261. Hugo Montenegro – The Good, the Bad and the Ugly (1968)

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On 18 November, a warehouse fire on James Watt Street in Glasgow kills 22 office workers in the offices of upholstery factory B Stern Ltd. Only four people in the building managed to escape.

26 November saw the Race Relations Act passed, which made it illegal to refuse housing, employment or public services to people in Britain due to their ethnic background. And four days later the Trade Descriptions Act came into force, bringing an end (officially anyway) to shops and traders describing goods in a misleading way.

1968, particularly the first half, had seen some unusual number 1s. As the year drew to a close, things got weird again. Enjoying a full month at the pole position of the singles chart was American orchestra leader and soundtrack composer Hugo Montenegro, with his remake of the theme to Sergio Leone’s 1966 Spaghetti Western The Good, The Bad and the Ugly.

This film was the final part of Leone’s Dollars Trilogy, following A Fistful of Dollars and A Few Dollars More, and starred Clint Eastwood as the Man with No Name once more. Despite initial scepticism from the critics, The Good, The Bad and the Ugly is now considered one of the greatest examples of the genre of all time. I have to confess I haven’t seen any of the trilogy. Westerns aren’t really my bag. But of course, I know the theme to this movie.

As with the other two parts of the trilogy, the score came from Italian composer Ennio Morricone. The Good, the Bad and the Ugly (main title) was conducted by Bruno Nicolai. Simply put, it’s one of the most iconic pieces of film music ever, and features at the start of the movie. Largely in part to the theme, Morricone’s soundtrack album was a bestseller. But how did a remake become a number 1 single, two years after the film’s release, and who was Hugo Montenegro?

Montenegro had been born in New York City in September 1925. He served in the US Navy for two years, but was mostly arranging the Newport Naval Base band in Newport, Rhode Island. When World War 2 ended he studied composition at Manhattan College.

By the mid-50s he was directing, conducting and arranging orchestras for record labels, and he directed the Glen-Spice Orchestra on the first release by future pop star hearthrob Dion in 1957.

In the early 60s he found work with RCA Victor producing albums of cover versions of themes from films and TV series, including spy themes and westerns, which is what led to his version of The Good, the Bad and the Ugly. It might sound quaint now, but these kind of albums were popular for decades. I can remember several in our family well into the 80s, featuring the themes of Superman, Star Wars, all the blockbusters of the time.

Montenegro’s version of Morricone’s classic was very similar to the classic original. It was recorded live in one day and featured, among others, Art Smith on ocarina, Art Morgan on harmonica, Elliot Fisher on electric violin, Manny Klein on piccolo trumpet and Muzzy Marcellino provided the whistling.

Despite the popularity of the soundtrack remake back then, it’s still an odd choice for a number 1 single. Having said that, you can’t deny the brilliance of the original, all that ominous forboding, the danger, the intrigue, wrapped up in a brilliant melody and sounding so unusual.

I realise I stated in my previous blog for With a Little Help from My Friends that if you’re going to make a cover, you need to make it different. And yet I enjoyed this facsimile. There’s very little difference, it’s just been made slightly more pop friendly, with light acoustic guitar and the danger slightly turned down. But it doesn’t sound tacky like many of these remakes used to do (ever heard anything from those Top of the Pops albums of the 70s?).

Montegro was understandably taken aback at the success of this single in the US and the UK. By making it to number 1 here it became the first instrumental to do so since Foot Tapper by the Shadows in 1963. It’s not strictly speaking an instrumental though – in this version, the random shouts you hear are actually members of the band shouting ‘HU-GO-MONT-EN-EGRO!’.

The composer continued to record remakes, and also composed original scores for films, including the Elvis Presley western Charro! in 1969. He’s also achieved a cult audience in recent years due to his albums that featured the Moog synthesiser, with the kitsch retro-space-age sounds proving influential on a new generation of musicians. On TV, he was famous for his TV themes for US sitcoms I Dream of Jeannie and The Partridge Family.

In the late 70s he was forced to put his career on hold due to his battle with severe emphysema. He died of the disease in February 1981.

