219. Georgie Fame and the Blue Flames – Get Away (1966)

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After coming out on top in their group, England’s World Cup winning ways continued in the knockout stages. On 23 July they defeated Argentina at Wembley Stadium thanks to a goal in the last 15 minutes from Geoff Hurst. Three days later, two goals from Bobby Charlton against Portugal, also at Wembley, saw England secure their place in the final. Their opponents were to be West Germany, who had defeated the Soviet Union 2-1 the previous day.

At number 1 that week were jazz and R’n’B group Georgie Fame and the Blue Flames. Since their previous number 1, Yeh Yeh in January 1965, the group had released three singles. In the Meantime, Like We Used to Be and Something didn’t make it into the top 20. Fame, real name Clive Powell, wrote Get Away to be used in a television advertisement for National petrol. Four years since Cliff Richard and the Shadows’ Summer Holiday, this was a more swinging, hip way of celebrating British summertime, and with the World Cup ongoing, all eyes were on England. Its release proved timely.

Set to an upbeat acoustic guitar, Fame’s gravelly but chipper vocal and chiming brass, Get Away is one of the lesser-known number 1s of the 60s, and is certainly not a classic like the recent Paperback Writer or Sunny Afternoon. That’s not to say it’s a bad track, and I’d imagine it worked very well as an advert jingle., but it rather outstays its welcome as a single. The lyric ‘Don’t mind the weather girl’ proved prescient, as although we like to imagine the summer of 66 was always glorious, in reality July was wet and dull most of the time.

Georgie Fame and the Blue Flames released two more singles that year, making the top 20 with Sunny and Sitting in the Park. They released third album Sweet Things (featuring new drummer Mitch Mitchell, only a year away from joining the Jimi Hendrix Experience) and shortly after, Fame made the decision to sign with CBS and become a solo artist. He would have one more number 1.

In the 70s, Get Away (which was also known as Getaway due to misprints on records) found further life as the theme tune to a long-running travel show in Australia called, you guessed it, Getaway.

Written by: Clive Powell

Producer: Denny Cordell

Weeks at number 1: 1 (21-27 July)

Births:

Politician Diana Johnson – 25 July 

190. The Rolling Stones – The Last Time (1965)

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April Fool’s Day 1965: The Greater London Council came into power, replacing the London County Council. Also, the Finance Act introduced corporation tax, which replaced income tax for corporate institutions.

Three months earlier, fresh off the back of their second number 1, Little Red Rooster, the Rolling Stones had released their second album, The Rolling Stones No. 2, which topped the album charts. Although the majority of the LP was made up of covers, including their classy version of Time Is on My Side, there were three tracks written by Mick Jagger and Keith Richards. All were average, but a sign of things to come. The following month their first single to feature their name on the credits, The Last Time, was released, and a month after that became their third number 1. Except it wasn’t as straightforward as that.

Yes, the guitar lines, the intro and the verses were original, but the chorus was a steal of gospel group the Staple Singers’ This May Be the Last Time from 1958, which soul supremo James Brown had released as the B-side to Out of Sight in 1964. Luckily for the Stones, that track was a traditional with no songwriting credit. Very crafty.

Nonetheless, the Stones’ elements are strong and complement the chorus well, with Jagger further developing the ‘can’t-be-arsed-love’ persona of their first number 1 It’s All Over Now. Brian Jones’ lead guitar is very memorable and makes for a great intro, and Richards’ solo is much better than that of the aforementioned song. The highlight of the track is the end, where normally cool, calm and collected Jagger begins screaming repeatedly during the fade-out. Here was a strong sign that, with Jagger and Richards continuing development as songwriters, the Rolling Stones had the potential to move beyond blues and R’n’B covers. The main let down, for me, is the production. Andrew Loog Oldham, always a fan of raw production, worked with Phil Spector on this. What worked magnificently on You’ve Lost That Lovin’ Feelin’ just isn’t as effective on this. The deliberate muddiness just frustrates me. I’d rather hear a cleaner sound. Click on the YouTube video above to see a classic performance on the song on Top of the Pops, with George Best in the audience.

