197. Elvis Presley with the Jordanaires- Crying in the Chapel (1965)

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The music scene of 1965 may have been exciting, but the weather was not. June and July were very dull and average. Meanwhile, on 17 June, Frank Marcus’ farce The Killing of Sister George premiered at the Duke of York’s Theatre, becoming one of the first mainstream British plays to feature lesbian characters. Beryl Reid was in the title role. The following day the government announced plans for the introduction of a blood alcohol limit for drivers. Amazing it had taken so long, really. 22 June saw the 700th anniversary of Parliament celebrated.

So, lots going on that week, and it also saw the return to number 1 for the most successful artist at that point. After a two-year absence, Elvis Presley was back at the top for the 15th time with his cover of Crying in the Chapel. ‘The King’ had been in the doldrums somewhat since (You’re the) Devil in Disguise musically. His movie career was still very active, but the quality had continued to slide. Although Viva Las Vegas performed well in the summer of 1964. Presley turned 30 in 1965. Had he chose to respond to the British Invasion with a brave, bold new musical direction that had captured the imagination of record buyers once more?

Not quite. Crying in the Chapel actually dated from 1960, making it the longest gap for a number 1 single between the song’s recording and its release up to this point. The song was a gospel number written by Artie Glenn for his son Darrell in 1953. It reached number six in the US and was covered many times, by artists including Ella Fitzgerald and the Orioles. Elvis had grown up with a love of gospel, and recorded his version with the intention of including it on his fifth album His Hand in Mine, which was entirely gospel-based. However, by the end of the one long marathon recording session for the album, the band were exhausted, and the Jordanaires were particularly unhappy with their performance, so it was left off the album. Colonel Tom Parker liked it, but at the time he refused to let Presley release anything his company didn’t own the publishing rights to, and Valley Publishing refused to do a deal, so the song stayed in the vaults. By 1965 though, Hill and Range Publishing had bought them out, and so Crying in the Chapel was finally released, and record buyers forgave any lethargy they may have heard to give Presley his final UK number 1 of the 60s.

It’s a pleasant enough song, with the hushed, intimate performance reminiscent of Are You Lonesome Tonight?, but the track isn’t anywhere near up to that standard. The production marks it as belonging to a different era, and it sounds so old-fashioned compared to most of 1965’s other chart-toppers. But it fitted in with the family-friendly image Presley had held on to since leaving the army, and the older generation must have been glad to see the once raunchy, dangerous Elvis back with a nice song about God.

Following the success of Crying in the Chapel, Parker thought there might be something in the idea of turning Presley into a Christian entertainer. Fortunately by the time of the 1969 comeback special, Elvis finally had the courage to travel his own path. Sadly, not for nearly long enough, though.

After a week at the top, Crying in the Chapel was usurped from number 1 by the Hollies with I’m Alive. A week later though it enjoyed one more week in pole position, before I’m Alive knocked it down again. That same week saw a tragic accident in Little Baldon, Oxfordshire when a Royal Air Force Handley Page Hastings crashed just after take-off from RAF Abingdon on a parachute training exercise. All 41 men on board were killed.

Written by: Artie Glenn

Producers: Steve Sholes & Chet Atkins

Weeks at number 1: 2 (17-23 June, 1-7 July)

Births:

Fashion designer Sadie Frost – 19 June
Radio DJ Jo Whiley – 4 July

Deaths:

Cricketer Wally Hammond – 1 July 

154. Elvis Presley with the Jordanaires – (You’re the) Devil in Disguise (1963)

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Elvis’s chart fortunes had been falling in the US for a while, but now the same thing was happening in the UK. In 1960 and 1961 he’d scored four number 1s per year alone, but following his 1962 Christmas number 1, Return to Sender, he’d been unusually absent from the pole position. This may have been in part due to a rare lack of released singles, granted, but he was clearly not the force he had been. Some of his top songwriters had left his camp due to money issues, which was also having a knock-on effect.