Written by: Ennio Morricone

Producer: Hugh Montenegro

Weeks at number 1: 4 (13 November-10 December)

Births:

Footballer Barry Hunter – 18 November
Journalist Andrew Gilligan – 22 November

Deaths:

Writer Mervyn Peake – 17 November
Children’s writer – Enid Blyton – 28 November

248. Cliff Richard – Congratulations (1968)

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Well well well, if it isn’t comeback Cliff. It had been three years since Cliff Richard’s last number 1, the tepid The Minute You’re Gone. Once Britain’s answer to Elvis Presley, he had been considered an actual danger to the country’s youth when Move It became the first rock’n’roll hit by a Brit. Around the time of his last bestseller he had been struggling with the fact he was now a practising Christian. He relented from quitting music to become a teacher, and was working out a way of being a pop star and spreading the word of the Lord.

Fortunately, he still had a loyal fanbase, who stuck with him through Beatlemania and the hippy movement. Richard was still scoring top ten hits and narrowly missed out on the Christmas number 1 in 1965 to Day Tripper/We Can Work It Out (see Every Christmas Number 2). In 1966 he had a top ten hit with Visions, and another two with the Shadows (Time Drags By, and In the Country, which is in fact ace). In 1967 he had a further three with It’s All Over, The Day I Met Marie and All My Love (Solo Tu).

Despite worries it would ruin her credibility, Sandie Shaw had become the first UK winner of Eurovision that year with Puppet on a String, and it had revistalised her career. Cliff and/or his management must have taken note, and perhaps feeling he had no ‘cool’ image left to ruin, repeating Shaw’s feat could help Richard solidify his new Christian family entertainer stylings. And so he appeared on The Cilla Black Show performing six songs that the public would then vote on, with Cliff performing the winner at the event in the Royal Albert Hall on 6 April. Like Shaw the year previous, he wasn’t best pleased with the nominated song.

Congratulations was written by Bill Martin and Phil Coulter, the duo behind Puppet on a String. Coulter presented Martin with a melody and song title, I Think I Love You. Nice tune, but Martin argued that you either loved someone or you didn’t. He looked for a five-syllable word for a new title, and there and then created a song that would be used to, well, celebrate stuff for years to come.

The ubiquitous Congratulations has been derided over the years, but praise Cliff’s Lord, it’s better than the incessantly crazed Puppet on a String. Not only that, it’s the singer’s best number 1 since he and the Shadows released Summer Holiday in 1963, shortly before the Beatles changed everything. The lyrics may be on the smug side, but nobody actually remembers anything but the song’s title, and Martin and Coulter really struck gold there, creating a memorable chorus with a theme that everyone can relate to. The oompah slow down just before the end is a bit lazy and clearly designed to appeal to European audiences, and like many pop standards, I’d be happy to never hear it again, but I can’t help but like it at the same time. Incidentally, that’s future Led Zeppelin member John Paul Jones you can hear on bass guitar.

Such was Congratulations‘ potential, the British press got fully behind Cliff, and even ran articles asking which country would come second to it at Eurovision. As you can see in the clip above, he performed on the day with gusto, beaming away and doing some unusual strutting while dressed in the outfit that inspired Mike Myers in Austin Powers: International Man of Mystery (1997). It looked certain to be two years in a row for the United Kingdom, but then Germany had the penultimate vote, and perhaps in revenge for the World Cup final two years before, they gave Spain six points. Congratulations lost out by one measly point to Massiel’s spectacularly named La, La, La.

Cliff Richard had the last laugh. La, La, La has long since been forgotten (understandable, considering the title) but Congratulations was a hit all around the continent, and became the pop star’s ninth chart-topper. It remains one of his most popular songs, and he often pulls it out of the bag for big occasions, such as outside Buckingham Palace after the Royal Wedding in 1981, and at Southampton Docks the following year when British troops returned victorious after the Falklands war, which is pretty poor taste really. It must have been pretty satisfying to knock the Beatles off their lofty perch for a change, too.

But did Cliff really lose Eurovision? In 2008 a documentary was released by Spanish filmmaker Montse Fernandez Vila that claimed Congratulations was the real winner, and there had been foul play from Francoist Spain. Richard made a meal of this in the press, saying he really wasn’t bothered as his song was better and more famous anyway, but maybe there should be a proper investigation, you know, just in case. Nothing ever came of it.

And so we say goodbye to Cliff Richard once more, as it would be another 11 years before he ruled the singles chart again. He may not have eclipsed Elvis or the Beatles, but he would outlast both. The music world would change several times over before we get round to August 1979 and We Don’t Talk Anymore.