In addition to managing and producing the Rolling Stones, Loog Oldham started a side-project. The Andrew Loog Oldham Orchestra wasn’t an orchestra, but a revolving stable of session musicians, and occasionally, members of the Rolling Stones. In 1966 they released their fourth album, The Rolling Stones Songbook. One of the covers on there was a version of The Last Time. 31 years later, alt-rockers rockers The Verve built Bittersweet Symphony around a sample of this. After two albums as a cult psychedelic band, they suddenly became big, thanks to this excellent state-of-the-nation track. Unfortunately for them, the Rolling Stones’ notoriously tough lawyers ABKCO got involved and due to the threat of litigation, Verve singer-songwriter Richard Ashcroft surrendered all royalties to Jagger and Richards, who were added to the songwriting credits of Bittersweet Symphony, adding an extra poignancy to that song’s title. Considering the sample sounds hardly anything like The Last Time, which Jagger and Richards clearly stole from the Staple Singers… Very crafty.

To further kick dirt in the Verve’s faces, Loog Oldham then sued the Verve over the same sample. He had little to do with the sample either, it was written and arranged by David Whitaker! Said strings are also alleged to be featured on Tinchy Stryder featuring N-Dubz’s 2009 number 1, called, appropriately, Number 1. Having just listened to that, I don’t think it’s true. They’re very similar, but surely if they were the same, Jagger and Richards wouldn’t miss a chance to get royalties from that too? Hmm.

Written by: Mick Jagger & Keith Richards

Producer: Andrew Loog Oldham

Weeks at number 1: 3 (18 March-7 April)

Births:

Footballer Steve Bull – 28 March
Journalist Piers Morgan – 30 March
Composer Robert Steadman – 1 April 
Actor Sean Wilson – 4 April 

Deaths:

Mary, Princess Royal and Countess of Harewood – 28 March
Olympian rower Richard Beesly – 28 March

185. The Moody Blues – Go Now (1965)

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On a typically pale, grey 30 January, the nation bid a final farewell to Sir Winston Churchill, the man who had saved the country from tyranny at the hands of the Nazis. For three days and three nights, over 300,000 mourners had filed past his casket. A million people gathered along the procession route as the gun carriage rode past 10 Downing Street and Trafalgar Square, where 20 years previously the mood had been altogether different as the news of victory in World War Two was celebrated. The service took place in St Paul’s Cathedral, attended by the Royal family and world leaders, before he was buried privately at Bladon, near his family’s ancestral home in Oxfordshire.

And so it was rather appropriate that the number 1 single at the time was a song about being unable to cope with the departure of a loved one. Go Now was very different to the type of songs that the Moody Blues would later be famous for, but then this was a different line-up.

The group first formed in Birmingham in 1964. Multi-instrumentalist Ray Thomas, bass player John Lodge and keyboardist Mike Pinder had been members of El Riot & the Rebels. Thomas and Pinder then joined the Krew Cats, but they disbanded after a spell in Hamburg. They recruited Denny Laine as their guitarist and singer, Graeme Edge as their drummer and Clint Warick as bassist after Lord declined due to still being at college. They hoped for a sponsorship deal from the M&B Brewery and named themselves the M Bs and the M B Five, but it never came off, so they became the Moody Blues as a subtle reference to Duke Ellington’s Mood Indigo. That spring they signed with Decca. Getting a beat group a record deal had become much easier once Beatlemania began, but their debut single Steal Your Heart Away failed to chart.

They then decided to record Go Now. This soul ballad had been written by Larry Banks and Milton Bennett for Banks’ wife, Bessie, who had recorded a demo in 1962. Hit-making producers and Elvis Presley collaborators Jerry Lieber and Mike Stoller produced a new version with her the following year. Upon hearing Bessie Banks’ version, Laine was entranced and insisted the Moody Blues make it their next single. It was produced by Denny Cordell, who later produced number 1s for Procul Harum and Joe Cocker.

