139. Frank Ifield – I Remember You (1962)

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The brightest new star in 1962 was English-born Australian easy listening and country singer Frank Ifield. He was famous for incorporating yodelling into his songs, and was the last pre-Beatles chart sensation, scoring four number 1s in 62 and 63, and becoming the first UK-based performer to score three number 1s in a row. His first chart-topper, I Remember You, was also 62’s biggest-selling single, in a year of huge-sellers. By the middle of the decade he had already been largely forgotten.

Ifield was born in 1937 in Coundon, Warwickshire. His parents were Australian, and his father had created the Ifield pump, a device used in fuel systems for jet aircraft. In the mid-1940s they emigrated to rural Dural (now there’s a rhyme), near Sydney. Young Frank became a fan of country music, in particular Hank Snow, who was nicknamed the Yodelling Ranger. In his teens he decided to drop out of school to concentrate on a full-time singing career, and he quickly became popular through radio appearances. He signed to EMI Australia in 1953 and had a few hits, and then progressed to presenting his own television show, Campfire Favourites. With Australia sort-of conquered, he returned to the UK in 1959, and hit the top 30 the following year with Lucky Star (not the Madonna song).

Ifield released more singles, but Lucky Star was beginning to look like a one-off success, until I Remember You became massive. It dated back to 1941, with music by victor Shertzinger and lyrics by Johnny Mercer, who had written 1961’s Christmas number 1 Moon River. The original singer was Dorothy Lamour in the 1942 musical The Fleet’s In, which Schertzinger directed. The lyrics apparently spoke of Mercer’s love for Judy Garland, and he gave it to her the day after she married David Rose, which adds a bittersweet edge to the happy-go-lucky Ifield version.

So why did Ifield become so successful? I’m afraid this is another one of those mysteries lost in the midst of time.Perhaps Brits just used to like a bit of yodelling. After all, Slim Whitman’s Rose Marie was both yodel-packed and enjoyed 11 weeks at the top in 1955. I Remember You is actually quite charming in an endearingly quaint way. Unlike Britain’s other superstar Cliff, who’s songs are often plain dull, Ifield relishes his chance to shine, and I’m a sucker for a harmonica – as were the Fab Four – Lennon later claimed this song was the inspiration for including one on their early tracks. But if the Beatles hadn’t happened, is this really the direction music would have gone in?

I Remember You got settled in nicely at number 1 and didn’t budge for seven weeks. During that time, Jamaica became independent on 6 August, with Trinidad and Tobago close behind on the 31st. 17 August was the release date for the Tornados’ innovative future number 1 Telstar. The following day, the Beatles played their first gig with the line-up that changed everything. Pete Best had been usurped and Ringo Starr was now behind the drums. Five days later, Lennon married Cynthia Powell at a register office in Mount Pleasant, Liverpool. 1 September saw Channel Television, the ITV franchise for the Channel Islands, go on air; and the next day, Glasgow’s trams ran for the last time, leaving Blackpool tramway the only one left in Britain.

Written by: Victor Scherzinger & Johnny Mercer

Producer: Norrie Paramor

Weeks at number 1: 7 (26 July-12 September) *BEST-SELLING SINGLE OF THE YEAR*

Births:

Journalist John Micklethwait – 11 August 
Actress Sophie Aldred – 20 August 
Actor Peter Wingfield – 5 September

Deaths:

Poet Richard Aldington – 27 July

Every 50s Number 1

The Intro

So, my first decade of number 1s is finished, 94 songs and seven months later. When I decided to review every UK number 1, I considered taking a random approach, but I decided starting right from the beginning would give me a wider knowledge of the progression of pop and pop culture in the UK. I did find the idea of kicking off with the 1950s a potentially arduous task, however. Although there are exceptions, my interest in music tends to really start in 1963 with the Beatles first album, and I know I’m not alone in feeling like that. I feared starting with the 50s would put some readers off. Also, it’s the decade that’s as far out of my comfort zone as I’m going to get with this mammoth blog task I’ve set myself.

Except maybe it isn’t.