(You’re the) Devil in Disguise had been written by one of his most prolific remaining teams, Bill Giant, Bernie Baum and Florence Kaye, who were behind many of the songs in his musicals. It was due to appear on a new album, but RCA chose to issue the material as singles and bonus tracks instead. The usual backing band were in place, as were the Jordanaires, plus Millie Kirkham joining them on backing vocals. Jordanaire bass singer Ray Walker was the man behind the deep ‘oh yes you are’ as the song fades out.

As patchy as Elvis’s songs had become, there’s a lot to like about this one. The switch between sweet and soulful and uptempo rock’n’roll may be an obvious trick, but it works, and of course Elvis has the vocal skills to pull both directions off. The clean, classy production also makes a nice change from the earthy Merseybeat number 1s of late, which is ironic considering how I’ve been longing for Elvis to make way for exactly that. (You’re the) Devil in Disguise is a fine song, and like Return to Sender, one of his better early 60s tunes.

However, Elvis’s 14th UK number 1 spent a mere week at the top – the shortest stint he’d ever had. Not only that, it was his last number 1 for nearly two years, and his 15th, Crying in the Chapel, was an old recording, meaning his next ‘new’ number 1 wouldn’t happen until 1970. In a true ‘changing of the guard’ moment, when (You’re the) Devil in Disguise featured on Juke Box Jury, John Lennon was one of the guest reviewers. He voted it a ‘miss’ and compared Elvis to Bing Crosby. One of Lennon’s heroes was now nothing more than a corny old has-been to him.

Written by: Bill Giant, Bernie Baum & Florence Kaye

Producer: Steve Sholes

Weeks at number 1: 1 (1-7 August)

Births:

Reform Judaism rabbi Laura Janner-Klausner – 1 August 
Singer Tasmin Archer – 3 August
Disc jockey Gary King – 4 August

143. Elvis Presley with the Jordanaires – Return to Sender (1962)

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If there’s an inch of snow on the ground these days, the British papers are full of ‘BIG FREEZE’ headlines. But have a read about the winter of 1962/63, and you soon realise most of these wintry spells are nothing compared to what people went through back then. The UK was hit with bitterly cold conditions on 22 December, and it remained so right through until March 1963. In fact, 6 March was the first morning of the year without a frost anywhere in Britain. Snow lay on the ground in the south of England for 62 consecutive days – since then, the record has been 10 in a row in 1987. That Christmas and New Year saw many towns and villages cut off from the outside world, yet steam trains were able to battle on through the snow, and many schools remained open.

Elvis Presley bagged his only Christmas number 1 at this time with one of his more famous singles, Return to Sender. Otis Blackwell, one of his best songwriters, co-wrote the song with Winfield Scott. This was the first time they had worked together, and they had been tasked with writing songs for the King’s next film, Girls! Girls! Girls! (1962). Unusually, they were given song titles and told to come up with tunes around them, (no wonder so many Elvis film songs were crap if this was the setup) but Return to Sender was entirely original, and impressed the filmmakers so much, they went ahead and included it in the film’s nightclub scene.

Opening with a quick blast of sax from Boots Randolph, Return to Sender is one of Presley’s better number 1s from this period. Although the tune itself isn’t too startling, Elvis sounds suitably pissed off, almost spitting the words out at times. He just can’t believe that girl refuses to read his letters, to the extent he’s going to hand deliver it, and give her one hell of a bollocking, it seems. The Jordanaires also sound livelier than usual, and complement Elvis to great effect.

However, Elvis’s best songwriters were starting to desert him now, and the public were finally starting to tire of him. I’m relieved to see it would be a further ten months before he hit the top again. After four number 1s per year in 1961 and 1962, this was quite a drop in fortunes, but the Beatles were now making headway, and soon the charts would be rammed with similar acts. With a few exceptions, 62 had been an average year, but my musical ‘year zero’ is next.