The opening of Go Now is one of my favourite introductions to any song. So much so, I can find myself singing it without warning. It seems to have taken up a special place within my brain over the years. Laine’s vocal throughout is perfect, and although the Moody Blues version is a straightforward copy of the original, his voice has an edge to it that tops Banks’ performance. Critics of the song point out that after the beginning the lyrics don’t really go anywhere, but I think that’s kind of the point. The singer is so broken up, they can’t get it together enough to formulate their thoughts. I’ll always have a soft spot for Go Now.

Unusually, the band filmed a promotional video, produced and directed by co-manager Alex Wharton. The Beatles were one of the only other bands attempting such an idea at the time. Watching Go Now, you have to wonder if this is where Queen got the idea for Bohemian Rhapsody (see above).

And that was just about it for the Moody Blues. Except it wasn’t. Wharton left the stable shortly after their debut album The Magnificient Moodies was released, and they couldn’t capitalise on their early success. In June 1966 Warwick quit to be replaced by Rod Clark. Things got worse when Laine left that October during recording for their second album, with Clark choosing to leave the sinking ship a few days later.

Down, but not out, the remaining three recruited Justin Hayward to replace Laine, and Lodge returned to the fold now his college days were done. Come 1967, the music world was changing once more, and psychedelia was growing in popularity. Wisely, the Moody Blues chose to abandon the R’n’B sound and move towards a more experimental sound. Their contract with Decca was about to expire but they owed the label a lot of money and their second album never surfaced. Luckily for them they found a sympathetic figure in Hugh Mendl, who had just established Deram as a more leftfield offshoot of Decca. He helped throw the Moody Blues a lifeline: make a rock version of Antonín Dvořák’s New World Symphony to promote the label’s Deramic Stereo Sound audio format, and their debt would be written off. The band agreed, but the project fell through, so they set to work on the album that would become Days of Future Passed. Blending classical music with psychedelia, the Moody Blues became purveyors of symphonic rock, and eventually progressive rock giants. Having listened to the album for the first time recently, I have to admit to being disappointed. It takes itself a bit too seriously, but you’d be a fool to not love Nights in White Satin. I prefer their follow-up album, the more out-there In Search of the Lost Chord (1968), particularly Ride My See-Saw, Legend of a Mind and Om.

The Moody Blues split in 1974, but were back together only three years later, and have continued ever since despite further line-up changes. Hawyard, Lodge and Edge have remained, however. Despite the fact they have never been the most fashionable of groups, they were and are hugely successful, and earlier this year they were inducted into the Rock and Roll Hall of Fame.

And what became of Denny Laine? Oh, not much. He formed the Electric String Band with ex-members of the Move and the Pretty Things, in a set-up similar to that of the Electric Light Orchestra, who came later. He also tried his hand as a solo artist before forming Balls in February 1969 (great name) and also played in Ginger Baker’s Air Force. In 1971, he became a multi-instrumentalist in Paul and Linda McCartney’s new group, Wings. Considering how similar his name is to Penny Lane, it was clearly meant to be. He contributed lead and rhythm guitars, lead and backing vocals, bass and woodwinds. So, no shrinking violet, despite working with an ex-Beatle. Wings were one of the biggest bands of the 1970s, and he co-wrote, among others, Mull of Kintyre, one of the biggest-selling singles of all time and the 1977 Christmas number 1. He decided to leave Wings after McCartney became reluctant to tour in the wake of John Lennon’s death. He did occasionaly continue to collaborate with McCartney, though. He performs with the Denny Laine Band to this day.