The older I get (38 currently), I feel I’m going to really struggle with the 2010s so far. Don’t understand the kids of today, cannot stand autotune, etc… Anyway, I find myself getting more out of the 50s far more than I initially expected. It’s still music I find myself respecting rather than enjoying, and there haven’t been many I’ll be downloading for future listens I have to confess, but it has been a fascinating journey, and I’m surprised at how much music changed from 1952 to 1959.

Before I finish with the decade and move on to the swinging 60s, I decided it would be nice to (kind-of) repeat the task I set myself in December. Back then I listened to every Christmas number 1 in order, in one session, and decided on a best and worst for each decade, before coming up with an overall best and worst. That blog seemed to generate a lot of interest, so I thought I’d do the same with the 50s. I decided against listening to all 94 songs in one go, that seemed a little bit much, so I decided to take it a year at a time.

1952/53

Where it all began. As Al Martino’s Here in My Heart was the only number 1 of 1952, I’ve lumped it in with 1953. It’s neither the best nor worst of what followed. In general, the record-buying public will still in thrall of string-laden love songs, often melancholy, overwrought ballads, with the emphasis on how well the singer could hold a note. Form over content. Not the kind of music that floats my boat, really. It was less than ten years since World War Two, and music fans still liked to wade through syrupy songs of missing loved ones abroad. In 1953’s defence, though, at least it had a healthy amount of female singers topping the charts. Once rock’n’roll takes hold, they largely disappeared bar a few exceptions. There’s some strange novelty songs in there that you wouldn’t think of as chart-toppers – see (How Much is) That Doggie in the Window? and the un-PC She Wears Red Feathers. Frankie Laine dominated that year.

The Best:

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Kay Starr – Comes A-Long A-Love: Only three tracks in and already there were elements of a rock’n’roll sound mixed in with jazz. This took me by surprise, and it was more than welcome. Kay Starr’s strong vocal mixed with a breezy tune had a vital element missing from other songs that year – fun.

The Worst:

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David Whitfield with Stanley Black & His Orchestra – Answer Me: This is the decade at its least appealing to me. It’s so leaden and dreary. Whitfield’s vocals are too affected and operatic. The Frankie Laine version was better, but not by much, as it’s a pretty poor song anyway.

1954

Generally more of the same, but of a higher standard. Doris Day, Frank Sinatra and even Vera Lynn all make appearances, but they’re not their finest works. Rosemary Clooney’s jolly old knees-up about death, This Ole House is one of the highlights. A couple of instrumentals make it big, one good (Winifred Atwell’s Let’s Have Another Party), one not so good (Eddie Calvert’s Oh Mein Papa)

The Best:

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Johnnie Ray – Such a Night: Mr Emotion was probably the revelation of the decade for me. Previously I only knew him for his namecheck in Come On Eileen, and that Morrissey used to wear hearing aid in tribute to him.  I referred to him as the ‘prototype eccentric rock’n’roll star’, and his three number 1s were all unique forerunners of the music that was to follow. This one in particular must have sounded pretty racy at the time, and contained the first hint of sex, one of pop’s key ingredients.

The Worst:

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The Stargazers with Syd Dean & His Orchestra –  I See the Moon: This is genuinely offensive to my ears. At the time it was considered a comedy song. Praise be that comedy has moved on from ‘funny’ voices. It’s the audio equivalent of Colin Hunt from The Fast Show. When I first heard this I said the Stargazers sounded pissed-up and tone deaf. Nothing has happened to change my mind. Six weeks at the top of the charts?!

1955

The year of mambo, and Bill Haley. Perez ‘Prez’ Prado rules the roost when it comes to the former, with his version of Cherry Pink and Apple Blossom White beating Eddie Calvert’s safer cover. Rosemary Clooney’s Mambo Italiano may not be the real deal but it’s a fun spoof. Tony Bennett makes his one and only appearance to date, and Slim Whitman’s haunting Rose Marie makes a big impact.

The Best:

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Bill Haley & His Comets – Rock Around the Clock: Tempting as it might be to go against the grain here and pick something less predictable, I can’t. Yes it must be nigh-on impossible to hear this and imagine the impact the decade’s best-seller made at the time, and it sounds safe now, but it’s still catchy as hell, and for me, it’s all about that guitar solo.

