Social History

290. Smokey Robinson and The Miracles – The Tears of a Clown (1970)

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The Intro

Much like Marvin Gaye’s I Heard It Through the Grapevine in 1969, The Tears of a Clown was an album track by Motown legends, several years old, that could have easily languished as a forgotten album track, but is now considered a soul classic.

Before

William Robinson Jr was born 19 February 1940 in Detroit, Michigan. It was his uncle Claude that gave him the nickname ‘Smokey Joe’ while he was still young. He was a clever child, and sporty, but he really loved music. In a 2007 interview with CBS Robinson revealed he and Aretha Franklin lived only a few doors down from each other, and he had known her since she was five.

Robinson formed a doo-wop group called The Five Chimes in 1955, which included schoolfriends Ronald White and Pete Moore. They changed their name two years later to The Matadors. The line-up then consisted of Robinson, White, Moore and cousins Bobby and Claudette Rogers (who Robinson married in 1959).

The Matadors auditioned for Brunswick Records but failed. However, among those watching was songwriter Berry Gordy Jr, who was impressed with Robinson’s voice in particular. Gordy recorded what was to become their debut single around the time they settled on The Miracles as their name. Got a Job was given to End Records to distribute – Gordy made the princely sum of $3.19 for his production, and Robinson suggested he start his own record label. Which he did, in 1959, and he called it Tamla Records. Bad Girl became their first single to chart in the US, and around this time guitarist Marv Tarplin, fresh from playing with The Primettes (later The Supremes) joined Robinson and co to form the classic line-up.

The Miracles’ first hit came in 1960, when Shop Around reached number two on the Billboard Hot 100 and number 1 on the R’n’B chart. It was only modest successes on Motown Records after that until the classic You’ve Really Got a Hold On Me in 1962. The group’s brand of bittersweet, smooth soul, with Robinson’s beautiful voice, made them Motown’s top-selling act and earned them rave reviews for their live performances, which helped them become known as ‘The Showstoppers’.

But The Miracles were so talented, they all helped write some of Motown’s greatest songs sung by other groups. I’m talking soul classics such as The Way You Do the Things You Do and My Girl for The Temptations and My Guy by Mary Wells. Most other Motown acts had their songs written by staff songwriters, but The Miracles mostly recorded their own.

Around 1964, Robinson was made vice president of Motown, and other members of The Miracles took jobs within the label. Unfortunately, Smokey and Claudette made plans to start a family, but the intense touring schedule was believed to contribute to several miscarriages by Claudette, and in 1965 she quit touring, TV and and publicity photos, despite continuing to record until 1972.

That same year they finally made their way into the UK singles chart with one of Motown’s best songs, The Tracks of My Tears, from the album Going to a Go-Go, reaching number nine. From this album onwards they became known as Smokey Robinson and The Miracles. In 1966 (Come Round Here) I’m the One You Need reached number 13.

At that year’s Motown Christmas Party, Robinson was approached by fellow label legend Stevie Wonder with a backing track he had come up with along with his producer Hank Cosby. Wonder wondered (sorry) if Robinson wanted to work on it, as he was stumped for any lyrics. After a few days, Robinson felt inspired to come up with something circus-themed to match the distinctive opening, and went back to the clown in the opera Pagliacci, who puts on a show for his audience while crying on the inside. He had used this before in the 1964 song My Smile Is Just A Frown (Turned Upside Down), written for Carolyn Crawford. Weirdly, Little Stevie Wonder covered (I’m Afraid) The Masquerade Is Over, which also referenced Pagliacci, on his album Tribute to Uncle Ray in 1962.

For that famous circus-like opening, they hired Charles Sirard from The Detroit Symphony Orchestra to play the bassoon, which is the low burbling sound beneath the piccolo by Jim Horn. Horn would also feature on albums by The Rolling Stones and The Beach Boys.

The Tears of a Clown became the closing track on Smokey Robinson and The Miracles’ 1967 album Make It Happen. And, unbelievably, there it stayed for three years. In the meantime I Second That Emotion was a top 30 hit on these shores that year, but then the UK hits dried up once more.

By 1969, Robinson was ready to quit the group and concentrate on his role as Motown vice president and be at home more for Claudette, as they had finally started a family. But all that was to change in 1970, when the frustrated British division of Motown asked Karen Spreadbury, head of a Motown fan club here, to pick a song they could release as a single, and she chose The Tears of a Clown.

Review

Motown may be a legendary label, and for good reason, but you do have to wonder about how many hits they let slip through the net when you look at the stories behind The Tears of a Clown and I Heard It Through the Grapevine. Perhaps Gordy (and Wonder, before he became more experimental) found that opening too weird, without realising its exactly that which draws the listener in to begin with. But Robinson was such an expert songsmith he’s able to keep up the momentum, with his always wonderful, soaring vocal and great lyrics.

The idea of a song about a man masking his pain had been done plenty of times before, including by Robinson himself on The Tracks of My Tears. However, I’d argue Robinson’s lyrics here make The Tears of a Clown the definitive example. I particularly like ‘But don’t let my glad expression/Give you the wrong impression’ and the chorus. Robinson is a man on top of his game here. A sad song about heartbreak that’s uplifting and you can dance to it. Oh, and of course, Robinson’s voice. What’s not to love?

After

The renewed interest in Smokey Robinson and The Miracles meant The Tears of a Clown was then released in the US, albeit in a new mix. It reached number 1 in their home country too.

