks the Beatles’ first appearance in the movie.

Lennon remained proud of Help! for the rest of his life, and he considered it one of his best songs. But he did express regret that the Beatles weren’t brave enough to record it as he’d originally intended, in a much slower style, to draw out the sorrow of the emotions expressed. Sonically, you could argue that Help! was a step back after Ticket to Ride, but the fact they went at it with breakneck speed and turned it into a straightforward pop song only adds tension between the music and the words and makes it all the more interesting. It’s a tremendous slice of 60s pop, once again showing the band towered above most of their competition. In a year of classic number 1s, Help! is one of the best. It was also the first time a pop song took a negative look at fame, and while you could argue that these type of songs are too self-obsessed and difficult to draw any sympathy from, the Beatles achieve it by going against the grain and wrapping it up in a pop parcel. Those backing vocals… sublime.

The single was released on 23 July, with the film following six days later. As I stated in my blog for Ticket to Ride, I prefer it to A Hard Day’s Night. It’s a riotous, technicolour piece of surreal fun. On the day the single knocked the Byrds’ Mr Tambourine Man from number 1, the album was released. Featuring original songs by Lennon, McCartney and Harrison on side one, the second side featured covers (for the last time on any Beatles album other than 1970 swansong Let It Be) and of course, Yesterday, featuring McCartney only alongside a string quartet. It remains the most covered song of all time.

Notable covers of Help! include Tina Turner’s in 1984 and Bananarama’s 1988 Comic Relief single alongside Dawn French, Jennifer Saunders and Kathy Burke, aka Lananeeneenoonoo.

Now the Beatles were hanging out with the counterculture elite, taking psychedelic drugs and listening to Bob Dylan and the Byrds, among others, their rebellious streaks were growing, along with their hair. Despite this, they were also now Members of the Order of the British Empire. That June, Harold Wilson had nominated the foursome, angering many conservative MBE recipients, some of whom returned theirs in protest.

Written by: John Lennon & Paul McCartney

Producer: George Martin

Weeks at number 1: 3 (5-25 August)

Births:

Children’s television presenter Mark Speight – 6 August 

198. The Hollies – I’m Alive (1965)

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After 15 months behind bars, Great Train Robber Ronnie Biggs escaped from Wandsworth Prison on 8 July. He scaled a wall with a rope ladder and dropped into a waiting removal van. The canny criminal then fled to Brussels. Four days later, Secretary of State for Education and Science Tony Crosland issued Circular 10/65, which set into motion the abolition of grammar schools and secondary moderns. One of the best actions Labour took during the Wilson government.

Mancunian beat outfit the Hollies were one of the most popular acts of the era, ratcheting up many weeks in the top ten from 1963 onwards, but they only had one number 1 in the 1960s, toppling Elvis Presley a few weeks before these events took place.

The nucleus of the group, Allan Clarke and Graham Nash, were friends from primary school who, like so many others, were keen skiffle fans. They were also admirers of the Everly Brothers and began modelling themselves on them, becoming known as Ricky and Dane Young. Soon after they joined up with a local band called the Fourtones. In 1962 their guitarist Derek Quinn quit to join Freddie and the Dreamers, so Clarke and Nash also jumped ship. They teamed up with another Manchester band called the Deltas, who had just lost a member to the Mindbenders. The Deltas consisted of guitarist Vic Steele, bassist Eric Haydock and Don Rathbone on drums.

That December, they changed their name to the Hollies. Exactly why is unclear. It used to be said that Haydock came up with the name in relation to the festive season, but in 2009 Nash said it was a group decision and was influenced by Christmas and their mutual love of Buddy Holly.

The Hollies performed at the Cavern Club in Liverpool in January 1963, where they came to the attention of Parlophone assistant producer Ron Richards. He offered the band an audition, but Steele chose to quit as he didn’t want to turn professional. They replaced him with Tony Hicks, and they passed the audition, with Richards becoming their producer until well into the 70s. One of the songs they performed, a cover of the Coasters’ (Ain’t That) Just Like Me, became their debut single in May 1963. It did well, reaching number 25. After second single Searchin’, Rathbone chose to leave, and Hicks’ old bandmate Bobby Elliott became their new drummer.