The Worst:

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Jimmy Young with Bob Sharples & His Music – Unchained Melody: Another one of the most famous songs of all time, but this is nowhere near as good as the Righteous Brothers version. It’s not even as good as Robson & Jerome’s. The blame doesn’t entirely lie with poor Jimmy Young, as the production is all over the place, but he really doesn’t help matters, lurching from barely trying to bellowing within seconds.

1956

Several strong singles this year, mainly Tennessee Ernie Ford’s tough ode to the working man, Sixteen Tons, and Johnnie Ray’s melancholic Christmas number 1, Just Walkin’ in the Rain, featuring an unforgettable whistling refrain. Elvis has arrived, but the UK has to make do with Pat Boone at the top instead with I’ll Be Home. Dean Martin makes his only appearance, and Doris Day returns with signature tune Whatever Will Be, Will Be.

The Best:

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The Teenagers Featuring Frankie Lymon – Why Do Fools Fall in Love: The first doo-wop song to make it to the top, the Teenagers one and only big hit was so influential on later soul and funk bands, and still sounds good to this day. Such a shame the band, and particularly Lymon, fell apart so soon.

The Worst:

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Anne Shelton with Wally Stott & His Orchestra – Lay Down Your Arms: Shudder. I disliked this song even more the second time around. I’m all for strong women, but Shelton needs to calm down a bit. Her poor lover must be terrified. I think I’d rather be at war than with Shelton.

1957

The year skiffle hit the top of the charts. Lonnie Donegan’s three number 1 songs left an indelible mark on music, even if it took some time for its impact to become apparent. 1957 is the strongest year for number 1s to date, and rock’n’roll is now dominant. Even the most old-fashioned song, Frankie Vaughan’s The Garden of Eden, sounds good. Legends such as Elvis Presley and Buddy Holly make their first appearances, and the former’s cultural impact becomes apparent, with Tommy Steele and Andy Williams impersonating him, to an occasionally embarrassing degree.

The Best:

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Lonnie Donegan & His Skiffle Group – Cumberland Gap: I used to think skiffle was a rather laughably quaint genre played on cheap, silly instruments. It’s only by listening to what came before Lonnie Donegan that I now understand and appreciate its true effect – to me it’s now almost as important as punk. The hardest part of choosing the best of 57 was picking between this and Donegan’s Gamblin’ Man, with it’s fiery ending, but Cumberland Gap came first and sounded like nothing I’d listened to up to that point.

The Worst:

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Guy Mitchell with Jimmy Carroll – Rock-a-Billy: Cheeky chappie Mitchell’s fourth and final chart-topper is mean-spirited and has the laziest chorus of any number 1 so far. A shame, as his previous single at the start of the year, Singing the Blues, proved he could actually be a dab hand at this new pop sound.

1958

Elvis was really on form with his second number 1 – Jailhouse Rock narrowly misses out on my favourite of this year and could have easily won in another year. Burt Bacharach and Hal David made their mark with two concurrent number 1s for Michael Holliday and Perry Como. Connie Francis finally returned a female artist to the top with a versatile selection of solid tunes – her Stupid Cupid introduced Neil Sedaka to the charts. The Everley Brothers made an excellent debut with the year’s highest seller, All I Have to Do is Dream, and Hoots Mon by Lord Rockingham’s XI was the finest novelty number 1 of the decade.

The Best:

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Jerry Lee Lewis – Great Balls of Fire: Direct, simplistic, fun, horny and mad, this just edges past Jailhouse Rock for me and got 1958 off to a great start. As far removed from some of the dreary monotony of 1953 as it’s possible to get in the same decade.

The Worst:

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Vic Damone – On the Street Where You Live: I feel bad for doing this when Vic Damone has so recently passed away, but it really does stick out like a sore thumb from the rest of 1958’s list. It sounds like it belongs in 1954. Sorry, Vic. RIP.