Written by: Winfield Scott & Otis Blackwell

Producers: Steve Sholes & Chet Atkins

Weeks at number 1: 3 (13 December 1962-2 January 1963)

Births:

Actor Ralph Fiennes – 22 December 

Deaths:

Director Charles Laughton – 15 December 

140. Elvis Presley with the Jordanaires – She’s Not You (1962)

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14 September saw Teledu Cymru begin transmissions to the North and West Wales region, which meant that ITV was now available anywhere in the UK. Six days later, Ford launched one of its most famous cars, the Cortina, which would have then set you back £573. Although it later became a much-mocked vehicle, it was one of the most popular cars of the 1970s, and even into the 80s, when poor families like mine could still be seen driving around in one. The following day, long-running student quiz University Challenge made its debut on ITV. This original incarnation ran until New Year’s Eve 1987, with Bamber Gascoigne presenting.

Meanwhile, Frank Ifield’s million-selling yodelling superhit I Remember You was finally usurped by, well, guess? That’s right, it’s Elvis again, for the 12th time! At this point he’s still making music that is nearly always a pale imitation of his previous classics (Can’t Help Falling in Love excepted, of course), he’s still starring in bad films, and he’s basically muddling through, yet still the UK are buying everything he releases and sending him to the top. This was soon to change, as we know. Previous number 1, Good Luck Charm, saw one of his top songwriters depart from the team due to a financial dispute, and other great creative talents were soon to leave too. She’s Not You was a rare collaboration between Doc Pomus, who co-wrote Surrender, and Lieber and Stoller, the duo behind Presley’s best number 1, Jailhouse Rock. Unusually, Chet Atkins is also credited as producer alongside Steve Sholes.

She’s Not You is a step up from Good Luck Charm, although that’s not saying a great deal. Once again, the music is a plodding boogie-woogie, but at least this time Elvis sings with some presence. The lyrics are also an improvement. The idea of Elvis settling for second best and comparing her to his true love is a good idea. But come on now, this stuff is starting to sound really dated – even the sexist Come Outside sounded more progressive than this, and record buyers were perhaps finally feeling the same, as it only remained at number 1 for three weeks – Elvis’s shortest stint since 1959’s I Got Stung/One Night. The next number 1 would be the sound of the future.

Written by: Jerry Lieber, Mike Stoller & Doc Pomus

Producer: Steve Sholes & Chet Atkins

Weeks at number 1: 3 (13 September-3 October)

Births:

Comedian Steve Punt – 15 September
Comedian Jack Dee – 24 September
Scottish footballer Ally McCoist, – 24 September
Everything But the Girl singer Tracey Thorn – 26 September

Deaths:

Dramatist Patrick Hamilton – 23 September

136. Elvis Presley with the Jordanaires – Good Luck Charm (1962)

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On 6 June, the Beatles set foot in Abbey Road Studios for their first session there. John, Paul, George and Pete ran through and recorded four songs – Besame Mucho and three originals – Love Me Do, PS I Love You and Ask Me Why. They didn’t leave much of an impression – their equipment was in a poor state, but George Martin and engineer Norman Smith thought Love Me Do had potential. Afterwards, Martin gave the band a long lecture about what they must do if they wanted to get anywhere in the business, and the Beatles stayed silent. According to Mark Lewisohn’s The Complete Beatles Recording Sessions, Smith recalled that Martin said ‘Look, I’ve laid into you for quite a time, you haven’t responded. Is there anything you don’t like?’. After a long, awkward silence, Harrison replied ‘Yeah, I don’t like your tie!’. This broke the ice, and the Beatles had Martin and the others in fits of laughter. Martin knew this group had potential, but before they returned to Abbey Road, something needed to be done about Pete Best’s drumming.

Meanwhile, Elvis was back at number 1 yet again. While four young men from Liverpool were learning about recording, the icon they soon replaced seemed to be growing increasingly content in coasting on by, safe in the knowledge that his fans would lap up anything he released.

Good Luck Charm was written by Aaron Schroeder and Wally Gold, the duo who came up with 1960’s biggest seller, It’s Now or Never. Elvis must have known this was a middling song that would still do well, as reports suggest he spent most of the recording session trying to crack up his band members. He’d tried to move into serious acting, but audiences wanted more light-hearted romantic musicals – had he now given up on taking music seriously too?