In 1964 the Hollies went from strength to strength. Debut album Stay with the Hollies reached number two in the charts. And they scored hit after hit, most impressive of which was Just One Look. They stood out mainly due to the great harmonies of Clarke and Nash, and a tendency to pick strong songs to cover.  By September Clarke, Nash and Hicks were penning their own tunes and Richards agreed to let them record and release We’re Through as a single, which was another smash.

Some time in late 1964 or early 1965, Clint Ballard Jr approached the Hollies with a song he’d written especially for them. Ballard was a US songwriter who had discovered and managed the Kalin Twins, who had a UK number 1 with When in 1958. He had written Good Timin’ for Jimmy Jones, which went to the top in 1960. His timing with the Hollies was bad initially, as they passed on I’m Alive and it ended up in the hands of fellow Mancunians the Toggery Five. Perhaps they didn’t want to rely too much on covers, but they relented and recorded their own version in May and released it ASAP. And on 24 June the number 1 spot was finally theirs.

It’s all about the uplifting, anthemic chorus really, otherwise I’m not sure there’s much of a song there. But the harmonies are strong as ever and there’s some impressive drum fills too, so the group do the best they can with somewhat average material. I’ve already forgotten the verses but ‘I’m alive!’ is a nice earworm.

The Hollies battled with Presley for a few weeks, with Crying in the Chapel returning to number 1 after a week, but I’m Alive won the war and went back to the top for a further fortnight. It would be 23 years before an advertising campaign helped get the Hollies back to number 1 in 1988.

Written by: Clint Ballard Jr

Producer: Ron Richards

Weeks at number 1: 3 (24-30 June, 8-21 July)

Births:

Footballer Gary Pallister – 30 June
Footballer – 11 July
Politician David Miliband – 15 July
Dinah Rose, QC – 16 July
Academic Steve Webb – 18 July

196. Sandie Shaw – Long Live Love (1965)

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After Sandie Shaw rocketed to number 1 with (There’s) Always Something There to Remind Me in September 1964, the hits kept coming, and she became a regular on the three big music programmes of all the time – Top of the Pops, Ready, Steady, Go! and Thank Your Lucky Stars. Girl Don’t Come reached number three that December and I’ll Stop at Nothing number four in February 1965. As mentioned in my blog for It’s Not Unusual, Shaw was offered that track, but after hearing the demo by Tom Jones, she astutely said he should record it himself.

Another reason Shaw declined was that she preferred Long Live Love, which had been written by Chris Andrews. He was a singer-songwriter who had been performing since 1959 and written several hits for Adam Faith. He was responsible for Girl Don’t Come, which was originally planned as a B-side but became so popular it became promoted. Andrews became a big brother figure for Shaw, and he also produced Long Live Love.

Shaw’s second track proved very popular, staying at the top for three weeks and the first instance in nine years that a female solo artist has usurped another (last time, Anne Shelton toppled Doris Day in 1956). However, it’s rather irritating, and not a patch on her first number 1. I find it smug, saccharine and lazy. Shaw meets her guy at eight, gets home late, and says to herself ‘Long long live love’. Well, that’s just great, but I found it more interesting when she was haunted by the man who broke her heart, personally. Weirdly, by the end of the song the brass is aping It’s Not Unusual, but it can’t compete with that song either.

Long Live Love performed well in Canada and Australia, but once again failed to give her a look-in in the US. Shaw was canny in recording foreign language versions of her hits, and Long Live Love became Pourvu Que Ça Dure in France, Du weißt nichts von deinem Glück in Germany, Viva l’amore con te in Italy and ¡Viva el amor! in Spain.

Andrews would have success under his own name a few months later when Yesterday Man reached number three that Sepetember and hit number 1 in Germany. To Whom It Concerns also did well for him, and became the theme tune for RTÉ’s long-running The Late Late Show.

Olivia Newton-John performed a track called Long Live Love for the UK in the 1974 Eurovision Song Contest, reaching number four. The two songs were not the same, but there is a strange link, as Shaw got to number 1 one last time with the UK’s first Eurovision Song Contest winner, Puppet on a String in 1967. Actor Nick Berry released a version of Andrews’ Long Live Love in 1992 as his follow-up to the theme from his police drama Heartbeat. It bombed.