This double success persuaded Robinson to stay on as lead singer for longer. They had their own TV special in the US, The Smokey Robinson Show, also starring The Supremes, The Temptations and Stevie Wonder. One more hit, 1971’s I Don’t Blame You at All followed, and then Robinson decided it was time to go in 1972, introducing Billy Griffin as his replacement. Their final album together was Flying High Together, including the ironic single We’ve Come Too Far To End It Now. Claudette chose to retire entirely from the group too, and within a year Tarplin had gone.

Their first releases in 1973 landed without trace, but they scored a 1974 US hit with funk song Do It Baby. And then in 1976 came the great disco smash Love Machine – Part 1, which was a US number 1 and reached number three in the UK. Despite this, The Miracles left Motown and signed with Columbia Records in 1977, but the hits dried up again, and they split in 1978.

In 1980 The New Miracles were formed and lasted three years. Then in 1983 the Robinsons, Moore, Tarplin and Rogers reunited to perform a medley on the TV special Motown 25: Yesterday, Today, Forever.

In 1993 White, Rogers and New Miracles member Dave Finley reformed The Miracles with former Shalamar singer Sydney Justin. Sadly White died in 1995. The group continued to perform until 2011, with even Claudette returning to the fold (now divorced from Smokey), but age caught up with some of the longest-serving members. Tarplin died in 2011, then Rogers in 2013, then Moore in 2017.

The Outro

Smokey Robinson went on to have a solo UK number 1 in 1981 with Being With You, so I’ll cover his solo career and the controversy with his entry into the Rock and Roll Hall of Fame in due course.

The Tears of a Clown has been covered time and time again, and the most notable version is Tears of a Clown, a well-deserved number six hit for ska and new wave group The Beat in 1979.

The Info

Written by

Hank Cosby, Smokey Robinson & Stevie Wonder

Producers

Hank Cosby & Smokey Robinson

Weeks at number 1

1 (12-18 September)

Trivia

Births

18 September: Cricketer Darren Gough

Meanwhile…

18 September: US rock star and guitar god Jimi Hendrix, died in London from a suspected drug-induced heart attack, aged only 27.

289. Elvis Presley – The Wonder of You (1970)

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The Intro

The Wonder of You was Elvis Presley’s 16th and final number 1 in his lifetime. In the five years since his last number 1, Crying in the Chapel (which dated back to 1960), the King’s career had reached the doldrums, before a dramatic comeback. Sadly, though, The Wonder of You marked the beginning of another descent – his last one.

Before

Presley proposed to Priscilla Beaulieu at Christmas 1966, seven years after they had first met, and they married in May 1967. Earlier that year he had released the Grammy-winning gospel album How Great Thou Art, but in October his soundtrack LP to his movie Clambake registered record low sales. The Summer of Love had just passed, flower power was everywhere, and Elvis couldn’t have been more out of fashion.

His manager Colonel Tom Parker made a deal for Presley to appear in a Christmas special on TV in December 1968. The singer was initially sceptical, and he had every reason to be, seemingly forever stuck releasing one dire film after another. However, once he got talking to the show’s director and co-producer Steve Binder, he realised this could be the chance to revitalise a failing career. He was proved right. The 68 comeback special, titled simply Elvis, featured lavish numbers, but everyone remembers the back-to-basic segments, in which he performed in tight leather in front of a small crowd (his first live performances since 1961). It was a return to the Elvis of the 50s, raw and fresh, with buckets of charisma. And he looked cool as fuck. No longer would the King be willing to do whatever he was told by Parker

Elvis kickstarted a purple patch in which the King was seemingly let off Parker’s tight rein, and he went on to record some of the best material of his career, particularly during the sessions for the 1969 album From Elvis in Memphis. The album closed with In the Ghetto, which reached number two on these shores, but was held off the top spot by Thunderclap Newman’s Something in the Air. Criminally, Suspicious Minds, probably my favourite Elvis song, also stalled at number two at the start of 1970 here, despite becoming his final US number 1.

Presley was keen to get back to regular live performances, and just when things were looking up for the new decade, Parker booked him to an initial run of 57 shows over four weeks at the new International Hotel in Las Vegas. Bill Belew, who had struck gold by coming up with the King’s leather look for his comeback, designed his first jumpsuit to wear. His initial Vegas show went down a storm, and Parker booked him a five-year run in which Presley would perform every February and August. The Jordannaires chose not to join him, and longtime collaborators guitarist Scotty Moore and drummer DJ Fontana also declined.

The Wonder of You was a live recording from one of his Vegas gigs of February 1970. It was the first live number 1 since Lonnie Donegan’s My Old Man’s a Dustman (Ballad of a Refuse Disposal Officer) in 1960. Thankfully it’s not as bad as that horror show of a song, but they are similar, in that Wonder of You represents the final slide into cabaret for a once vital, dangerous artist.

The song, written by Baker Knight, was originally a top 30 single for US singer Ray Peterson in 1959. It also became a hit for number 1 artists Ronnie Hilton, and The Platters too.

Review

Elvis turns this into an anthem in which he pays tribute to the fans that have stuck by him through thick and thin. It even mentions him by his nickname, albeit inadvertently.
‘And when you smile the world is brighter
You touch my hand and I’m a king
Your kiss to me is worth a fortune
Your love for me is everything’

It’s one big love-in really, a drunken singalong, and the King and crowd alike are all having a whale of a time. But it all feels rather hollow with the knowledge of what was to come. Elvis’s next number 1 came after his death. His Vegas residency had transformed into a bloated drug-addled, depressed, darkly-comic version of the singer here.

The Outro

Since its time at number 1, The Wonder of You has become associated with football clubs Port Vale, Arsenal and Scottish team Ross County.