There had been an article in The Guardian last year claiming Presley’s legacy was in danger. The passing of so much time had blunted his appeal to young people, there were no truly great albums for music fans to get into, and your average Elvis impersonator was now more representative of the singer than the young rebel that had changed music so much in the 1950s. Good Luck Charm is a forgettable song that brings to mind that average Elvis impersonator. He’d had plenty of average material in the past, but often he’d raise his game vocally to salvage such shoddy stuff. Not this time. He sticks to a half-arsed croon. featuring plenty of trademark ‘uh-huh-huhs’. Very forgetful. It’s songs like this that do his reputation damage.

Good Luck Charm was not among Aaron Schroeder’s best work, but he had been one of Elvis’s top songwriters over the years, and this was the last song he donated to the King. He understandably refused to surrender rights to Elvis’s publishing company, and a court battle ensued. The publicity was such that soon after, other top songwriters rarely worked with him, or stopped altogether, including Otis Blackwell, Lieber and Stoller and Pomus and Shuman. Elvis’s songs inevitably deteriorated further.

Nonetheless, it was another long-lasting number 1, spending five weeks there. During that time, the new Coventry Cathedral was consecrated on 25 May, 2 June saw the first legal casino in the UK open in Brighton, Sussex, and on 14 June, the BBC broadcast the first episode of Galton and Simpson’s classic sitcom Steptoe and Son.

Written by: Aaron Schroeder & Wally Gold

Producer: Steve Sholes

Weeks at number 1: 5 (24 May-27 June)

Births:

Duran Duran keyboardist Nick Rhodes – 8 June 
Comedian Phil Jupitus – 25 June
Singer Michael Ball – 27 June 

Deaths:

Writer Vita Sackville-West – 2 June
Composer John Ireland – 12 June
Composer Sir Eugene Goossens – 13 June

133. Elvis Presley with the Jordanaires – Rock-A-Hula Baby (“Twist” Special)/Can’t Help Falling in Love (1962)

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So far, the 1960s had seen mixed fortunes for the King. When he was good, he was great (see (Marie’s the Name) His Latest Flame), and when he was bad, he was execrable (see Wooden Heart). He wasn’t always guaranteed to top the charts in the US anymore, but record buyers in the UK were still sending nearly every release to number 1. The problem, in part, was the fact he was stuck on the movie treadmill, forever churning out sugary musicals that also demanded soundtrack albums. In 1960 he tried to wrestle control, starring in the straight drama Flaming Star. He insisted on cutting back on the songs, and it featured only two. However, it performed poorly, and when his next drama, Wild in the Country (1961) did the same, it was back to the light-hearted, song-packed romances that audiences loved.

Blue Hawaii was the first, and most famous, of three Elvis films shot on the island. He starred as former soldier Chadwick Gates (!), and his mother was played by Angela Lansbury. No, Lansbury hasn’t always been old – she was only ten years older than he was, in reality. He arrived in Hawaii to record the soundtrack and shoot location filming in March 1961, and both Rock-A-Hula Baby (“Twist” Special) and Can’t Help Falling in Love were considered the strongest material to release together as singles before the film’s release in late 1961. Eventually they toppled Cliff Richard and the Shadows’ The Young Ones after its six-week run at number 1 on 22 February. This single is perhaps the finest example of just how all-over-the-place quality control had become in the Presley camp.

Rock-A-Hula Baby (“Twist” Special) was written by Ben Weisman, Fred Wise and Delores Fuller. Weisman was nicknamed ‘The Mad Professor’ by Elvis, and held the record for having had the most number of songs recorded by Presley – 57 in total. Fuller was once the girlfriend of cult low-budget film director Ed Wood, and had starred in his 1953 docu-drama Glen or Glenda and this was her first published song. Weisman was keen to combine Hawaiian music with the dance craze ‘the twist’, born via Chubby Checker’s cover of The Twist in 1960.

Hats off to Elvis again for trying different styles, but this is one of his poorer singles. I quite like the initial couplet ‘The way she moves her hips to her finger tips/I feel I’m heaven bound’, but it’s downhill from there. It probably works as a scene in Blue Hawaii (I’m not going to watch it to find out, I doubt I’ll ever watch an Elvis musical), but as a single, it’s ill-judged at best. Unlike the flip side.