Written & produced by: Chris Andrews

Weeks at number 1: 3 (27 May-16 June)

Births:

Style Council drummer Steve White – 31 May 

Deaths:

Children’s author Eleanor Farjeon – 5 June
Politician Cecil L’Estrange Malone – 8 June

195. Jackie Trent – Where Are You Now (My Love) (1965)

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Jackie Trent is best known for her songwriting partnership with husband Tony Hatch, particularly for their theme tune to Australian soap opera Neighbours. But before that, she was also a number 1 artist. However, Where Are You Now (My Love) is one of the rarer chart-toppers of the 1960s.

Trent was born Yvonne Burgess in Chesterton, a mining village near Newcastle-Under-Lyme in September 1940. Her parents loved music and she quickly got the bug too, and she made her first TV appearance when she won a talent show at the age of 11. Soon, she was performing at working men’s clubs and with big bands, and became known as ‘the Vera Lynn of the Potteries’. She took the name Jackie Trent at the age of 14. After leaving school she moved to London to find fame, and it was there she first met Hatch.

He had left National Service in 1959 and become a producer and recording artist for Top Rank Records, and one of his singles was his own cover of Russ Conway’s Side Saddle. In 1961, now with Pye Records, it was his suggestion that Petula Clark record Sailor, which became her first number 1 in 1961. Occasionally writing under pseudonyms, he wrote the Searchers’ Sugar and Spice as Fred Nightingale. By the time he and Trent first crossed paths, he had become known for composing television themes, his most famous at that point being for ITV soap opera Crossroads in 1964. He was asked to write a song to feature in the Granada drama It’s Dark Outside, a spin-off of The Odd Man. Cast names included Keith Barron, later to be known as a hapless holidaymaker having an affair in the sitcom Duty Free, and Anthony Ainley, who was the Master on Doctor Who during the 80s. Trent had been recording since 1962, but only recently joined Pye. Hatch chose to team up with her, and they came up with Where Are You Now (My Love). The song was quickly arranged and recorded in December 1964, with music by Hatch and lyrics by Trent. It wasn’t originally intended as a single, but its appearance on It’s Dark Outside went down so well, viewers began contacting TV listings magazine TV Times (a magazine I used to work on, fact fans) for more information. Soon enough it went to number 1.

Where Are You Now (My Love) has since disappeared into obscurity, and it certainly doesn’t compare to the many classic number 1 singles of the period. It’s a fairly good attempt at a Bacharach and David ballad though, and very much of its time. You could easily imagine Petula Clark performing it, or other female stars of the period such as Shirley Bassey or Cilla Black. I haven’t seen the footage it was used on, but I picture a rainy, moody scene, with the lead actress searching for her lover. It’s serviceable enough, but I guess you had to be there at the time to truly enjoy it.

The songwriters’ friendship quickly blossomed into a romance, but Hatch was already married. In 1966 they wrote Petula Clark’s hit I Couldn’t Live Without Your Love, which was inspired by their affair. Soon after they went public, and they wed a year later. They continued to write hits for many stars including Frank Sinatra, Dean Martin, Des O’Connor and Scott Walker, but despite continuing to record on her own, Trent couldn’t repeat her number 1 success. They did however top the Australian charts together with The Two of Us, and went on tour together there as Mr and Mrs Music.

Into the 70s, Trent and Hatch moved into musical theatre. 1972 saw Trent’s favourite football team Stoke City reach the Football League Cup final, and to commemorate their achievement, they wrote We’ll Be With You. Performed by the team and supporters, it is still played at the club to this day, helped by the fact that Stoke defeated Chelsea 2-1 to win the trophy.

The couple relocated to Australia in the 80s, and were asked to provide a theme tune to a new soap opera called Ramsay Street. Trent and Hatch agreed to have a go, but weren’t sure about the title due to its similarity to Coronation Street. They worked on a song called Neighbours instead, and within 24 hours they had written it, called Barry Crocker in to sing it, and left it with the show’s producers, who loved it so much, they changed the title to match the song.