The Info

Written by

Baker Knight

Weeks at number 1

6 (1 August-11 September) 

Trivia

Births

13 August: Footballer Alan Shearer
27 August: Snooker player Peter Ebdon

Deaths

5 September: Footballer Jesse Pennington

Meanwhile…

9 August: Police battled with black rioters in Notting Hill, London.

20 August: England may have lost at the World Cup, but there was some good news for team captain Bobby Moore – he was cleared of stealing a bracelet in Colombia just before the tournament had begun.

21 August: The moderate Social Democratic and Labour Party was first established in Northern Ireland. 

26-31 August: The third Isle of Wight Festival took place, with music from Jimi Hendrix, The Who and The Doors. This was the last of the three original festivals there, and was the largest event of its kind for years, with anywhere between 500,000 and 700,000 attending.

9 September: BOAC Flight 775 was hijacked by the Popular Front for the Liberation of Palestine after taking off from Bahrain. This was the first time a British plane had been hijacked.

288. Mungo Jerry – In the Summertime (1970)

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The Intro

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

Before

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

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

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

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

Review

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

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

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

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

After

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

The Outro

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

The Info

Written by

Ray Dorset

Producer

Barry Murray

Weeks at number 1

7 (13 June-31 July) *BEST-SELLING SINGLE OF THE YEAR*

Trivia

Births

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

Deaths:

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

Meanwhile…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

30 July: The dockers’ strike was settled.

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

287. Christie – Yellow River (1970)

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The Intro

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

Before

Leeds-born singer-songwriter Jeff Christie, born Jeffrey Christie on 12 July 1946, had been a member of rock band The Outer Limits, who had released singles in the late 60s. He had been inspired to write Yellow River after imagining a soldier looking forward to returning home to Yellow River (probably a mythical place) after the American Civil War, and probably thought it would work well with the anti-Vietnam War sentiment of the time. As far as I know, it’s got nothing to do with the Yellow River in China, one of the longest rivers in the world.

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

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

Review

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

After

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

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

The Outro

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

The Info

Written by

Jeff Christie

Producer

Mike Smith

Weeks at number 1

1 (6-12 June)

Trivia

Deaths

7 June: Novelist EM Forster

Meanwhile…

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

286. England World Cup Squad ’70 – Back Home (1970)

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The Intro

Seems rather fitting that on the day Brexit finally happens, that this blog covers an event from 50 years ago in which this country was embarrassed on the world stage, doesn’t it?

Before

Three weeks before the England football team began their defense of the FIFA World Cup in Mexico, they had their first number 1 single. The jolly, charming anthem Back Home marked the start of a not-often-grand tradition, in which the squad recorded an official, FA-approved song to mark that year’s failed attempt at the World Cup or UEFA European Championship.

Football songs were not a new idea – UK clubs had been recording them for years, and in 1966 skiffle king Lonnie Donegan released World Cup Willie before England’s legendary win. But this was the first (and only time) we were the world champions, and they were going into the tournament with a supposedly superior line-up to 1966 and so it must have been felt we had momentum, and that this should be commemorated.

I’m assuming it was the FA who asked Bill Martin and Phil Coulter to write and produce Back Home. After all, with their two previous number 1s and Eurovision big-hitters, Puppet on a String and Congratulations (plus Coulter was involved in All Kinds of Everything), the duo were more than capable of getting the nation to sing along in a big competition.

And so Alf Ramsey’s boys were assembled to record their vocals. It’s unclear who out of the 22 men picked to represent the country made it on to the recording, but the biggest names in the squad included captain Bobby Moore, goalkeeper Gordon Banks, Bobby Charlton, Geoff Hurst, Nobby Stiles and Emlyn Hughes. Also recorded was the bizarre B-side Cinnamon Stick. It’s not a weird song, it’s a typical mid-60s lightweight pop song about a pretty girl, but lots of footballers singing it together is weird.

Review

I’ve never been a fan of footballers such. I tried, but I was terrible at school, and so I took no interest in clubs. However, I do get swept up in the World Cup and Euros, going right back to Mexico 86, where I can still remember being an upset seven-year-old, as angry as my dad at Maradona’s ‘Hand of God’. I have felt the dizzying highs and terrible lows intensely. I don’t think I have the nervous disposition to cope with the tension more than once every two years. So I do take notice of the official England songs, or at least I used to before they ceased to be. Obviously the best are World in Motion and Three Lions, but I have a soft spot for Back Home.

Opening with the familiar stadium clap-a-long bit (forgive the terrible terminology), Back Home is a lovely, charming postcard from more innocent times, set to a brass band backing, in which our proud, brave boys sing about how the fans will be watching their every move. Here are the world champions, at the top of their game, but rather than boast, they just hope they won’t let their country down. There’s no mention of them winning again (just as well), they just say they’ll give all they’ve got to give. Nice, isn’t it? I’m probably also fond of it because it became the theme tune to BBC2’s mid-90s comedy competition Fantasy Football League, presented by Three Lions singers Frank Skinner and David Baddiel.

After

The 1970 World Cup began on 31 May, while Back Home was still at number 1. Before England had even played a game they faced a setback when Moore was arrested and released on bail three days previous in Colombia on suspicion of stealing a bracelet.

England were in Group 3, along with Brazil, Romania and Czechoslovakia. They came second in their group, beating the latter two but losing to the mighty (and eventual winners) Brazil, one of the greatest teams of all time, featuring legends including Pelé.

The quarter-finals saw a repeat of the 1966 final, with England facing West Germany on 14 June. It looked like Moore and co would win once more, as they were up 2-0. But Banks was ill and out of the match, and substitute goalie Peter Bonetti let a goal by Frank Beckenbauer through in the 70th minute. And then Charlton was substituted, and Uwe Seeler made it 2-2 in the 81st minute. In extra time, Gerd Müller made it 3-2. It was all over for England.