Can’t Help Falling in Love fully deserves its classic status, and is Elvis’s finest ballad. It came from the songwriting team of Hugo Peretti, Luigi Creatore and George David Weiss, who were responsible for the 1961 English-language version of Mbube for the Tokens, which they renamed The Lion Sleeps Tonight. 20 years later Tight Fit went to number 1 with their version. Can’t Help Falling in Love wasn’t an entirely original track either – the melody was taken from the 1784 French song Plaisir D’Amour by Jean-Paul Egide-Martini (who was German, despite his name). Apparently, Elvis’s associates and film producers disliked the demo, but he insisted on recording it. Yet another sad example of the fact that Elvis may have been better off without some of his team and allowed to make his own decisions more often.

Elvis purrs the lyrics beautifully, the production is intimate and, well, pretty much perfect. The Jordanaires, often overused, make for the perfect vocal accompaniment. Hal Blaine is the drummer here, and the session drummer went on to become one of the most in-demand session drummers, playing with the Beach Boys and Simon and Garfunkel, among others. The lyrics hint that Elvis is perhaps involved in an illicit relationship (‘Shall I stay?/Would it be a sin?’), but ultimately it doesn’t matter – he’s surrendering to his emotions (‘Take my whole life too’… ‘Some things are meant to be’).     However, in Blue Hawaii, the song features in a scene in which he presents his love interest’s grandmother with a music box for her birthday. This version starts with the music box as the backing, before transforming to the single version.

It soon became apparent this was one of Elvis’s best songs, and Can’t Help Falling in Love became the finale of his live shows in the late 60s and 70s. It lost some of its magic though, as it was played faster than the intimate original recording. It came the last song Elvis performed on TV, closing his 1977 special, Elvis in Concert, and the last song he ever performed, at Market Square Arena in Indianapolis on 26 June that year. Less than two months later, he was dead.

In 1993 it topped the charts once more, via a rubbish reggae-lite cover by UB40. More on that another time. For me, the best use of this song came at the hands of Jason Pierce’s space-rockers Spiritualized. He added it to the end of the title track to his strung-out free-jazz, gospel and psychedelic masterpiece, Ladies and Gentlemen We Are Floating in Space in 1997, mixing it in amongst Pachalbel’s Canon and lyrics of obsessed love, to astounding affect. Unfortunately, the Presley estate objected (perhaps due to the drug overtones of the album?) and blocked the use after the earliest pressings. Pierce was forced to re-record the track, adding his own lyrics, which he now claims to prefer (there’s not a lot in it, but I prefer the original). However, in 2009 Pierce planned to release a deluxe edition of the album, and permission was granted to return the ‘Elvis mix’ to the start of the album, providing he rename the track Ladies and Gentlemen We Are Floating in Space (I Can’t Help Falling in Love). This seems a bit rich, considering Peretti, Creatore and Weiss borrowed so much of the melody in the first place, but that’s the music business for you.

Elvis’s tenth stint at number 1 lasted a month. On 26 February, the Irish Republican Army officially called off its Border Campaign in Northern Ireland, calling to a halt its attempt to halt British rule and unite Ireland. On 15 March, the Orpington by-election marked the start of the Liberal Party’s revival when Eric Lubbock caused an upset by defeating expected winner, Conservative Peter Goldman.

Written by:

Rock-A-Hula Baby (“Twist” Special): Ben Weisman, Fred Wise & Dolores Fuller/Can’t Help Falling in Love: Hugo Peretti, Luigi Creatore & George David Weiss

Producer: Steve Sholes

Weeks at number 1: 4 (22 February-21 March)

Births:

Novelist John Lanchester – 25 February 
Comic book artist Simon Bisley – 4 March 
Altered Images singer Clare Grogan – 17 March 

129. Elvis Presley – (Marie’s the Name) His Latest Flame/Little Sister (1961)

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On 9 November, Miss United Kingdom, the Welsh-born Rosemarie Frankland became the first British winner of the Miss World beauty contest. The competition had been running for 11 years at this point, and had taken place at the Lyceum Theatre in London.