Trent and Hatch had two children together, but the relationship dissolved and they separated in 1995 before divorcing in 2002. She remarried three years later, and moved to Menorca, Spain with new husband Colin Gregory. She had been working on her autobiography when she died in 2015 after a long illness, aged 74.

Written by: Tony Hatch & Jackie Trent

Producer: Tony Hatch

Weeks at number 1: 1 (20-26 May)

Deaths:

Aircraft designer Sir Geoffrey de Havilland – 21 May 

193. The Beatles – Ticket to Ride (1965)

23 April saw the opening of the Pennine Way. The National Trail runs 267 miles from Edale in the Derbyshire Peak District, up to Kirk Yetholm in Scotland. Three days later, Manchester United won the Football League First Division title. In other football news, Liverpool won the FA Cup for the first time, defeating Leeds United 2-1 at Wembley Stadium on 1 May. Elsewhere, on 7 May the Rhodesian Front, led by Ian Smith, won a landslide victory in the general election in Rhodesia.

Meanwhile, the Beatles were at number 1 for the seventh time, with their most adventurous single to date.

In February, they had begun filming, and recording the soundtrack album, for their second movie (their first in colour), provisionally called Eight Arms to Hold You. Just as weird as the title was the film itself. Once again directed by Richard Lester, this was a more surreal, loose, knockabout comedy than A Hard Day’s Night (1964) and with a bigger budget, too. Intended as a spoof of spy films, it essentially became an excuse for the Fab Four to travel to exotic locations. The Beatles spent most of the time stoned out of their minds, and would often struggle to stop themselves laughing while filming. In some scenes, their eyes are bloodshot from all the smoking they indulged in. Lads.

Fortunately for everyone, the Beatles on marijuana didn’t result in self-indulgent dribble. It made for their best film. That’s nothing compared to the impact on their music, though.

Ticket to Ride was the first track worked on for their fifth album. In 1980, Lennon claimed in Playboy that the song was pretty much his own. He also proudly stated it invented heavy metal. The jury’s out on both, but it began one hell of a creative patch. None of their singles had sounded like this, musically or lyrically. He said Paul McCartney was only responsible for Ringo Starr’s drum sound, whereas McCartney later stated they wrote it together in three hours.

Even if Lennon was right, you can’t underestimate the drums on Ticket to Ride, so McCartney clearly made an important contribution. Making Starr play in such a stop-start fashion created an epic, proto-pyschedelic sound, which isn’t that far removed from the still-startling Tomorrow Never Knows, created a year later. George Harrison once said that the drums were also influenced by the equally important jagged guitar riff, which he claimed ownership of, having played it on his Rickenbacker. Whoever came up with what, this track was breaking new ground.

Although the Beatles were innovative with their songwriting from the start, those first few years were often full of basic lyrics about love. Not this time. The combination of an adoration of Bob Dylan and drugs made the words in Ticket to Ride more adult, oblique and interesting. A woman is leaving the narrator, that much we know. So far, so ‘blues’. But where to? Some suggest the woman has become a prostitute. McCartney once claimed she’s simply off to Ryde on the Isle of Wight. I find the former more likely. The prefix of ‘I think’ adds so much to the song, without explaining itself. And although the narrator isn’t sure exactly whether he’s upset or not, he says his baby definitely isn’t. It was rare at the time to allow a woman in a break-up to have the upper hand in a pop song.

Ticket to Ride was also a first for the Beatles for the way in which it was recorded. They were taking an increased interest in the way their songs sounded, and from now on they would tape rehearsals and concentrate on backing tracks, before overdubbing more instruments and the vocals.

Although most of the rest of the album it came from was fairly straightforward, Ticket to Ride marked the start of the band’s psychedelic period, and that’s easily my favourite era of my favourite band. The slow pace of the drumming, combined with the drone of the guitars, gives it an Indian feel. It seems this was a coincidence rather than by design, as it was later, during the making of the film, that Harrison became interested in Indian music (it seems the decidedly un-PC comedy Indian characters in Help! had their uses after all). The middle-eight was your more standard Beatles fare, but I can still find the switch back to the main riff spine-tingling, even after all these years. The ‘My baby don’t care’ refrain in the coda is a thrilling climax, with great guitar licks from McCartney.