The Outro

There would be no more England World Cup songs for 12 years – we didn’t qualify in 1974 or 1978. And it would be 20 years before the England team would make it to number 1 again.

How many years before we’re back in the EU? Less than that, let’s hope.

The Info

Written & produced by

Bill Martin & Phil Coulter

Weeks at number 1

3 (16 May-5 June)

Trivia

Births

20 May: Journalist Louis Theroux
21 May: Field hockey player Jason Lee
22 May: Model Naomi Campbell

Meanwhile…

19 May: The government made a £20,000,000 loan available to help save the financially troubled car maker Rolls-Royce.

2 June: Cleddau Bridge, in Pembrokeshire, collapsed during erection. Four people died.

4 June: Tonga became independent from the UK.

285. Norman Greenbaum – Spirit in the Sky (1970)

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The Intro

The devil doesn’t always have the best tunes. Dana’s old-fashioned All Kinds of Everything was booted from the top by one of the most memorable one-hit wonders of all time. Norman Greenbaum’s Spirit in the Sky heralded a new decade with its fuzz-guitar sound and could be considered a forerunner to the glam rock that was to come. This one-hit wonder, combining a riff you’d sell your soul for with holier-than-thou lyrics, was so good, two different versions have been number 1 since. Not bad going for an unassuming, enigmatic Jewish dairy farmer.

Before

Norman Joel Greenbaum was born in Malden, Massachusetts on 20 November 1942. He was raised in an Orthodox Jewish household, and as a teenager in the late 50s and early 60s he fell in love with southern blues and folk music. In high school he began performing in bands and went on to study music at Boston University, but dropped out and moved to Los Angeles in 1965.

In 1966 he formed the psychedelic jug band (think a less intense and more wacky The 13th Floor Elevators) Dr West’s Medicine Show and Junk Band and he penned their novelty single The Eggplant That Ate Chicago. They split in 1968. Clearly, Greenbaum was a unique talent.

Going it alone after signing with Reprise Records, Greenbaum set about writing a religious rock song, getting inspiration from country singer Porter Wagoner and enjoying westerns as a child. There was something in the air in the late 60s, with lots of songs moving away from references to drugs and turning to religion instead. Despite being Jewish, Greenbaum opted to sing about Jesus, because he knew it’d be more marketable then Jehovah. In an interview years later, he said it was ‘the spirit in the sky’ people should be taking notice of in his song, not ‘Jesus’. He took the phrase from a greetings card.

The music took a lot longer than the lyrics (which he claimed were done in 15 minutes), but it was worth the wait, with Greenbaum coming up with a laid-back yet fiery boogie groove in a San Francisco studio. The music provides a stark contrast to the holy lyrics and is so strong, it’s seen the song used in countless films and on TV. When Spirit in the Sky was mixed, he says it was optimised to sound good on car stereos without dynamic range, giving it an earthy, primitive quality.

Joining Greenbaum on the sessions were lead guitarist Russell DaShiell, bassist Doug Killmer from Crowfoot and drummer Norman Mayell, formerly of Sopwith Camel. The backing singers adding the gospel touch were The Stovall Sisters trio from Indiana. Before joining Earth, Wind & Fire, Philip Bailey was their percussionist.

The song became the title track of Greenbaum’s album, but Reprise were unsure this strange, lengthy track would make it as a 7”. Two other singles came out first, and they got nowhere, so they took a punt on Spirit in the Sky, released in the UK in December 1969.

Review

And what a punt. I must have heard Greenbaum’s original a million times and yet I love it as much as ever. It’s a hell (pun intended) of a groove and I love the juxtaposition between the raw production and guitar effects and happy-clappy lyrics. It’s easy to get enveloped in it, and I could happily listen to a 10-minute version, and always feel it’s a shame it fades abruptly as the guitar stretches out. Future glam stars were certainly paying attention, for example Alvin Stardust’s My Coo Ca Choo is pretty similar.

Greenbaum may have never had another hit but some acts could take years to come up with one this good. He didn’t disappear straight away though – this was followed up by the bizarre Canned Ham, and he recorded two further albums – Back Home Again later this year, and the all-acoustic Petaluma in 1972.

Eventually Greenbaum’s music fizzled out, and he went to work in a friend’s café around the start of the 80s. Then in 1986 Doctor and the Medics released their cover, which took everyone by surprise when it reached number 1. The renewed interest sparked its use in films, and Greenbaum never needed to work again.

The one-hit wonder made headlines in 2015 when he was the passenger in a car accident that killed a motorcyclist and left him in a coma for three weeks. With perhaps a new-found appreciation of life, Greenbaum, now 77, returned to performing.

The Outro

Spirit in the Sky went to number 1 yet again in 2003, with a version for Comic Relief by Gareth Gates with The Kumars, but we’ll cross that bridge when we come to it. I’m in no rush.

The Info

Written by

Norman Greenbaum

Producer

Erik Jacobsen

Weeks at number 1

2 (2-15 May)

Trivia

Births

6 May: Cricketer Chris Adams

Deaths

7 May: Novelist Jack Jones

284. Dana – All Kinds of Everything (1970)

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The Intro

Somehow, Bridge over Troubled Water was replaced at number 1 after three weeks, by… this. The Eurovision Song Contest winner of 1970, Irish 19-year-old warbler Dana’s ultra-twee All Kinds of Everything is an early contender for worst number 1 of the 70s.

Before

Rosemary Brown, born 30 August 1951, was born in Islington, North London. Her working-class parents had relocated from Derry, Northern Ireland after World War Two due to high unemployment, but when she was five the Browns were advised to return to Derry due to the effects of smog in the city on some of her siblings (she was one of seven).