On the same day, Elvis Presley went to number 1 for the 9th time. Before the Beatles, Elvis was untouchable when it came to chart domination in the UK, but by this point his record sales had dipped somewhat in the US. Despite this, (Marie’s the Name) His Latest Flame/Little Sister (both written by Doc Pomus and Mort Shuman, and recorded during another marathon session in June), was one of his better number 1 releases.

After several attempts at various European sounds, (Marie’s the Name) His Latest Flame is a throwback to Presley’s early years, and is all the better for it. You can’t really go wrong when using a Bo Diddley beat, and Elvis doesn’t dominate the track, letting the musicians really shine. The lyrics contain a twist, as it turns out Marie was Elvis’s woman, but she’s ran off with ‘a very old friend’, only a day after saying she’d be his for eternity. Poor Elvis. The lack of vocal showboating also helps suggest that, for a change, he’s a loser this time around.

This is one of my favourite Elvis number 1s, although this may be, in part, down to my love of the Smiths. The band lifted the rhythm and used it on Morrisey’s ode to fairgrounds, Rusholme Ruffians, from 1985’s Meat is Murder. Morrissey and Marr shared a love of 50s pop, and Elvis was one of the most famous people to feature on a Smiths sleeve – namely 1987’s Shoplifters of the World Unite. Choosing not to hide his influence, the band would play live performances of Rusholme Ruffians as a medley with (Marie’s the Name) His Latest Flame, as you can hear on posthumous live album Rank (1988)

Flip side Little Sister showcases a more raw Elvis sound than we’ve heard for some time. Okay, it’s a complete rip-off of Johnny Kidd & the Pirates’ groundbreaking Shakin’ All Over, but I’d rather hear that than anotherWooden Heart. We’re on potentially dodgy ground lyrically, as Elvis is so hurt by his lover this time (she’s only gone and ran off with Jim Dandy), he’s decided to chance his arm with her little sister. We’re not made aware of how young she is, but this verse is questionable:

‘Well, I used to pull your pigtails
And pinch your turned-up nose
But you been a growin’
And baby, it’s been showin’
From your head down to your toes’

Hmm. Nonetheless, it’s great to hear the rock’n’roll side of Elvis once more. The booming bass vocal of Jordanaire Ray Walker is superfluous, however.

Unlike so many singles in 1961 that came and went at number 1 after a week, Presley’s usually stuck around a while longer, and this was no exception, spending four weeks at the top, and during the tenth anniversary of the birth of the UK charts. In its final week, a sexual revolution began when birth control pills became available on the National Health Service. The move would have a far-reaching effect on society, and you could argue the swinging 60s began on this day – 4 December.

Written by: Doc Pomus & Mort Shuman

Producer: Steve Sholes

Weeks at number 1: 4 (9 November-6 December)

Births:

Presenter Jill Dando – 9 November 
Boxer Frank Bruno – 16 November 
Actor Martin Clunes – 28 November

119. Elvis Presley with the Jordanaires – Surrender (1961)

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On 8 June, Prince Edward, Duke of Kent (Queen Elizabeth II’s first cousin) married Katharine Worsley at York Minster. Six days later, the Conservative government unveiled plans for a new signal-operated ‘panda’ crossing system to make the roads safer for pedestrians. The system was first introduced in April 1962, outside London’s Waterloo railway station.

During this time, Elvis Presley was back at number 1 yet again for a lengthy stint, with another European-flavoured single based on an earlier song. Surrender was based on Italian ballad Torna a Surriento, by Giambattista and Ernesto de Curtis. An English language version, called Come Back to Sorrento, had been recorded by Frank Sinatra, as well as Dean Martin, but Presley wanted a more uptempo feel, and asked for something new from his publisher, Freddy Bienstock. Bienstock gave the task to Doc Pomus and Mort Shuman, whose A Mess of Blues had made it onto the B-side of Elvis’s massive 1960 number 1, It’s Now or Never. They had also recently had a hit when the Drifters recorded their track, Save the Last Dance for Me.

