Ghost Town had spent three weeks at number 1, soundtracking the country’s dissent over rising unemployment. What did it take to reunite the country? It took the Royal Wedding of Prince Charles II and Lady Diana Spencer, and the retro rock’n’roll of Shakin’ Stevens, who was at the peak of his fame with Green Door.
Before
Shaky-mania was a very real thing back then. Grandparents and parents loved the Welsh pop star, who had filled in the sizeable gap left by the death of Elvis Presley, boys thought he was cool, and girls swooned.
Stevens’ cover of This Ole House had topped the hit parade in the spring, and so it was a case of striking while the iron was hot. Work began on his fourth album, the imaginatively titled Shaky. Adopting the ‘if it ain’t broke, don’t fix it’ methodology, it featured a mix of self-penned Stevens numbers and covers of 50s rock’n’roll tunes. The first fruits of Shaky to see the light of day was the original track You Drive Me Crazy, which was a strong track and rushed out hot on the heels of This Ole House. It was brand new, but could easily have been mistaken for a 50s or 60s hit. It very nearly became Shaky’s second number 1, but it was kept off the top spot by Stand and Deliver!, by the UK’s other hottest pop star of 1981.
Perhaps sensing that Stevens could repeat the success of his last number 1 by releasing a song the old folks would remember from their youth, Philips Records released his cover of Green Door.
Green Door had been written by US orchestra leader Bob ‘Hutch’ Davie, with lyrics by Marvin J Moore, in 1956. The original version was recorded by Jim Lowe, a singer-songwriter and radio presenter. The green door in question refers to the entrance to a private club, that Lowe is desperate to enter. He can hear laughter, an old piano which is being played ‘hot’, and can see smoke coming through the keyhole. Lowe’s recording, which became number 1 in the US and eight in the UK, is an interesting production, on which Davie played piano, that he sped up to give it a honky tonk sound.
In the UK, Lowe’s version was eclipsed by Frankie Vaughan’s, which reached number two. Vaughan, known as ‘Mr Moonlight’, was hugely popular in the UK, and in time he would have two number 1s. However, Lowe’s version is the superior one.
Review
I don’t know if it’s age or nostalgia, but here I am bigging up Shaky, whose version of Green Door is better than Lowe’s and Laine’s. It is very similar to the latter, but where normally I’d prefer an authentic primitive 50s production over a glossy 80s take, that isn’t the case here.
Producer Stuart Colman gives it sheen but also some oomph. It’s catchy as hell and to be fair, the country must have been ready for a party after all the civil unrest that had been going down that summer. And yet, it’s only a few months since I reviewed This Ole House, and I marked that down considerably, despite both singles being very, very similar. Perhaps Stevens caught me on a good day, this time.
Or perhaps it was the silliness of the video that made me warm to Green Door. Shaky’s videos are always good for an easy laugh, and this is no exception. Just like This Ole House, the director is taking things very literally (possibly the same director?). Stevens jumps around in front of some, yes, green doors in much the same way he jumped off the old house (yes, really). There are repeated shots of an eye looking through a keyhole, a piano… you get the message. Then he finally gets inside the club and gets the chance to do some Elvis-style gyrations on the piano. It’s ridiculous, but in a good way, and I can totally see why he must have seemed so cool to me as a little lad.
After
After spending nearly all of August 1981 at the top of the singles chart, the parent album Shaky was released, and went on to be his most successful LP ever, also reaching number 1. It’s Raining, also from the album, peaked at 10, but he would soon be back at pole position.
The Outro
Green Door is obviously squeaky clean and upbeat. But it also took on a more sinister meaning for me, thanks to its reworking for a 1976 public information film, that continued to be shown well into the 80s. Looking at it now, it’s really not scary, but it did its job when I was a boy, as after seeing it I’d be too scared to answer the door to anyone. Cheers, Central Office of Information!