Written by: Larry Banks & Milton Bennett

Producer: Denny Cordell

Weeks at number 1: 1 (28 January-3 February)

Births:

Wrestler Norman Smiley – 28 February

Deaths:

Cricketer Tich Freeman – 28 January 

184. Georgie Fame and the Blue Flames – Yeh Yeh (1965)

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1965 began with the death of one of the 20th century’s most notable figures. On 15 January, newspapers reported Sir Winston Churchill was seriously ill after suffering a stroke. The 90-year-old’s time had come. 24 January saw Churchill pass away in his sleep at home, 70 years to the day his father had died. The country was in mourning, and prepared for a state funeral, the first time a ‘commoner’ had received one in the 20th century.

At number 1 that fortnight was an entirely inappropriate party song, that it would be impossible to describe without using the word ‘groovy’. In fact, that very word did appear in Georgie Fame and the Blue Flames’ version of Yeh Yeh. These two-plus minutes are the world of Austin Powers, for real.

Fame was born Clive Powell in Leigh, Lancashire back in June 1943. He fell in love with the piano from a young age, and as a teenager he performed with various groups in and around Manchester. His influences included the rock’n’roll pianists of the time, such as Jerry Lee Lewis and Fats Domino. In 1959 the Powell family moved to London, and Clive was discovered by Lionel Bart, who found fame that year as the writer of Living Doll. Bart took the 16-year-old to meet Larry Parnes, whose ever-expanding roster of Brit rock’n’rollers included Billy Fury, Johnny Gentle, Marty Wilde and Lenny Lovely. I might be making one of those up. Parnes was happy to take him on, but Powell didn’t like the idea of being dubbed ‘Georgie Fame’. Unfortunately for him he had to like it or lump it.

In the summer of 1961 Fame became a member of Fury’s backing group, the Blue Flames, who consisted of guitarist Colin Green, bassist Tex Makins, drummer Red Reece and saxophonist Mick Eve. Fury let the group go at the end of that year, complaining they were too jazzy, and the Tornados replaced them (before their number 1 smash Telstar). Fame graduated to the frontman position in May 1962, and further line-up changes took place. Georgie Fame and the Blue Flames moved away from purely rock’n’roll and began drawing on jazz, R’n’B and even ska. By the end of 1962 they had a residency at the Flamingo, a jazz club in London’s West End. The US servicemen that were regulars at the club helped open Fame up to new sounds by lending him their records. At around this time he also fell in love with the sound of the Hammond organ, which was rare in the UK at the time. This was thanks to hearing Booker T & the MG’s classic Green Onions. In 1963 they signed with EMI Columbia, and the following year they released their first album, Rhythm and Blues at the Flamingo, produced by Ian Samwell, who had been an original member of the Shadows (then called the Drifters). It was a flop and so were their first three singles. After further line-up changes (including a brief spell from Jimmie Nicol behind the drumkit. Nicol famously filled in for an ill Ringo Starr while the Beatles were touring), they released their second album, Fame at Last. The perfect album name.

Among their repertoire at the time was the Latin-flavoured jazz instrumental Yeh Yeh, written by Rodgers Grant and Pat Patrick and recorded by Afro-Cuban percussionist Mongo Santamaría in 1963. Shortly after, lyrics were added by Jon Hendricks of the vocal trio Lambert, Hendricks & Ross.

The ubiquity of Fame’s verson, thanks to numerous adverts and TV shows over the years haven’t dulled my appreciation. It may sound a bit smug and self-satisfied, even self-consciously hip, but it’s a great time capsule of the swinging 60s, and it’s a nicely robust production. Lyrically, it’s not far off the Beatles’ I Feel Fine, which it had knocked from the top after its five-week stint over Christmas. I particularly like the way the tune changes and the coolness changes into joy when Fame sings ‘We’ll play a melody/And turn the lights down low/So that I can’t see’. Nicely done, all in all.

Two more number 1s for Fame, with and without the Blue Flames, were to follow, and perhaps the greatest year for number 1 singles had begun.