Both young Brown’s parents were musical, and she proved it ran in the family when she won an all-ages talent contest aged only six. She learned to play the piano, violin, guitar sang and became a ballet dancer too.

As a young teen in 1965 she won another talent contest, and this time the prize was to record a demo. When Brown finished her O-levels, Rex Records got to hear it and signed Brown up. Debut single Sixteen, released in November 1967, failed to ignite interest. Around this time, and now undertaking her A-levels, she took the stage name ‘Dana’ – her school nickname.

In 1969 her label suggested she take part in the Irish National Song Contest, as the winner would represent Ireland in the Eurovision Song Contest. She came second with Look Around (her fourth single).

The following year the Irish National Song Contest producer Tom McGrath suggested Dana try again. This time the winner would represent just the Republic of Ireland at that year’s Eurovision. He thought the young singer would be a great match for All Kinds of Everything, a ballad by Derry Lindsay and Jackie Smith, two 28-year-old amateur songwriters working as printmakers for a Dublin newspaper.

Dana won the contest and on 21 March she became the last performer at Eurovision, held in Amsterdam. She beat Mary Hopkin representing the UK by seven votes. This was the first of a record seven wins by the Republic of Ireland, and was only the second English language song to win the competition (Sandie Shaw’s Puppet on a String was the first in 1967, and Lulu’s Boom Bang-a-Bang had shared first place in 1969). It’s worth noting the political significance of this win, having a girl from Northern Ireland representing the republic and not the UK, just as The Troubles were rumbling.

The single version of All Kinds of Everything had been released the week before the show, arranged by Phil Coulter, who had co-written Puppet on a String and Congratulations. It began to climb the charts.

https://youtu.be/8xmnd3uiK_Y

Review

If this kind of dreck can win Eurovision, there’s no wonder it has such a reputation for the naff. The best thing I can say about it is that it didn’t make me want to hurt myself the way Puppet on a String did. All Kinds of Everything is all kinds of terrible. The production (Ray Horricks also produced both Anthony Newley’s chart-toppers) is lightweight and makes an already sickly song even worse, and the lyrics are something else. Dana’s got someone constantly on her mind and the song is simply a list of things that remind her of him. So let’s take a look at those things, shall we?

In the first verse she sings (in a serviceable but sickly manner) of ‘Snowdrops and daffodils, butterflies and bees’. Predictable, but sweet I suppose. But then she moves on to ‘Sailboats and fishermen, things of the sea’. Fishermen? Ok, that’s unusual. And how vague is ‘things of the sea’? Either she can’t be arsed to go into detail, or hasn’t got the imagination to do so. In the second verse we get ‘things of the sky’, including seagulls and wind… I daresay my eight-year-old could be more imaginative than this. Lindsay and Smith clearly should have stuck to their day jobs. Tacky, dated and dull, All Kinds of Everything is one of the worst songs I’ve reviewed yet.

After

Dana’s debut album was released in June, named after her number 1, and featuring a new version of that track. I’m not going to find it and compare, I’m not putting myself through that. Her fortunes soon became mixed, with her follow-up single I Will Follow You ironically not following her previous one to anywhere near the same success. Who Put the Lights Out reached the top 20 in 1971, though.

Despite still doing well in Ireland, it was 1975 before Dana was back on Top of the Pops with Please Tell Him That I Said Hello. Her second biggest UK success happened that December with the seasonal It’s Gonna Be a Cold Cold Christmas reaching number four in Christmas week. In 1976 she scored a top 20 hit with the disco-influenced Fairytale, but after that her fame dwindled until she took a new direction as the 80s began.

In 1979 Pope John Paul II visited Ireland, which inspired Dana to sing about her faith. She topped the Irish charts with Totus Tuus, and it opened the door to a career recording Catholic music and prayer albums, and spent most of the 80s doing this, appearing in Pantones or appearing on light entertainment shows.

Dana’s religious dedication made her popular in the US, and she presented a TV show there in 1991, called Say Yes. In 1997 the Christian Community Centre in Ireland suggested she ran for Irish presidency, and after scoffing at the idea initially, she ran as an independent under the name Dana Rosemary Scallon, and came third.

Scallon won a seat in the European Parliament in 1999, and proved herself to have values as outdated as her music – vehemently pro-life, anti-divorce, anti-same-sex marriages, and anti-EU. So actually, in a way she was ahead of her time, and could probably become supreme leader of the universe with the way the world is in 2020. All kinds of prejudice reminds me of Dana, you could say.

Scanlon lost her seat in 2004 and returned to light entertainment, launched a religious music label, released her second autobiography and became a TV talent show judge. In 2011 she ran for presidency again and came sixth. 2019 saw Dana, now 68, release her first album in years, My Time.

The Outro

Sadly, All Kinds of Everything sets the scene in a way, as there was lots more dreary MOR to come in the 70s.

The Info

Written by

Derry Lindsay & Jackie Smith

Producer

Ray Horricks

Weeks at number 1

2 (18 April-1 May)

Trivia

Births

27 April: Actress Kylie Travis

Deaths

20 April: Academic Thomas Iorwerth Ellis

Meanwhile…

18 April: British Leyland announced its longest-running model, the Morris Minor, which had been in production since 1948, would be discontinued at the start of 1971.

29 April: Chelsea defeated Leeds United 2-1 in the FA Cup final replay at Old Trafford, gaining them the trophy for the first time.
On the same day, last year’s winners Manchester City won the European Cup Winners’ Cup by defeating Polish team Górnik Zabrze 2-1 in Vienna, Austria.