The Info
Written by
Bob Davie & Marvin J Moore
Producer
Stuart Colman
Weeks at number 1
4 (1-28 August)
Trivia
Births
8 August: S Club 7 singer Bradley McIntosh 11 August: Scottish singer-songwriter Sandi Thom 17 August: Conservative Party MP Johnny Mercer/Actor Chris New 20 August: Ben Barnes 27 August: Comedian Olivia Lee 28 August: Scottish Labour Party leader Kezia Dugdale
Deaths
5 August: Poet Molly Holden/Clarinettist Reginald Kell 9 August: Landowner Ralph Bankes 10 August: Civil servant Sir Alan Lascelles/Anglican clergyman James Parkes 12 August: Royal Navy captain Howard Bone 15 August: Lawyer Sir Humphrey Waldock 16 August: Cinematographer Denys Coop 18 August: Second World War pilot Athol Forbes 19 August: Actress Jessie Matthews 21 August: Journalist JRL Anderson 22 August: First World War nurse Mairi Chisholm 24 August: Physician Margery Blackie 26 August: Television producer Peter Eckersley 28 August: Record producer Guy Stevens
Meanwhile…
1 August: Kevin Lynch became the seventh IRA hunger striker to die.
2 August: Less than 24 hours later, Kevin Lynch became the eighth.
8 August: Thomas McElwee became the ninth.
9 August: Broadmoor Hospital is criticised when double murderer Alan Reeve became the second prisoner to escape there in three weeks.
17 August: An inquiry opened for the Moss Side riots.
20 August: Michael Devine was the 10th IRA hunger striker to die in prison. Also on this day, Minimum Lending Rate ceased to be set by the Bank of England.
25 August: Britain’s largest Enterprise Zone was launched in Tyneside.
27 August: 31-year-old Moira Stuart was appointed to be the first black newsreader on the BBC.
Adam and the Ants captivated children of the 80s – myself included. Adam Ant was my first ever musical hero, and where my love of music began. Here’s how a new wave band with niche appeal became a sensation and shot to number 1 for the first time with Stand and Deliver!.
Before
Adam Ant was born Stuart Leslie Goddard in Marylebone, London on 3 November 1954. Goddard’s grandfather on his mother’s side was Romanichal, which planted the seed of protecting minorities that would become a common theme in Goddard’s music.
His parents divorced when he was seven, and his mother worked as a domestic cleaner to make ends meet. In 1967, she briefly cleaned Paul McCartney’s house, and her son later vividly recalled going round there after school.
Goddard was educated at Robinsfield Infants School, where he got into trouble by throwing a brick through the headmaster’s office on two consecutive days. Ironically, this proved to be a wise move, as he was placed under the supervision of a teacher who encouraged his creative side.
At Barrow Hill Junior School, Goddard enjoyed boxing and cricket. He passed his A-plus and went to St Marylebone Grammar School, an all-boys school, where he became a prefect and gained three A-levels. Next was Hornsey College of Art, where he studied graphic design. But before he could complete his BA, he was swayed by a growing love of music, and he dropped out.
Goddard joined the pub rock band Bazooka Joe in 1975 as their bassist. Although the band also featured John Ellis, who became one of The Vibrators, they are most famous for being the headliners of the first ever Sex Pistols gig, at Central St Martins College of Art and Design on 6 November. Goddard was fascinated by the Pistols, while the rest of Bazooka Joe disagreed so strongly, he decided to leave the group and an idea began to form.
Under his new guise, Ant (named ‘Adam’ after the first man and ‘Ant’ after a creature that would survive a nuclear explosion) formed the B-Sides, featuring lead guitarist Lester Square and Andy Warren. On 23 April 1977, with drummer Paul Flanagan, they became The Ants, holding their first band meeting at a Siouxsie and the Banshees gig at the Roxy in Covent Garden. Ant was in the right place at the right time, as the punk scene was exploding, and he became close friends with Jordan, who worked at Malcolm McLaren and Vivienne Westwood’s SEX boutique. She soon became his band’s manager.