Although they both shared credit for Surrender, Shuman wanted nothing to do with it, according to Pomus’s biographer Alex Halberstadt. Apparently, Shuman said ‘Why should I want to write for some redneck idiot who wants to sound like Mario Lanza? You write it Doc, you’ve already got the music.’ Pretty cutting! Pomus found it easy enough and sent off a demo to Bienstock. Elvis then recorded the track with his usual group on 30 October 1960, in the middle of a marathon session that produced his first gospel LP, His Hand in Mine.

Surrender isn’t one of Elvis’s best number 1s, but at least isn’t the previous one, Wooden Heart. It’s an average-at-best song, but as is often the case, Presley’s voice is the highlight and lifts the material. One thing these blogs have taught me is just how versatile and powerful his singing was. Whether he tried his hand at gospel, rock’n’roll or crooning, he could do it all. Surrender doesn’t even clock in at two minutes and is easy to forget. At this point, you can see why John Lennon claimed Elvis died when he joined the army. Despite the quality of the song though, it was another of Elvis’s highest-selling songs, and Pomus and Shuman would work with him again.

As Surrender‘s month at the top drew to an end, Michael Ramsey became the 100th Archbishop of Canterbury, on 27 June, succeeding Geoffrey Fisher, who had held the position since 1945.

Written by: Doc Pomus, Mort Shuman & Ernesto De Curtis

Producer: Steve Sholes

Weeks at number 1: 4 (1-28 June)

Births:

Trade union leader Bob Crow – 13 June
Singer Boy George – 14 June 
Comedian Ricky Gervais – 25 June 
Comedian Meera Syal – 27 June

Deaths:

Welsh poet Huw Menai – 28 June

112. Elvis Presley with the Jordanaires – Are You Lonesome Tonight? (1961)

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5 February 1960 saw the first edition of The Telegraph newspaper’s weekend edition, The Sunday Telegraph, and a fortnight later, police had to break up a demonstration outside the Belgian embassy in London. The protest was over the murder of the ex-Prime Minster of the Democratic Republic of the Congo, Patrice Lumumba.

For the majority of that month, Elvis was at number 1 for the sixth time with his version of Are You Lonesome Tonight?. This ballad had been written back in 1926 by vaudevillians Roy Turk and Lou Handman, and was a hit for a number of artists, including Vaughan Deleath, Gene Austin and Al Jolson. Colonel Tom Parker rarely told Elvis what to sing, but asked him to record it because his wife, Marie, loved Austin’s version. Elvis, backing singers the Jordanaires and his band had finished recording his comeback album, and 1960’s best-selling single, It’s Now Or Never and decided to record Parker’s request at 4am on 4 April. When it came time for him to record the vocals, Presley asked everyone to leave the studio and told co-producer Chet Atkins to turn the lights out. Perhaps embarrassed by the spoken word part, he wasn’t happy, and told Steve Sholes to throw the tape away as he couldn’t do it justice, Sholes, Atkins and engineer Bill Porter disagreed, and eventually everyone was happy. Depending on which story you believe, that sound you hear at the end (only really discernible with earphones) is either Elvis accidentally knocking a chair over in the dark, the Jordanaires bumping into their microphone stand, or one of the producer’s stapling a contract together.

To my ears, Are You Lonesome Tonight? is the King’s best number 1 since Jailhouse Rock, three years previous. It’s a beautiful song, and Elvis is in fine voice. It must have been quite something to listen to him recording in the dark. The Jordanaires are also used well, their voices used to create a comforting sound rather than smothering the song, which happened on occasion. Unfortunately, the spoken word section, with a reference to William Shakespeare’s As You Like It does date and spoil the song somewhat, but fair play to him for recording the lyrics in full. When he powers through the song’s ending though, it’s quickly forgotten about, and the result is one of Elvis’s most memorable, soulful love songs. When this hit number 1, Elvis became the first act to have the number 1 single and album (the soundtrack to his movie GI Blues)