1959

Buddy Holly’s untimely death made It Doesn’t Matter Anymore the first posthumous chart-topper, and was a big influence on Adam Faith’s first number 1, What Do You Want?. Elvis was away in the army, and his singles output quality began to slip with A Fool Such as I/I Need Your Love Tonight. Rock’n’roll went all dreamy and teenage-orientated, with Jerry Keller’s one-hit wonder Here Comes Summer and Bobby Darin’s Dream Lover, before Darin used his success to take an interesting career change. Cliff Richard made his first of many appearances, with Living Doll the year’s best-seller, and Shirley Bassey made her debut at number 1. The decade ended with Emile Ford and the Checkmates’ solid What Do You Want To Make Those Eyes At Me For?.

The Best:

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Bobby Darin – Mack the KnifeA fascinating diversion from his previous number 1, Darin resisted scaring his young fans away with this swinging celebration of a serial killer, but Atlantic Records pushed for it anyway. It’s likely the fans ignored the lyrics and chose to be swept away by his cool vocals and the power and punch of the backing band. Suddenly pop was taking a dark turn, if you listened closely enough. Much covered, but probably never bettered.

The Worst:

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Russ Conway – Side Saddle: This one totally baffled me when I wrote my blog, and while I found it slightly better the second time around, I still can’t quite believe this was such a success, but context is everything, I guess. Nonetheless, it’s still the weakest number 1 of the year.

The Best 50s Number 1 Ever is…

Jerry Lee Lewis – Great Balls of FireDeciding on the best single proved to be much tougher than I first thought. It was very difficult to decide between this and Cumberland Gap, and Mack the Knife wasn’t far behind, either. Both songs shook up the music world, but in different ways. The winner is so ensconced in popular culture, it’s hard to imagine how it must have sounded as new, whereas I came in to Cumberland Gap completely fresh. If this decision was based on which single is most important, I’d have to award it to Cumberland Gap, as the influence of skiffle was so important on the following decade. It proved you didn’t have to have the voice of an opera singer to be at number 1, you didn’t have to have an orchestra backing you, and you didn’t even have to play expensive instruments. You could just make an all-mighty racket.

However, as impressed as I was by it, in the end this decision should also be based on personal enjoyment, as well as influence, mass appeal, inventiveness… and Great Balls of Fire has all of these. And despite me knowing it so well, it still managed to sound new and exciting, even after all this time. Plus, as great as Cumberland Gap sounds compared to most of the competition, in a way I had heard it before with the very similar and better known Rock Island Line. So congratulations, Jerry Lee Lewis. Despite being one of pop music’s first controversial figures, and therefore your brief period in the charts, you’ve managed to top Elvis and many other 50s legends, and Great Balls of Fire is one hell of a tune. You ripped up the rulebook when it came to the piano, and you showed the way pop was heading when it came to showmanship on the stage. And your best work was later used to sell cheese. But that’s record companies for you.

The Worst 50s Number 1 Ever is…

The Stargazers with Syd Dean & His Orchestra – I See the MoonNo contest. Reviewing every number 1 of the 50s was at times trying, and I knew it would be, but nothing prepared me for this. Don’t get me wrong, unlike many ‘serious music’ obsessives, there is a small place in my heart for comedy and novelty songs as genres, if they’re done right. And as I said above, context is everything. But I See the Moon is genuinely painful to listen to. I don’t get the joke, unless the joke is ‘Listen to how awful we sound’, in which case, the joke isn’t funny. In a decade with so number 1s that would be unimaginable now, I See the Moon is beyond comprehension to my poor ears.

The Outro

While I’m keen to get onto the number 1s of the 60s, and I originally saw reviewing the 50s tracks as a necessary evil in order to make it to the next batch, I am sorry to see it go. I’ve learnt a lot, about the social history as well as the music of the time, and it’s been a fascinating look at pop’s baby steps. Next, the decade of the Beatles, the Stones, Swinging London, the return of Labour to government, psychedelia, colour TV, British pop dominating at home and abroad… I can’t wait and I hope you can’t too.

Blogs on every 50s number 1 are available to view via the Archive section.