Square only lasted a month before leaving to concentrate on his course at art school, though he later formed The Monochrome Set. He was replaced by Mark Ryan, and The Ants began performing regularly around London. Flanagan was replaced in early June by Dave ‘Barbe’ Barbarossa, and The Ants entered a studio for the first time, recording Deutscher Girls and Beat My Guest. These two songs featured in Derek Jarman’s drama Jubilee (1978), in which Ant made his acting debut as The Kid. The Ants sacked Ryan, replaced him with Johnny Bivouac, and became Adam and the Ants.
The leather-clad, post-punk Adam and the Ants had a penchant for controversial fetishist imagery, and were unpopular with the music press, but they gained a cult following. 1978 was a big year, as they made their radio debut, recording a session for John Peel in January. Jordan featured on vocals for their final track Lou, which she used to do regularly at their gigs, but she quit as their manager in May and a day later, Bivouac left the band, to be replaced by Matthew Ashman.
Adam and the Ants recorded a second Peel session in July and at the end of the month they signed a two-single deal with Decca Records. Young Parisians was released in October, but plans for a follow-up were shelved by Decca.
A third Peel session was recorded in March 1979, and the band signed with independent label Do It Records. Second single Zerox was released in July and a month later they began recording their debut album, written and produced by Ant. Soon after, he sacked Ashman and Warren, and the latter joined The Monochrome Set, but Ashman was allowed back. Warren was replaced by Lee Gorman. The LP, Dirk Wears White Sox ( a reference to actor Dirk Bogarde), was released in November. It’s an interesting album, but don’t expect any of the brilliant pop that was around the corner. It did however make it to number 1 on the fledgling UK Independent Albums Chart that launched in early January 1980.
Ant asked Malcolm McLaren to take over as manager of the band, and the former Sex Pistols manager proved to inadvertently have a positive effect on Ant’s career. How? By dropping him and stealing his band. By the end of January, McLaren had persuaded Ashman, Gorman and Barbe to jump ship and join his new group, Bow Wow Wow. Their lead singer was 13-year-old Annabella Lwin, who was briefly joined by George O’Dowd before he became better known as Boy George. Whether Ant
Undeterred, Ant went looking for new Ants. Marco Pirroni, who had been one of Siouxsie’s Banshees, became the new guitarist. They were briefly joined by future Culture Club drummer Jon Moss (using the name Terry 1+2) to remake Dirk Wears White Sox opener Cartrouble as a contractual obligation for Do It, with Pirroni also on bass. The single was produced by Chris Hughes, who Ant subsequently asked to become his new drummer.
Kevin Mooney picked up bass duties, and unusually, there were now two drummers as Terry Lee Miall also joined the band. Ant was to co-write the new material with Pirroni and they signed a publishing deal with EMI. They worked on new material at Matrix Studios and went on the Ant Invasion tour while Ant took the new material to prospective record companies.
The change in direction was startling. Ant and Pirroni used Hughes (now known as Merrick) and Miall to create Burundi-style African drumming to underpin a new sound that was a commercial yet unique mix of pop and new wave. They ditched the leathers and instead of a monochrome look they added tons of colour, dressing as pirates with Native American make-up, and looking and sounding not unlike Johnny Kidd and the Pirates.
Whether these ideas were stolen from McLaren (as their former manager claimed) or vice versa, Ant, who was always incredibly handsome and charismatic, now looked and sounded like a real pop star. It wouldn’t take long to persuade the public he was, either.
Kings of the Wild Frontier was their next single, and what a call to arms it was. Over that soon to become familiar Burundi beat and Pirroni’s rockabilly guitar, Ant began his mission statement by chanting ‘A new Royal family, a wild nobility, we are the family’. He also sang about Native American suffering and declared ‘Antpeople are the warriors, Antmusic is our banner!’ Tremendous stuff, that somehow only scraped into the charts at 48 that summer.