283. Simon & Garfunkel – Bridge over Troubled Water (1970)

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The Intro

The first classic number 1 of the 70s, Bridge over Troubled Water‘s message of the importance of friendship in times of emotional pain made it one of the most famous songs of all time, and yet it did further damage to Simon & Garfunkel’s already strained relationship, and helped quicken their disintegration.

Before

Paul Frederic Simon was born on 13 October 1941 in Newark, New Jersey. Arthur Ira Garfunkel was born 5 November in New York City, also 1941. They grew up three blocks from each other in Queens, New York and attended the same schools and admired The Everly Brothers. They became friends in 1953 when appearing in a sixth grade production of Alice in Wonderland. In addition to forming a street corner doo-wop quintet called The Peptones, Simon and Garfunkel began performing as a duo at school dances. In 1956 they wrote their first song, The Girl for Me and signed with independent label Big Records aged only 15.

As Tom & Jerry (Garfunkel was Tom Graph, Simon was Jerry Landis) the duo had some success with 1957 single Hey Schoolgirl, but were unable to follow it up. While both at university, and still officially a duo, Simon released a single under the name True Taylor. This can be seen as the first crack in their relationship, as it caused some resentment with Garfunkel.

They went their separate ways for some time, recording under a variety of names and working with other acts. Then in 1963, they both graduated from university and began to work together again. By now they had moved on from rock’n’roll and were both enjoying the burgeoning folk scene in Greenwich, and billed themselves as Kane & Garr. One of the songs they would perform was The Sound of Silence. Columbia Records producer Tom Wilson, who later helped Bob Dylan in his transition to electric, was impressed by the duo, and helped get them signed to the label.

In 1964, as Simon & Garfunkel, they recorded their debut LP, Wednesday Morning, 3 A.M. Featuring compositions by Simon and covers, it bombed, and Simon decided to move to the UK soon after, going solo once more.

Fast forward to 1965, and Simon had released solo album The Paul Simon Songbook, which hadn’t done too well. Garfunkel, who had been to visit his friend in the UK, was at Columbia University. Then everything changed.

The Sound of Silence was gaining in popularity with colleges on the radio, and Wilson decided to make a remix featuring electric instruments and drums, without telling either of them. Simon was horrified when he found out, but then the new folk-rock version hit number 1 in the US in January 1966. He hastily returned to the US, and they reunited to quickly record a new album, Sounds of Silence. Featuring remade versions of tracks from Simon’s solo LP, including I Am a Rock, it was a rush-job, but extremely popular, and they were famous at last.

They decided to take time over their third album, and became more interested in production, while making Parsley, Sage, Rosemary and Thyme, released that October. With their version of Scarborough Fair/Canticle, and a remade Homeward Bound among the included material, it was one of their best collections.

Simon developed writer’s block while working on the next album, but managed to pen material for Mike Nichols’ smash romantic comedy The Graduate in 1967, including Mrs. Robinson. Fourth album Bookends eventually surfaced in 1968, and included the title track, America and Hazy Shade of Winter.

By now huge recording and touring stars, their partnership began to suffer, thanks in part to Garfunkel’s acting career. Simon was to join him in Nichols’ Catch-22 (1970) but found his part written out. Matters were exacerbated by the filming taking longer than expected. Eventually they began work, with members of The Wrecking Crew and producer Roy Halee on their fifth and final album, turning down an invitation to perform at Woodstock Festival while doing so.

What was to become the title track began originally as a gentle two-verse guitar number that had been inspired in part by a line from 1958 song Mary Don’t You Weep, a gospel track by the Swan Silvertones: ‘I’ll be your bridge over deep water if you trust in me”. Simon later presented singer-songwriter Claude Jetter with a cheque to acknowledge his inspiration. The civil rights unrest and political assassinations in the stormy years leading up to this time also helped Simon come up with a message of hope.

Over the years, the duo have both given different stories over what happened next. Simon claimed he thought it would be perfect as a solo spot for Garfunkel’s angelic voice, but that he didn’t want to do it, and Simon felt hurt. Garfunkel says Simon was gracious when Garfunkel told him politely that he felt Simon should do it as it sounded lovely performed by him. Who knows – but I do know from reading and seeing interviews that both men can be oversensitive and precious.

Simon & Garfunkel, musicians and production crew assembled at CBS studios to work Bridge over Troubled Water out in November 1969. The final track to be recorded for the album, but the first to be completed, it was felt that, as nice as it was, the song should feature an extra verse, and open out to become a real epic in the style of a Phil Spector number. And so Simon wrote the ‘silver girl’ verse at Garfunkel’s suggestion, but wasn’t too keen. While some say it’s a reference to a drug user’s needle, it’s apparently an in-joke – Simon’s wife Peggy Harper had noticed she was turning grey. Simon seems to regret ever adding a third verse, and he’s not alone in that.

Review

Bridge over Troubled Water has been criticised for being calculated and manipulative – a glossy exercise in tugging the heartstrings, and that it’s too epic, too, that it would have been better in its original incarnation. I understand all these points, and it’s certainly been used since in countless covers as the go-to song to make people emotional, but I think it’s simply a beautiful song and that no amount of stories of two stars whose egos were incompatible can spoilt it for me.

Simon is right in that the first verse, in particular, is the most moving. Garfunkel’s always beautiful voice is perfect here, and I admire the technical brilliance of being able to wring every bit of emotion out of each syllable. Garfunkel later claimed this verse took the most amount of takes, whereas the finale was the easiest. Wonderful support on the piano by Larry Knetchel, too. The performance makes me imagine that the person Garfunkel is singing to is so fragile, his almost hushed tones are all they can take.