36. Slim Whitman – Rose Marie (1955)

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Remember how I said I seemed to have a problem with pop’s longest-running number 1 singles? Well here’s one now. Influential country-western singer, guitarist and yodeller Slim Whitman’s Rose Marie, which enjoyed a massive 11-week-long reign in 1955. It stood as the longest-running continuous number 1 until 1991, when Bryan Adams overtook with 16 weeks at the top in 1991 with (Everything I Do) I Do It For You.

Born Otis Dewey Whitman Jr in Tampa, Florida, Slim grew up loving the country songs of Jimmie Rodgers. During World War Two he entertained fellow soldiers with his singing. He was so entertaining, his captain blocked a transfer to another ship. This was a massive stroke of luck as everybody on that ship was killed when it sank. He taught himself to play the guitar with his left hand, despite being right-handed, after losing a finger in an accident. This later had an effect on a young Paul McCartney, who was left-handed and decided to retune his guitar just as Whitman had. George Harrison was also taking note, and once said the first person he ever saw with a guitar was Whitman. The instrument was beginning to become fashionable, thanks in part to Slim. Elvis’s future manager, ‘Colonel’ Tom Parker, had heard Whitman on the radio and took him under his wing, and his first single came out in 1948. A young Elvis Presley even supported him.

Whitman had become very popular by 1955, even more famous in the UK than the US. He avoided standard country fare about drinking and having no money, and became known for his more romantic material. His yodelling became his trademark, and it may sound surprising but even Michael Jackson listed him as one of his ten favourite vocal performers. Rose Marie had been released as a single in 1954. It was taken from the 1924 opera of the same name, with music by Rudolf Friml and Herbert Stothart, and the lyrics by Otto Harbach and Oscar Hammerstein II. Eventually it toppled Alma Cogan’s Dreamboat, and it reigned supreme from July to October.

When I say I have a problem with Rose Marie, I’m perhaps being harsh. It’s not bad, especially by the standards of the time. At first I was baffled by its success. As I explained when reviewing Tennessee Ernie Ford’s Give Me Your Word, I’m not a country fan. I found myself more amused by Whitman’s voice than anything. I’m not averse to a bit of yodelling either (see Focus or Mr Trololo), but I just could not see the appeal. Unlike most of the other songs so far though, I went back to it a few times, and it has grown on me. Lew Chudd’s production is effectively haunting, and the lyrics pack more depth into them than the usual hits of the time (of course, it was written 30 years earlier, so that explains that). It’s a love song, but Whitman is powerless against his emotions:

‘Oh Rose Marie, I love you
I´m always dreaming of you
No matter what I do, I can’t forget you
Sometimes I wish that I never met you’

Nonetheless, Whitman has given up. He belongs to her now.

‘Of all the queens that ever lived, I choose you
To rule me, my Rose Marie’

So, yes, fair play to Whitman. But… 11 weeks at number 1? A world record for 36 years? Really? Having said that, when you’ve the likes of Jimmy Young as your competition, perhaps it’s understandable (sorry Jimmy). Whitman enjoyed success for the rest of his long life, with peaks and troughs, but always remembered fondly. He died surrounded by his family in 2013 at the age of 90.

There were a few noteworthy events in Britain during the 11-week-run of Rose Marie. The Guinness Book of Records was first published on 27 August. On 4 September, BBC newsreaders were seen on television reading reports for the first time. The two in question were Richard Baker and Kenneth Kendall, who became celebrities themselves in time. Ten days later, Airfix produced their first scale model aircraft kit. 22 September saw the start of ITV, in London only. The first advert shown is for Gibbs’ SR toothpaste. And most important of all, on 26 September, Clarence Birdseye started selling fish fingers in the UK. Mind-blowing.

Written by: Rudolf Friml, Herbert Stothart, Otto Harbach & Oscar Hammerstein II

Producer: Lew Chudd

Weeks at number 1: 11 (29 July-13 October)

Births:

Actress Gillian Taylforth – 14 August
The Jam bassist Bruce Foxton – 1 September
Sex Pistols guitarist  Steve Jones – 3 September
Children’s television presenter Janet Ellis – 16 September
Actor David Haig – 20 September
Human League singer Phil Oakey – 2 October
Athlete Steve Ovett – 9 October 

Deaths:

Politician Leo Amery – 16 September