In October came their next single, Dog Eat Dog, which streamlined the formula into a more chart-friendly format. This song, about bands in competition with one another and inspired by a phrase used by Margaret Thatcher, deservedly went all the way to number four.
The following month saw the release of their first hit LP. Kings of the Wild Frontier proved Adam and the Ants weren’t going to be a one-hit wonder. Released as the New Romantic movement was exploding, it contained another mission statement in Antmusic, which peaked at number two in January 1981, being held off the top spot by Imagine in the wake of John Lennon’s death.
Adam and the Ants were so popular, Decca and Do It rushed to plunder their earlier material for a cash grab. Incredibly, Young Parisians climbed to nine. In February the band performed on The Royal Variety Show in a spellbinding performance that caused Ant to shout at Mooney at the close for seemingly going off script. It would be Mooney’s last performance with the Ants, and Gary Tibbs, who had starred in Breaking Glass (1980), took his place. A re-release of the single Kings of the Wild Frontier soared to two.
The band set to work on what was to be the final Adam and the Ants album. Prince Charming’s lead single was to be Stand and Deliver!, in which Ant adopted a new image as ‘the dandy highwayman that you’re too scared to mention’. Ant was a history buff and loved the Georgian era of bawdy flamboyance. He saw it as a perfect vehicle for ‘looking flash and grabbing your attention. And it definitely worked.
Inspiration may have come from several places, including the film The Charge of the Light Brigade (1968), the Monty Python’s Flying Circus 1973 sketch ‘Dennis Moore’, Carry on Dick (1974) – the final entry in the series to star Sid James – and the London Weekend Television series Dick Turpin, that was running on ITV at the time.
Review
It was inevitable that Stand and Deliver! should become Ant’s first number 1, after several near misses. The drums are toned down from previous singles, now providing an exciting underpinning to pure brilliant pop, and Pirroni’s guitar is more modern than the rockabilly sounds of what came before.
There’s memorable vocal hook after hook here, too. If it’s not the opening line, or the triumphant chorus, or the ‘HUH’ after the drums in the chorus, it’s the nonsensical but suitably camp ‘Fa diddley qua qua’ as the song draws to a close.
While you can argue Adam and the Ants were too retro or rock to be New Romantics, this song fits the template, as Ant bemoans the lack of colour and fantasy in pop music. The Blitz Kids may have preferred more electronic sounding music, but they’d have totally agreed with lines like ‘The way you look you’ll qualify for next year’s old-age pension’. And the idea of using fashion as a weapon – ‘Not a bullet or a knife’ will have greatly appealed. It certainly did to little young me, and boys across the country. Ant was already cool, but mutating into a Dick Turpin-style character was bloody genius. In the early 80s I thought Sid James in Carry on Dick was cool. Ant as similar? Simply mind-blowing.
To change from edgy S&M stylings to cartoon childhood heroics is quite a transformation, but Ant more than pulled it off. As a child, he was just amazing. Incredibly handsome, charismatic, flamboyant and fun, Ant was a cartoon hero brought to life. I may have missed out on Beatlemania and Flower Power, glam rock and punk, but I feel proud to have been a young boy when Ant was at the height of his fame.
In theory I was too young – I was only two when this was number 1. But I can remember leaping from chair to settee in our living room to Adam and the Ants’ videos, and there’s a photo of me proudly holding an Ants’ single. So the band must have already split by the time I was in love with them, so brief was their fame. But listening to this and watching the video now, it’s clear that Adam and the Ants could only ever be huge for a short time – in a similar way to early T Rex. But what a time!