He/they grow in strength in the second verse, adding meaning to Simon’s already powerful words, and the cymbal crashes from Hal Blaine suggest the message is getting through. Then the strings come in, courtesy of Jimmy Haskell, who had misheard the name of the song and labelled his arrangement Like a Pitcher of Troubled Water. Bass enters the fray, and Blaine gets on the drum kit. Its unclear whether that’s double-tracked singing from Garfunkel or Simon finally getting his voice heard, but I think it’s the former. Yes, the lyrics don’t match what came before, but the music picks up the slack, and then the epic rousing finale, in which Garfunkel gives it his all, leaving the darkness behind, with Blaine creating that unique drum sound by slapping the chains from his snow tyres on to his snare drum (used again on The Boxer). If this track hasn’t at least once made you want to cry when your defences are down (or just very pissed), are you even human?

After

The song was complete, and despite being over five minutes in length, label boss Clive Davis insisted it was too good to be anything but the first single from the album. He was totally correct, of course. It went to number 1 in the US in February, then the UK a month later, and like Wand’rin’ Star before it, it kept The Beatles’ swansong single, Let It Be, from number 1. Clearly, the mood of the time was for gospel-influenced, big message songs. The Beatles may be the greatest band of all time, but Bridge over Troubled Water was the better song here. It rightfully went on to be one of the biggest-selling singles of all time.

And the album named after the song was also huge. It was the bestseller of 1970, 71 and 72, and until Michael Jackson’s Thriller it was the biggest of all time. But Simon & Garfunkel had had enough of each other for the forseeable. In 1971, the same year their final LP won six awards at the Grammys, they split.

Simon would confess to Bridge over Troubled Water causing him to feel jealous – he resented sitting in the wings watching Garfunkel getting adulation for performing his song. You’d be forgiven for thinking he needed to get over himself. But it’s also proof that you can be an incredible songwriting talent and still be as petty as any other human, I suppose.

The duo got back together in 1972 for a benefit concert for Democrat hopeful George McGovern, but it was another three years before they spoke to each other when they visited a recording session by John Lennon and Harry Nilsson. They collaborated in the studio once more, and came up with a new single, My Little Town, which was a hit. For the rest of the 70s they would occasionally make rare TV and live appearances. Garfunkel would have two UK number 1s, most notably the beautiful Bright Eyes from animated movie Watership Down (1978) – it was number 1 on the day I was born, 19 April 1979.

The 80s began with both Simon and Garfunkel’s solo careers in decline, until they were persuaded to perform at a free concert in Central Park, New York City in 1981. An incredible 500,000 attended the show – the largest ever at the time. They tried to capitalise on the renewed interest with a world tour in 1982, but old tensions rose and they barely spoke to each other throughout. Warner Bros. pushed for a tour extension and reunion album, but after early recording attempts, Simon opted for a new solo LP instead, with Garfunkel’s refusal to give up cannabis among the reasons given. Simon would go on to be very popular for the rest of the decade, particularly for his crossover world music album Graceland in 1986.

Simon & Garfunkel were inducted into the Rock and Roll Hall of Fame in 1990, and managed to perform three songs together, despite Simon being pretty snide in his speech, and the duo refusing to speak to each other afterwards. A year later Simon did his own Central Park show, pointedly refusing an offer from his former partner to join him there. However in 1993 they were touring once more. Guess what? They fell out again for the rest of the decade.

In 2001 Simon was inducted into the Hall of Fame as a solo artist. He thanked Garfunkel, but ended up saying he wasn’t in a rush to make peace with him, either. Nice. A lifetime achievement Grammy for the old friends/sworn enemies in 2003 resulted in another halt to their Cold War. They toured the US and Europe for a year, and performed at a Hurricane Katrina benefit in 2005. Their final performance as Simon & Garfunkel took place at the New Orleans Jazz & Heritage Festival in 2010, with the latter struggling with vocal cord paresis. Further dates were postponed indefinitely, and it would be four years before his voice was back to full strength.

The Outro

Simon announced his retirement from touring in 2018. Does that mean we’ll never see them on stage ever again? Who knows. They’re both approaching 80, and it seems Simon in particular is unlikely to want to do so, but it would be nice to think they could end their days as friends once more. Hopefully it would be for genuine reasons, rather than the money.

If it doesn’t happen, best to take comfort in the fact the duo were able to produce some brilliant songs, had real alchemy together, and that despite the result it had on their relationship, Bridge over Troubled Water has helped so many people for 50 years.

Among the multitude of covers, it’s been number 1 twice since, for great causes – making up part of A Bridge over You, the 2015 Christmas number 1 by Lewisham & Greenwich NHS Choir, and in its own right in 2017, when stars including Robbie Williams, Rita Ora, Roger Daltrey and Stoemzy united under the banner Artists for Grenfell.

The Info

Written by

Paul Simon

Producers

Roy Halee, Paul Simon & Art Garfunkel

Weeks at number 1

3 (28 March-17 April)

Meanwhile…

April Fool’s Day: Everton won the Football League First Division title.

10 April: Paul McCartney announces that he has left The Beatles, marking the end of the Fab Four.

11 April: Chelsea and Leeds United drew 2–2 in the FA Cup final at Wembley Stadium, making it the first to require a replay since 1912.

16 April: The controversial Dr. Ian Paisley entered the Parliament of Northern Ireland after winning the Bannside By-election.