Written by: Rodgers Grant, Pat Patrick & Jon Hendricks

Producer: Tony Palmer

Weeks at number 1: 2 (14-27 January)

Births:

Chef Hugh Fearnley-Whittingstall – 14 January
Rapper Slick Rick – 14 January
Actor James Nesbitt – 15 January
Countess of Wessex Sophie Rhys-Jones – 20 January
Scottish actor Alan Cumming – 27 January

Deaths:

Politician Winston Churchill – 24 January 

175. Manfred Mann – Do Wah Diddy Diddy (1964)

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On 13 August 1964, Peter Anthony Allen at Walton Prison, Liverpool and Gwynne Owen Evans at Strangeways Prison, Manchester were hanged for the murder of John Alan West on 7 April. They were the last executions to take place in the UK. Football TV programme Match of the Day began broadcasting on BBC Two on 22 August, making it the longest-running football show in the world.

The number 1 at the time of the executions was a suitably sombre affair befitting the occasion. Actually, no it wasn’t, It was Doo Wah Diddy Diddy by Manfred Mann. An unusual song by an unusual band. Manfred Mann was the keyboard player in Manfred Mann, but it wasn’t his name. Confused yet?

Mann’s real name was Manfred Lubowitz. Born in Johannesburg, South Africa in 1940, the aspiring jazz pianist moved to the UK in 1961 and took the name Manfred Manne in tribute to the jazz drummer Shelley Manne. He soon dropped the ‘e’. In 1962 Mann met percussionist Mike Hugg at Butlin’s in Clacton, and they formed a house band that included Graham Bond. Mann and Hugg decided to form a new group known as the Mann-Hugg Blues Brothers, with the aim of combining jazz with the new R’n’B sound that was becoming popular. The line-up quickly grew, but they struggled to find a singer until they met Paul Jones. Jones, originally Paul Pond, had previously performed duets as ‘PP Jones’ with Elmo Lewis. Lewis was in fact Brian Jones. At one point Jones and Keith Richards had asked Jones to be the singer in a new group but he turned them down. By the end of 1962 the group was known as Manfred Mann & the Manfreds, and were a five-piece which also included Mike Vickers on guitar, saxophone and flute, and Dave Richmond on bass.

The quintet signed with EMI in March 1963 and were assigned to the His Master’s Voice label to work with producer John Burgess, who had produced Adam Faith’s two number 1s, What Do You Want? (1959) and Poor Me (1960). Burgess thought they had potential but insisted they make their name snappier and despite Mann’s reluctance, they became Manfred Mann. The group’s first few singles didn’t chart, but their profile received a huge boost when they were asked to come up with a new theme tune for the ITV music series Ready, Steady, Go! The result, 5-4-3-2-1, rocketed up the charts to number five. Richmond left the band shortly afterwards to be replaced by Jones’ friend Tom McGuinness.

A few singles later, the band opted to cover married couple Jeff Barry and Ellie Greenwich’s Do-Wah-Diddy, which had been released in 1963 by US vocal group the Exciters. Together with Phil Spector, they had helped define the girl group sound of the early 1960s, and Do-Wah-Diddy was considered a sequel to Da Doo Ron Ron, which had been a huge success for the Crystals. Manfred Man opted to rename their version Do Wah Diddy Diddy, for some reason. It was an odd song choice for a jazz and R’n’B group, but one that paid off well.

Do Wah Diddy Diddy is a strange but memorable mix of bizarre lyrics, sung earnestly by Jones in his best bluesy voice, with an incredibly catchy tune that has stood it in good stead over the years. It suffers next to the recent batch of classic number 1s, but it’s better than some would say, mainly because the tune is one hell of an earworm. Never think the British public will deny a good song just because the lyrics are gibberish. Comedian Peter Kay certainly has a point about those opening lines though:

‘There she was just a-walkin’ down the street, singin’ “Do wah diddy diddy dum diddy do”
Snappin’ her fingers and shufflin’ her feet, singin’ “Do wah diddy diddy dum diddy do”

Taken literally, that’s a very strange image, isn’t it? Yet it’s taken as read that the song is simply about a guy who’s turned on by a girl on the street. Critics point out that Jones’ vocal is out of place in what is essentially a fun track, but I’d argue such passion makes it clear what he’s really singing about. So all in all, no classic, but I can see why it’s stood the test of time.