Ashes to Ashes may have heralded the start of the rise of music videos in the 80s, but with Stand and Deliver!, Ant grabs the torch and gallops away with it. Ant worked with director Mike Mansfield to create ‘a Hollywood movie in three minutes’, and they certainly succeeded. Ant is going round holding up mirrors to his victims – including a man who looks scarily similar to Boycie from Only Fools and Horses, which started this same year. The video, which also features Ant’s then-girlfriend Amanda Donohoe, climaxes with our hero about to be hanged before escaping with the rest of the Ants, and then ends with a topless Ant staring at himself in the mirror, alone. What did this mean? Was it Ant contemplating his own lyrics? Was it his true self, behind the mock heroics? Or was it just a chance to look hot and make his female fans swoon? Whatever it was, it hinted at the title track of their last LP, and next number 1.
After
Stand and Deliver! was an instant smash, debuting at number 1 and staying there for five weeks. It was the third biggest-selling single of 1981, and solidified Ant as a household name that year.
The Outro
20 years later, a troubled Ant made a well-meaning but ill-advised new version of his first number 1, called Save the Gorilla. Ant was trying to raise awareness of the plight of mountain gorillas in Central Africa, and the production is decent enough, but an overweight Ant trying to squeeze his new lyrics into one of his classics just seemed a bit silly. Pirroni helped to block its release.
The Info
Written by
Adam Ant & Marco Pirroni
Producer
Chris Hughes
Weeks at number 1
5 (9 May-12 June)
Trivia
Births
13 May: Labour Party MP Luciana Berger 15 May: Equestrienne Zara Phillips 16 May: Actor Joseph Morgan/Actor Jim Sturgess 17 May: Footballer Leon Osman 20 May: 5ive pop star Sean Conlon 22 May: Comedian Sara Pascoe 26 May: Broadcaster James Wong 29 May: Rugby union player Rochelle Clark 9 June: Backstroke swimmer Helen Don-Duncan/Scottish football plater Alex Neil/Musician Anoushka Shankar 11 June: Scottish field hockey goalkeeper Alistair McGregor
Deaths
9 May: Footballer Ralph Allen/Socialite Doris Harcourt 10 May: Conservative Party MP Geoffrey Stevens 15 May: Liberal Party MP Margery Corbett Ashby 17 May: Classical scholar WKC Guthrie 18 May: Novelist Verity Bargate 19 May: Ornithologist Collingwood Ingram 23 May: Radio producer Rayner Heppenstall 24 May: Actor Jack Warner 27 May: Scientist Kit Pedler/Philologist Anne Pennington 28 May: Archaeologist John Bryan Ward-Perkins 29 May: Organist John Dykes Bower 31 May: Economist Barbara Ward, Baroness Jackson of Lodsworth 10 June: Welsh journalist Sir Trevor Evans
Meanwhile…
9 May: The 100th FA Cup final at Wembley Stadium ends as a 1-1 draw between Manchester City and Tottenham Hotspur.
11 May: Andrew Lloyd Webber’s musical Cats debuts at New London Theatre.
12 May: 25-year-old Francis Hughes becomes the second IRA hunger striker to die in Northern Ireland.
13 May: The New Cross fire inquest returns an open verdict on the thirteen people who died as a result of their injuries in the New Cross fire.
14 May: Spurs are victorious in the FA Cup final replay with a 3-2 win. It’s the sixth time they’ve won the trophy.
15 May: The Brixton riots inquiry opens.
19 May: Peter Sutcliffe is found guilty of 13 charges of murder, and a further seven attempted murders.
21 May: The IRA hunger strike claims two more deaths – Raymond McCreesh (24) and Patrick O’Hara (23).
22 May: Peter Sutcliffe is sentenced to life imprisonment.
27 May: Liverpool FC becomes the first British team to win the European Cup for the third time, defeating Real Madrid 1-0 at Parc des Princes in Paris.
30 May: More than 100,000 people march to Trafalgar Square in London for the Trade Union Congress’s (TUC’s) March For Jobs.
3 June: Sherman wins the Epsom Derby.
11 June: Queen Elizabeth II opens the NatWest Tower.