While Congratulations held court at the top of the charts, opinion polls revealed on 11 April showed the problems with the pound had caused a dramatic slump in Labour’s popularity, with Edward Heath’s Conservatives racing ahead with more than 20 points difference. It wasn’t all plain sailing for the Tories though, as 20 April was the date of Enoch Powell’s infamous Rivers of Blood speech on immigration. His harsh rhetoric, full of foreboding on the dangers of immigration, was latched onto by racists and the Far Right. He was dismissed from the Shadow Cabinet a day later. Powell had been a popular figure in the Party, and remained so, but many believe his career suffered as a result of his speech, despite the fact many polls at the time suggested the public agreed with him. Years later, Labour’s left-wing leader in the 1980s, Michael Foot, expressed sympathy for Powell, suggesting it was ‘tragic’ that such a colourful figure had been somewhat misconstrued due to his colourful quote (pardon the pun).

Also in the news… 23 April saw the introduction of the new five and 10 pence coins in the run-up to Decimalisation.

Written by: Bill Martin & Phil Coulter

Producer: Norrie Paramor

Weeks at number 1: 2 (10-23 April)

Births:

Actress Amanda Mealing – 22 April 
Actor Ricky Groves – 23 April

 

192. Cliff Richard – The Minute You’re Gone (1965)

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Remember this guy? Cliff Richard? Biggest British pop star before the Beatles, had seven number 1s with the Shadows?

It’s often said that the Beatles and the other new groups of this era vanquished all who came before them, but it wasn’t as straightforward as that. Cliff was very much still a presence in the charts, and although his last number 1 was Summer Holiday in 1963, every song he had released since made it to the top ten.

Cliff had been a Jehovah’s Witness since 1961, but in 1964 he became an active Christian and joined evangelical group the Crusaders. This won’t have worked wonders for a rock’n’roll star at the time, but the hits continued. Not in the US though, where he could barely get noticed, save for a cover of It’s All in the Game (a UK number 1 for Tommy Edwards in 1958). His US label, Epic Records, wanted to change this, and met with Richard and his producer Norrie Paramor to sketch out plans, armed with 50 US songs to try. They picked 15, and Richard liked the idea of travelling to various American cities to record specific tracks. In Nashville, he recorded The Minute You’re Gone, which had been written by local fiddle player and singer Jimmy Gately, and became a country hit for Sonny James in 1963. The track was co-produced by Billy Sherrill, known for his work with Tammy Wynette and George Jones. Nashville-based musicians performed the backing, making Cliff’s eighth UK number 1 his first without Hank Marvin and co. The Anita Kerr singers provided backing vocals.

I was curious to hear this, wondering if it was going to be an exciting new development in the Cliff Richard sound. I should have known better. The Minute You’re Gone is a dull ballad, rendered even more bland by Richard’s safe delivery. He doesn’t exactly sound heartbroken here. Does he ever, though? The tune is very reminiscent of Ray Charles’ 1962 chart-topper I Can’t Stop Loving You, but not as good. Bring back the Shadows.

Although it brought him back to the number 1 position after two years away, The Minute You’re Gone ended a startling run of 23 consecutive top ten hits between 1960 and 1965. This is still a record for male artists, I believe. Cliff had somehow managed to make himself sound more dated than he sounded in 1963. To make things worse, he was knocked off the top by a single that made everyone look old-fashioned by comparison.

Written by: Jimmy Gately

Producer: Billy Sherrill & Bob Morgan

Weeks at number 1: 1 (15-21 April)

Deaths:

Physicist Sir Edward Victor Appleton – 21 April

149. The Shadows – Foot Tapper (1963)

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The movie Summer Holiday had been out for months, but its popularity was still very high in March 1963, leading to an unusual chart occurrence. For the second time in three months, Cliff Richard found himself knocked from the top of the charts by his backing band, the Shadows. Summer Holiday had been at number 1 for a fortnight, but Foot Tapper replaced it for a week, only to be overtaken by the film’s title track once more.

Foot Tapper was also from the film’s soundtrack, and Bruce Welch had co-written both. The Shadows final number 1 was also written by its most famous member, bespectacled guitarist Hank Marvin. It’s another uptempo piece of incidental music, in a similar vein to their previous bestseller, Dance On!.