The success of Do Wah Diddy Diddy meant Manfred Mann moved further away from their original sound for their single releases, covering other girl groups for their 45s and tucking the jazz and R’n’B away on their albums. Two more number 1s would appear over the next few years.

Written by: Jeff Barry & Ellie Greenwich

Producer: John Burgess

Weeks at number 1: 2 (13-26 August)

173. The Rolling Stones – It’s All Over Now (1964)

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The Rolling Stones have been old for so long now, it’s hard to imagine how dangerous they must have seemed in 1964. There had been a few rivals to the Beatles’ crown the previous year, but they all followed the same template of charming, always smiling, suit-wearing nice guys. The Animals had been different, and broken the mould with their folk-rock cover of The House of the Rising Sun, but when It’s All Over Now replaced it at number 1, the Rolling Stones became the new biggest threat to the Fab Four, despite the fact they were actually pretty good friends. Here were five long-haired rogues who were in thrall to the blues, who rarely posed for the cameras, who posed a threat to the morals of the older generation.

Mick Jagger and Keith Richards had been classmates in the early 1950s in Dartford, Kent, but the Jaggers moved five miles away to Wilmington in 1954. Soon after, Jagger formed a garage band with Dick Taylor, and in 1961, Jagger and Richards met again at Dartford railway station. Jagger was carrying Chuck Berry and Muddy Waters records, and the pair got talking about music. Soon after, the duo and Taylor teamed up with Alan Etherington and Bob Beckwith and became the Blues Boys. In March 1962 they read about Ealing Jazz Club and Alexis Korner’s R’n’B band Blues Incorporated. The following month they visited the venue and got to know members of the band, and slide guitarist Brian Jones and keyboardist Ian Stewart decided to form a new band with Jagger, Richards and Taylor. Drummer Tony Chapman is also believed to have been in the line-up for the band’s debut gig at London’s Marquee Club on 12 July. Brian Jones was pressed for a band name by a journalist over the phone beforehand, and he spotted a Muddy Waters LP on the floor. The debut gig saw them billed as the Rollin’ Stones, before they changed their name.

The Rolling Stones toured the UK, performing purely blues and R’n’B tunes by other artists. Bill Wyman replaced Taylor on bass that December, and in January 1963, drummer Charlie Watts jumped ship from Blues Incorporated to replace Chapman. The following month they secured a Sunday residency at the Crawdaddy Club. In May, Andrew Loog Oldham replaced Giorgio Gomelsky as their manager. Oldham had been a publicist for Joe Meek, Bob Dylan’s first UK tour, and even the Beatles. It was they who told him about this hot new blues band. Originally Oldham had the Stones mirror the image of the Beatles, but then wisely decided a contrast would make them stand out of the crowd, and he encouraged them to look threatening and uncouth. He also removed Stewart from the official line-up, deciding he didn’t fit with the image he wanted and that six was one member too many. Stewart remained as road manager and touring keyboardist and would stay with the band until his death in 1985.

Oldham got the Stones signed with Decca Records, who had famously declined the Beatles. Not only that, he arranged for high royalty rates and full artistic control. He appointed himself the band’s producer, despite having no experience, and they would record at Regent Sound Studios, which unlike Abbey Road was mono only. Low booking rates meant longer time in the studio. All this may explain why some of the best Rolling Stones recordings are of a poor fidelity when compared to the Beatles’ works.

Their debut single, a cover of Chuck Berry’s Come On peaked at number 21, despite their refusal to perform it live. The follow-up, I Wanna Be Your Man, was a Lennon and McCartney (mainly McCartney) original. The duo donated it to the Stones and even finished writing it for them while they looked on. It reached number 12. Personally I prefer the Beatles more poppy version, sang by Ringo Starr on With the Beatles, but their first single of 1964 Not Fade Away, originally by the Crickets, was a big improvement and reached number three. Jagger and Richards had begun to write songs together, but unlike Lennon and McCartney, this took time and wasn’t something they found naturally easy at first.