Ticket to Ride enjoyed a lengthy (by 1965 standards – most number 1s only lasted a week) three-week stint at the top. It was their longest track to date, running for over three minutes. Singles were getting longer, hair was getting longer, things were getting weirder. They promoted the song on Top of the Pops, and a brief clip of the performance was also shown on Doctor Who in May, as part of the story The Chase.

The most famous performance of the song was in their second movie. By the time of its release it was known as Help!, and Ticket to Ride featured in a sequence in which the band learned to ski in the Austrian Alps while also avoiding the assassins attempting to steal Ringo’s ring. A highly influential part of the film, some say it was a big influence on the idea of music videos and eventually MTV.

As I mentioned in my blog for I Feel Fine though, the Beatles were already making promo films to save them having to be everywhere at once. That November, they made promos for their next single, Day Tripper/We Can Work It Out, and also made one for Ticket to Ride to feature on a festive edition of Top of the Pops. The foursome mimed in front of a backdrop of large tickets, with John, Paul and George sat in director’s chairs.

She Loves You is perhaps the greatest pop song of all time, but I think Ticket to Ride may be my favourite song of the early years of the Beatles. Time will never dull its magnificence.

Written by: John Lennon & Paul McCartney

Producer: George Martin

Weeks at number 1: 3 (22 April-12 May)

Births:

Actress Anna Chancellor – 27 April 
Television presenter Alice Beer – 1 May 
Wrestler Darren Matthews – 10 May

Deaths:

Welsh novelist Howard Spring – 3 May

192. Cliff Richard – The Minute You’re Gone (1965)

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Remember this guy? Cliff Richard? Biggest British pop star before the Beatles, had seven number 1s with the Shadows?

It’s often said that the Beatles and the other new groups of this era vanquished all who came before them, but it wasn’t as straightforward as that. Cliff was very much still a presence in the charts, and although his last number 1 was Summer Holiday in 1963, every song he had released since made it to the top ten.

Cliff had been a Jehovah’s Witness since 1961, but in 1964 he became an active Christian and joined evangelical group the Crusaders. This won’t have worked wonders for a rock’n’roll star at the time, but the hits continued. Not in the US though, where he could barely get noticed, save for a cover of It’s All in the Game (a UK number 1 for Tommy Edwards in 1958). His US label, Epic Records, wanted to change this, and met with Richard and his producer Norrie Paramor to sketch out plans, armed with 50 US songs to try. They picked 15, and Richard liked the idea of travelling to various American cities to record specific tracks. In Nashville, he recorded The Minute You’re Gone, which had been written by local fiddle player and singer Jimmy Gately, and became a country hit for Sonny James in 1963. The track was co-produced by Billy Sherrill, known for his work with Tammy Wynette and George Jones. Nashville-based musicians performed the backing, making Cliff’s eighth UK number 1 his first without Hank Marvin and co. The Anita Kerr singers provided backing vocals.

I was curious to hear this, wondering if it was going to be an exciting new development in the Cliff Richard sound. I should have known better. The Minute You’re Gone is a dull ballad, rendered even more bland by Richard’s safe delivery. He doesn’t exactly sound heartbroken here. Does he ever, though? The tune is very reminiscent of Ray Charles’ 1962 chart-topper I Can’t Stop Loving You, but not as good. Bring back the Shadows.

Although it brought him back to the number 1 position after two years away, The Minute You’re Gone ended a startling run of 23 consecutive top ten hits between 1960 and 1965. This is still a record for male artists, I believe. Cliff had somehow managed to make himself sound more dated than he sounded in 1963. To make things worse, he was knocked off the top by a single that made everyone look old-fashioned by comparison.

Written by: Jimmy Gately

Producer: Billy Sherrill & Bob Morgan

Weeks at number 1: 1 (15-21 April)

Deaths:

Physicist Sir Edward Victor Appleton – 21 April

191. Unit 4 + 2 – Concrete and Clay (1965)

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I was first alerted to Concrete and Clay when then-former Dexys Midnight Runners singer Kevin Rowland had released a version in 1999 on his covers album My Beauty. At the time, the general opinion was that Rowland was suffering some kind of breakdown, on account of the album cover featuring him in saucy drag and make-up. I found this a bit harsh, until I saw him perform at Leeds Festival around that time. He did indeed appear to have gone a bit mad, performing a short set in drag on his own to a karaoke backing. At one point he shoved his mic in-between the legs of a backing singer and sang into her crotch aggressively. Nobody knew where to look, and bear in mind Iggy Pop once flashed his cock about on the same stage in see-through trousers, that’s saying something.