It’s a bit better than Dance On!, but only a bit. Once more, you can imagine it working as incidental music for a film score, after all, that’s what it was. But Foot Tapper jangles along for just over two minutes and leaves little impression – it lives up to its name and that’s it. The best bit is the drum work from Brian Bennett, but compare it to Jet Harris and Tony Meehan’s Diamonds and Foot Tapper just doesn’t stand up. The Shadows had been an inspiration to many aspiring musicians, many of which would ultimately outdo and replace them, but their own well was starting to look very dry, and after backing Cliff Richard on seven number 1s, and achieving five in their own right, the group never topped the charts again.

Bassist Brian Locking left the group that October to concentrate on being a Jehovah’s Witness and was replaced with John Rostill. The hits began to dry up as Beatlemania conquered all in its path, and they starred alongside Cliff in another film, Finders Keepers. This 1966 movie features the bizarre premise of the boys arriving in a Spanish town to perform, only to find that the locals have fled in panic because a small bomb has landed nearby. So Cliff and the Shadows decide to find the bomb and get things back to normal. What a lovely set of lads. The Rolling Stones wouldn’t have done that, would they?

The 1970s began with the group featuring as regular guests on Cliff’s variety show for the BBC, It’s Cliff Richard!. Rostill left the group and sadly committed suicide in 1973, prompting yet another line-up change, and it wouldn’t be the last. The group took part in the 1975 Eurovision Song Contest, coming in second place with Let Me Be the One. Onetime guitarist John Farrar, who came and went in the mid-70s, went on to write You’re the One That I Want for John Travolta and Olivia Newton-John, one of the biggest-selling number 1s of all-time. The 80s saw keyboard thrown into the mix but like so many bands from their era, an attempt at sounding contemporary just made them look more old-fashioned. The band reunited with Cliff for live shows several times, and Hank Marvin helped on his collaboration with the Young Ones on a remake of their first number 1, Living Doll in 1986, which was the first Comic Relief single. The band’s most famous rhythm section, Jet Harris and Tony Meehan, joined them on stage in 1989 for a special performance of Move It at Cliff’s The Event show. In 2004 they announced a farewell tour, and each of the band’s line-up at the time received an OBE, but Hank Marvin gave it back (fair play). Despite the tour, they have continued to perform and record, with Singing the Blues, their last collaboration with Cliff, reaching the top 40 in 2009.

It may be easy to sneer at the Shadows in the 21st century, but if you can look past the white-than-white image and the quaint walk they would famously perform together on stage, Hank Marvin, Bruce Welch and various members ably assisted one of rock’n’roll’s biggest ever stars for years, had a hand in making some of his biggest records, became huge stars in their own right, and released Apache, one of the greatest instrumentals of all time, which would go on to influence hip-hop artists decades later. And if it wasn’t for the Shadows, there would perhaps be no Merseybeat. And after lots of teasing, we’ve finally reached that era.

Written by: Hank Marvin & Bruce Welch

Producer: Norrie Paramor

Weeks at number 1: 1 (28 March-3 April) 

 

 

146. Jet Harris and Tony Meehan – Diamonds (1963)

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Just under a month after Labour leader Hugh Gaitskell’s shock death, the party elected 46-year-old Huyton MP Harold Wilson as its new leader. Gaitskell had moved the party to the right, but Wilson was more left wing, and had made an unsuccessful challenge for leadership in November 1960. He defeated George Brown and James Callaghan to become Leader of the Opposition just as the Government was weakening, and things would soon become even worse for Macmillan.

In the music world, the Shadows suffered the embarrassment of being knocked from number 1 by their old rhythm section, when Dance On! was replaced after a week by Jet Harris and Tony Meehan’s Diamonds. This instrumental was written by Jerry Lordan, the man behind the two best Shadows number 1s, Apache and Wonderful Land.

Harris, born Terence Harris in Willesden, North West London in July 1939, earned the nickname ‘Jet’ due to his sprinting prowess at school. He went on to play skiffle in the Vipers before joining the Drifters, and it was Harris that suggested they become the Shadows to avoid legal issues with the soul group. As well as being one of the first UK musicians to play an electric bass, he also provided vocals for the group on their own songs and those of Cliff Richard. Harris married in 1959, but they separated within years, and he later attributed the start of his depression and alcohol problems to his ex-wife’s affair with Cliff. His waywardness and arguments with rhythm guitarist Bruce Welch led to him leaving the group. Other than Hank Marvin, Harris was the only real Shadow with frontman material due to his moody charisma and good looks, so Decca took him on as a solo artist, and he had success with covers of Besame Mucho and The Man with the Golden Arm. From there, he crossed paths once more with Tony Meehan.