June 1964 saw the band tour the US for the first time. They didn’t exactly win over hearts and minds like the Beatles had done earlier that year. However, they did manage to record at the legendary Chess Studios in Chicago, and met many of their heroes, including Muddy Waters. A week or so earlier, New York DJ Murray the K, fresh from his successful interview with the Beatles, had featured the Stones on his show, and played them a track by the Valentinos called It’s All Over Now. The Valentinos were also known by the Womack Brothers, and were led by gifted singer-songwriter Bobby Womack before he went solo. Their single hadn’t been a hit, but the Stones enjoyed it and decided to have a go at it themselves. Years later, Womack revealed that when his producer Sam Cooke told him about the Rolling Stones’ plans, he had told Jagger to ‘get his own song’.

Some of the Stones’ early recordings are at times a little too raw for my liking, and occasionally they sound surprisingly lacking in confidence. It’s All Over Now, like Not Fade Away, sees the band becoming more assured in the studio. Maybe recording in such a hallowed building gave them the edge they had been searching for. They take the strident bounce of the original and give it a more ragged, menacing sound, and Jagger is really finding his feet in particular, sounding less like a man impersonating his blues heroes, and developing a cockiness. It may all be over now, but Jagger sounds like he really couldn’t give a shit. Richards and Jones’s backing vocals are enjoyable, and so is Richards’ lead guitar line. The only thing I’m not sure of is his guitar solo, and apparently Richards and Lennon felt the same. It sounds a bit messy and rushed, and like it’s been lifted from a completely different song.

The first of eight number 1s, It’s All Over Now established the band as a true 60s phenomenon in the UK, and saw them begin to make inroads in the US. Six months after its release, the tempestuous Womack received a royalty cheque. He told Cooke that Jagger could have any song of his he wanted.

Written by: Bobby & Shirley Womack

Producer: Andrew Loog Oldham

Weeks at number 1: 1 (16-22 July)

Births:

Actor Ross Kemp – 21 July
Actress Bonnie Langford – 22 July

Deaths:

Footballer John White – 21 July

172. The Animals – The House of the Rising Sun (1964)

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It may have only spent a week at number 1, but the Animals’ The House of the Rising Sun‘s impact was huge. It ushered in a new genre, folk rock, inspired Bob Dylan to go electric, and proved a hit single could be twice as long as was expected.

The origins of this traditional folk tale, whose author is unknown, date back hundreds of years. It shares a similar theme to the 16th-century ballad The Unfortunate Rake. Originally, the song was written from the perspective of a prostitute who worked at a brothel called the Rising Sun, with the oldest published lyrics (from 1925) beginning:

‘There is a house in New Orleans, it’s called the Rising Sun
It’s been the ruin of many a poor girl
Great God, and I for one’

The earliest recording, known as Rising Sun Blues, was performed by Clarence “Tom” Ashley and Gwen Foster in 1928. Later versions came from Woody Guthrie in 1941, Lead Belly in 1944 and 1948 (entitled In New Orleans and The House of the Rising Sun respectively), Joan Baez in 1960 and Nina Simone in 1962.

The version by the Animals most closely resembles Bob Dylan’s cover for his eponymous debut album in 1962. This is the first and certainly not the last time we’ll encounter Robert Zimmerman, who has never scored his own number 1 but whose songs have topped the charts several times over the years. However, Dylan had swiped his arrangement too, from fellow folk revivalist Dave Van Ronk. An unusually sheepish Dylan asked Ronk if he was okay with him recording it, and Van Ronk asked him to hold off as he was about to go into the studio to record it himself. Dylan then admitted he had already recorded it.