However, among the odd song choices, there was this enjoyable bossa nova track, which had been the lead single from the album. Only later did I discover it came from one-hit wonders Unit 4 + 2. What was that name all about?

Well. Unit 4 formed in 1962. Brian Parker had been the guitarist and songwriter with the Hunters, an instrumental group that once stood in for the Shadows when they were unavailable for Cliff Richard. He left to join Adam Faith’s backing group the Roulettes briefly, but decided he wanted to ditch the instruments and start up a vocal harmony group. First he asked his friend David ‘Buster’ Meikle to join him, then school friends Tommy Moeller and Peter Moules. Moeller became lead singer, and in 1963 they became Unit 4. Parker soon stopped performing with the group due to ill-health and a dislike of live appearances, so his spot was taken by Howard Lubin. He did however remain behind the scenes to co-write all their material with Moeller.

They were starting to get noticed, but the rise of the Beatles made them realise they needed a beefier sound so they decided to expand to a six-piece, recruiting Rod Garwood on bass and Hugh Halliday on drums. They didn’t see the point in having to begin again with a new name so they took the (sort-of) logical decision to become Unit 4 + 2. They signed with Decca in 1964 and released their first single, a folk-pop tune called Green Fields. That and follow-up Sorrow and Pain went nowhere. For their next single they tried something different.

As already mentioned, Concrete and Clay was built around a bossa nova rhythm, and so didn’t sound like anything else in the charts in 1965. They added to their sound further when Parker invited ex-bandmates from the Roulettes, guitarist Russ Ballard and drummer Bob Henrit to the recording. This distinctive song featured that infectious beat, an acoustic backing and a memorable chorus professing of undying love. Perhaps not enough to get to number 1 separately, but as a package, it was a decent, well-deserved hit.

As was fast becoming the norm, it was pirate radio that had an important part to play in its success, this time, mainly Wonderful Radio London, and one disc jockey in particular, that would go on to become one of the most important of the decade, and beyond: Kenny Everett.

Concrete and Clay could have perhaps gone on to also enjoy US success, but unfortunately for them, Eddie Rambeau released a version shortly afterwards, which in effect split the vote, and both versions stalled. Decca rush-released an LP, the imaginatively titled 1st Album, and Unit 4 + 2 found themselves with that eternal problem all one-hit wonders have. They would try soul and even early psychedelia, but listeners wanted more of the sound that made them famous. But that sound was so ‘them’, if they tried to repeat the formula they were accused of peddling ‘more of the same’. They couldn’t win.

In 1967, Meikle, Garwood and Halliday left. As the Roulettes had also split recently, Ballard and Henrit joined as permanent members, meaning Unit 4 + 2 were now, confusingly, a five-piece. They went in a more ‘rock’ direction at first, then attempted a mroe lavish version of pyschedelia akin to the Moody Blues, but by 1969 the game was up.

Ballard and Henrit teamed up with Rod Argent from the Zombies to become Argent. Ballard wrote and sang their hit God Gave Rock and Roll to You, later covered by KISS, and Hold Your Head Up High. He left the group in 1974 to pursue a career as a songwriter, and did very well, writing So You Win Again for Hot Chocolate, which became their sole number 1 in 1977. Remember Since You’ve Been Gone by Rainbow? That was him, too.

In 1984 Henrit took over from Mick Avory as drummer in the Kinks, and remained until they split for good in 1996. From the rumours cirulating so far, it would appear it will be Avory back on board if the Davies brothers do decide to reform.

The original members disappeared into obscurity, by and large, although Halliday went on to become a director with English National Opera. Despite his ongoing ill health, Parker lived until 2001 when he died suddenly during a game of tennis.

Written by: Tommy Moeller & Brian Parker

Producer: John L Barker

Weeks at number 1: 1 (8-14 April)