282. Lee Marvin (Orchestra Conducted by Nelson Riddle) – Wand’rin’ Star (From the Soundtrack Album of the Paramount Picture “Paint Your Wagon”) (1970)

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The Intro

Here’s a strange one. Taking up the top spot for most of March was Academy Award-winning Hollywood actor Lee Marvin – definitely not a professional singer – and Wand’rin’ Star, from the 1969 western musical film Paint Your Wagon, based on the 1951 stage show.

Set in a mining camp during the Gold Rush in California, the film also starred Clint Eastwood in a singing role. Despite its notoriety now, it was panned upon its release. Not much of a fan of westerns or musicals, I’ve never seen it, and likely never will.

The song Wand’rin’ Star, like the rest of the music in the film/show, came from Frederick Loewe, with the lyrics by Alan J Lerner. Together, the duo wrote some of the most famous musicals of all time, including My Fair Lady (Vic Damone had a UK number 1 in 1958 with On the Street Where You Live).

The makers of the movie had a problem when it cames to filming. Prematurely white-haired, gruff-voiced Marvin, one of the top actors of the era, was no singer, yet he had top billing in his role as prospector Ben Rumson. And he refused to mime.

Before

Marvin was born 19 February 1924 in New York City. The son of an advertising executive and fashion editor, he struggled from authority from an early age – running away from home for two days at the age of four, and expelled from a succession of boarding schools. However when he was 18 he dropped out of a Florida prep school to join the Marines in 1942, determined to prove how tough he was. Marvin was wounded in action in 1944 and spent a year in hospital.

Upon his discharge he took up various menial jobs and stumbled upon acting almost by accident. Soon, he was in a Broadway production of Billy Budd, before the 50s beckoned, and he garnered many small TV roles.

Next, came Hollywood, and a role as a murderer in an episode of crime drama Dragnet got him noticed, leading to him being typecast as the bad guy in films. Two such roles came in The Big Heat and The Wild One (both 1953) – the latter of which may be where The Beatles got their name from (Marvin’s gang were called The Beetles). He finally got to be leading man in the TV crime drama The M Squad, which ran from 1957-60.

Once the series ended, he went up a notch in film roles, starring in The Comancheros (1961), The Man Who Shot Liberty Valance (1962) and Donovan’s Reef (1963). But it was 1965 surprise-hit comedy Cat Ballou that really shot him to the big time, and he won the Best Actor Oscar that year.

The Dirty Dozen (also starring Charles Bronson) as a commercial success, and Point Blank adored by critics, both in 1967. Hell in the Pacific was also acclaimed a year later, and in 1969 Marvin was set to star in The Wild Bunch, but he fell out with director Sam Peckinpah and opted for Paint Your Wagon instead.

Wand’rin’ Star finds Marvin’s character fending for himself and contemplating his hobo lifestyle. The song was orchestrated and arranged by Nelson Riddle, who had been working with some of the most legendary singers since the 40s – including Frank Sinatra on his first number 1, Three Coins in the Fountain.

Review

The first time I listened to this, I thought Siri had accidentally picked an instrumental version, perhaps used as incidental music in the film. It’s quite some time before Marvin’s gravelly vocal begins. And you know what, yes, it’s out of tune and his timing is also off at times, but I’d take his voice over the dated backing singers.

It’s all about the mood, and Marvin’s baritone fits perfectly. His off-key rasp puts across that this is someone that’s been damaged, that’s gone through some shit, but is proud of the lifestyle he has.

Also, there’s some really great lyrics here, particularly:
I’ve never seen a sight that didn’t look better looking back
And especially:
Do I know where hell is?
Hell is in hello
Heaven is goodbye for ever, it’s time for me to go

No wonder this was played at Joe Strummer’s funeral, and covered by Shane MacGowan and the Popes. There’s real depth here. I can do without the backing singers taking over at one point, and I probably won’t be listening to it much in the future, but it’s surprisingly good. And the public clearly thought so too. This even kept Let It Be off the top spot!

After

Marvin remained active in films throughout the 70s, but despite his roles becoming diverse, nothing matched the 60s for him, commercially or critically. He was offered the role of Quint in Jaws (1975) but turned it down.

He was embroiled in a high-profile lawsuit in 1979 when his old live-in girlfriend, Michelle Triola, who had changed her surname to Marvin, claimed he had promised her half his income while they were still together. This was the first time the US Supreme Court has allowed such a case between unmarried couples. The judge only awarded her enough money to get back on her feet.

Marvin claimed to spend much of the remainder of his years living in the desert, which makes him sound very similar to the character Ben – no wonder he sang it with such conviction. He starred in Gorky Park in 1983, and his final film was The Delta Force alongside Chuck Norris in 1986.

The Outro

Marvin fell ill that December, and after a number of issues he died of a heart attack on 29 August 1987, aged 63.

The Info

Written by

Alan J Lerner & Frederick Loewe

Producer

Tom Mack

Weeks at number 1

3 (7-27 March)

Meanwhile…

12 March: The government’s anti-rabies measures following an outbreak in Newmarket, Suffolk meant that the quarantine period for cats and dogs was increased to one year.

13 March: The Bridgwater by-election became the first in which 18-year-olds could vote. Tom King of the Conservatives was the victor.

17 March: Martin Peters, who scored for England in the 1966 World Cup final, became the first footballer in the country worth £200,000 after transferring from West Ham United to Tottenham Hotspur.

23 March: 18 victims of the thalidomide scandal were awarded nearly £370,000 in compensation.

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

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The Intro

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

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

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

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

Before

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

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

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

Review

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

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

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

After

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

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

The Outro

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

The Info

Written by

Tony Macauley & Barry Mason

Producer

Tony Macauley

Weeks at number 1

5 (31 January-6 March)

Trivia

Births

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

Deaths

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

Meanwhile…

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

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

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

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

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

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