The Animals formed when singer Eric Burdon joined the Alan Price Rhythm and Blues Combo, who had been a unit since 1958. Making up the rest of the band were Alan Price on organ and keyboards, Hilton Valentine on guitar, Bryan ‘Chas’ Chandler on bass and John Steel on drums. It’s usually believed that their new name came from their wild stage act, but in 2013 Burdon claimed they used their name by way of tribute to a mutual friend known as ‘Animal’ Hogg. They moved to London in 1964 in the wake of Beatlemania to get signed, and subsequently did, to EMI Columbia. They specialised in heavy versions of R’n’B numbers, and their first single, Baby Let Me Take You Home narrowly missed out on the top 20. According to Burdon, the Animals first heard The House of the Rising Sun in a Newcastle club, sung by Northumbrian folk singer Johnny Handle. They were touring with Chuck Berry, and were searching for a number to close their sets with that would make them stand out from other groups. It’s doubtful they realised they had stumbled upon their sole chart-topper.

Producer Mickie Most certainly didn’t realise. Most made a name for himself as a producer of  many hit singles over the 1960s and 70s, and clearly had an ear for a good tune. And really, who could blame him for thinking The House of the Rising Sun was too long and not commercial enough?

It took only 15 minutes and one take in a tiny studio to record one of the decade’s most memorable number 1s. Valentine’s spine-tingling arpeggio intro, in which he plays Dylan’s chord sequence but on an electric guitar, is one of the greatest openings to a song of all time. Then Burdon’s deep growl begins, and the rest is history. Some have argued that the lyric change to make it about a man with a gambling addiction make the theme of the song less interesting, and they have a point, but really, all should be forgiven during this tour de force.

No number 1 had ever stayed stuck in one groove before, and certainly not for over four minutes (previously the record for the longest duration for a number 1 belonged to Harry Belafonte’s Mary’s Boy Child in 1957; the Animals would hold the record until the Beatles’ Hey Jude in 1968). The feeling is hypnotic and relentless, particularly during the second half when the band take it up a notch and Price goes to town on his Vox Continental. I can imagine the impact of hearing this back then must have been similar to the birth of skiffle, where Lonnie Donegan had plundered old tunes and added an intensity that had rarely been heard up to that point. By the time they had finished, Most was a believer. Despite the fact the whole band contributed to the arrangement, there was only room for one name on the record label, and as Alan Price’s forename was first alphabetically, he got the credit. This would later cause resentment, as Valentine understandably thought he should receive royalties for his part.

Two months after hitting pole position in the UK charts, The House of the Rising Sun spent three weeks at number 1 in the US, becoming the first bestseller during the British Invasion to be unconnected to the Beatles. Upon hearing it on his car radio, Bob Dylan immediately stopped driving, got out and banged on the bonnet. He was blown away, and a seed had been planted.

The Animals went on to have more great hits, including We Gotta Get Out of This Place and Don’t Let Me Be Misunderstood. In May 1965 Alan Price left to go solo, citing personal and musical differences and a reluctance to fly while on tour. He formed the Alan Price Set, whose highlights include Simon Smith and His Amazing Dancing Bear. Dave Rowberry became his replacement, but by the end of the year the group were already falling apart. The history books are full of bands who got a raw deal due to mismanagement, but the Animals had suffered more than most. In 1966 Burdon formed a new backing group and they became known as Eric Burdon & the Animals, adopting a harder psychedelic sound and relocating to California. He also later formed the funk band War in the following decade. Meanwhile, Chas Chandler became Jimi Hendrix’s manager and producer and was an integral part of his success, before doing the same with Slade in the 70s. The original line-up of the Animals reformed in 1968, 1975 and 1983, and several different versions of the band using that name have existed over the years.

The Animals stood out in 1964 for refusing to play the game and adopt the Merseybeat approach. They didn’t turn on the charm, and they didn’t smile for the cameras. Another group were rising up the charts, and their fame would soon eclipse that of the Animals. The Rolling Stones were about to have their first number 1.

Written by: Traditional (arranged by Alan Price)

Producer: Mickie Most

Weeks at number 1: 1 (9-15 July)

Births:

Pocket cartoonist Matt Pritchett – 14 July