It soon became a staple track in his live sets, and featured in the 1968 comeback special, Singer Presents… ELVIS. It also featured in his first Las Vegas show the following year, and it was around this time that the famous ‘laughing version‘ was unofficially recorded. Fifty seconds in, Elvis kills the mood by changing the lyrics from ‘Do you gaze at your doorstep and picture me there?’ to ‘Do you gaze at your bald head and wish you had hair?’ The rest of the song descends into farce, with backing singer Cissy Houston gamely soldiering on while Presley becomes unable to continue, laughing until the song’s climax. Whether this happened for a bit of fun, embarrassed by the spoken word section or because he was out of his head isn’t clear, but it’s an enjoyable, infectious outtake, and it’s nice to hear Elvis not take himself seriously. This version even charted in 1982. Sadly it is clear by the time of this posthumous televised performance of Are You Lonesome Tonight?, recorded a couple of months before his death, that drugs were having a big effect. It’s a tragic sight to see a bloated, sweaty Elvis rambling before the song’s start, and spouting gibberish during the song, but, despite the fact he would soon be gone, when he puts the effort in, his voice sounds as great as ever.

Written by: Roy Turk & Lou Handman

Producers: Steve Sholes & Chet Atkins

Weeks at number 1: 4 (26 January-22 February)

Births:

Singer-songwriter Lloyd Cole – 31 January
Duran Duran guitarist Andy Taylor – 16 February
Politicians Angela and Maria Eagle – 17 February
Footballer Justin Fashanu – 19 February
Actress Imogen Stubbs – 20 February 

Deaths:

Cricketer Stan Nichols – 26 January 

85. Elvis Presley with the Jordanaires – A Fool Such As I/I Need Your Love Tonight (1959)

elvis-presley-with-the-jordanaires-now-and-then-theres-a-fool-such-as-i-1959.jpg

1 June saw the first edition of music programme Juke Box Jury on the BBC. Presented by David Jacobs, the presenter would ask a panel of four each week to judge whether a new record was a hit or miss. The original panel featured Pete Murray, Alma Cogan, Gary Miller and Susan Stranks. The series ran until 1967, but briefly returned in the 1970s and 80s.On 11 June, Christopher Cockerill’s hovercraft was officially launched.

Meanwhile in the chart world, Elvis made it to the top once more with another double-A-side single of recordings made before he left to be a soldier in Germany. It was his fourth and final number 1 of the 50s.

Opening with a now comically deep baritone vocal from Jordanaire Ray Walker, A Fool Such As I is a sign of Presley treading water. It had been written by Bill Trader back in 1952, and the original version was sung by country star Hank Snow. Whereas Elvis’s vocal helped lift previous single I Got Stung/One Night, here it just sounds a bit lazy and Elvis-by-numbers, and the most interesting part of the track is the guitar from either Presley, Chet Akins and/or Hank Garland. Clearly, the single’s performance suggests record buyers were more than happy, though, and perhaps some of his female fans, heartbroken and concerned about their hero being a GI in Germany, identified with the verse:

‘Pardon me if I’m sentimental
When we say goodbye
Don’t be angry with me should I cry
Well, you’re gone, yet I’ll dream
A little dream as years go by
Now and then there’s a fool such as I’

There’s even less to say about I Need Your Love Tonight. It had been written by frequent Presley collaborator Sid Wayne, along with Bix Reichner. It’s more of the same really. It trundles along and then it’s done, and the lyrics are just as forgettable:

‘Oh, oh, I love you so
Uh, uh, can’t let you go
Oh, oh, don’t tell me no
I need your love tonight’

Elvis was now equal with Frankie Laine and Guy Mitchell for the highest amount of UK number 1s in the 50s (four each), but there was a noticeable decline here. These songs signified that Elvis and his team thought they could get by with releasing songs without the danger or wit of previous material, and they were right. There was worse to come, however, and I’d still take these tracks over some of his 60s number 1s.

Written by:
A Fool Such As I: Bill Trader/I Need Your Love Tonight: Sid Wayne & Bix Reichner 

Producer: Steve Sholes

Weeks at number 1: 5 (15 May-18 June)

Births:

The Sisters of Mercy singer Andrew Eldritch – 15 May
Actress Tracy Hyde – 16 May
Comedian Paul Whitehouse – 17 May
Singer Morrissey – 22 May
Actor Rupert Everett – 29 May
Actor Adrian Paul – 29 May
Racing driver Martin Brundle – 1 June
Comedian Hugh Laurie – 11 June