Meehan, known in the music business as ‘The Baron’, was born Daniel Meehan in March 1943, and was also raised in Willesden. He became interested in drums aged ten, and was in a band at 13, first meeting Harris in the Vipers. Meehan had his own unique style that proved influential to many. Mick Fleetwood from Fleetwood Mac was inspired to become a drummer after seeing him perform in The Young Ones (1961). Depending on who you believe, in October 1961 Meehan either left the Shadows of his own accord to work with Joe Meek, or was sacked for tardiness. Only a few months later he had moved on to Decca, and during this time was involved in the Beatles auditioning for the label. He was unconvinced they were going to get anywhere.

As I mentioned in my previous blog, replacing Harris and Meehan with two men called Brian seemed to take away what little element of surprise and danger there was in the Shadows, and this theory is borne out by comparing Dance On! to Diamonds. There’s a lot crammed into the Harris and Meehan track, from Harris’s signature moody bass, to an outbreak of brass, and best of all Meehan’s scattershot drums – the most exciting and loudest drums we’ve heard on a number 1 yet (no doubt due to the drummer also being the producer). While you could argue it doesn’t all hang together so well, there’s no shortage of ideas, and Diamonds winds up sounding like the theme to some early-60s gangster drama.

Harris and Meehan, buoyed by their number 1 achievement, released further top ten hits Scarlett O’Hara and Applejack. and future Led Zeppelin bassist John Paul Jones joined them for some live shows (it’s also heavily rumoured that Jimmy Page plays acoustic guitar on Diamonds). However, the duo split following Harris and girlfriend Billie Davis’s car crash. The injured Harris refused to promote Applejack, leaving poor Meehan to mime. He attempted a comeback with the Jet Harris Band in 1966, and was briefly in the Jeff Beck Group in 1967, but it was downhill from there, and the only time he made it into the newspapers was in reports of his drunken behaviour or misdemeanours. In 1988 he was declared bankrupt, and his old friend Cliff (Christian guilt for supposedly contributing to Harris’s alcoholism all those years ago?) helped him out by letting him and Meehan on stage to help perform Move It at his big concert at Wembley, The Event in 1989. He gave up drink and joined the nostalgia circuit, finding some peace with himself. Unfortunately he couldn’t give up smoking heavily, and he died of cancer in March 2011.

Meehan remained on good terms with the Shadows, and briefly returned to the group when Brian Bennett was in hospital. He quit music in the 90s and became a psychology lecturer. Sadly he died after falling down the stairs to his flat in November 2005.

Written by: Jerry Lordan

Producer: Tony Meehan

Weeks at number 1: 3 (31 January-20 February)

Births:

Actor Phillip Glenister – 10 February 
Long jumper John King – 13 February
Mountain climber Alison Hargreaves – 17 February 
Singer Seal – 19 February 

145. The Shadows – Dance On! (1963)

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After three weeks at number 1 with The Next Time/Bachelor Boy, Cliff Richard found himself usurped by his own backing band. The Shadows scored their fourth chart-topper in their own right with Dance On!, a track written by sisters-in-law Valerie and Elaine Murtagh and Ray Adams. This trio were better known to the public as pop vocal group the Avons. By this point, drummer Brian Bennett and bassist Brian ‘Licorice’ Locking were firmly established as the replacements for Tony Meehan and Jet Harris respectively. Bennett had been a regular performer on Jack Good’s TV show Oh Boy! before working with Marty Wilde and then Tommy Steele. Locking performed alongside Bennett in Wilde’s Wildcats, and it was Bennett who suggested him as a replacement for Harris. Bennett and Locking brought some reliability to the Shadows, but as far as their recorded output goes, it seems they lost two vital sparks in Meehan and Harris, who were more musically adventurous. And let’s face it, you’d never consider the Shadows the most ‘dangerous’ of bands to begin with.

Dance On! is simply not in the same league as Apache or Wonderful Land, or even Kon-Tiki. It’s only two minutes long, but is so boring it feels longer. As a piece of incidental music in a 60s rock’n’roll film, it would be serviceable enough, but as a number 1 single? I can only imagine that many of Cliff’s fans would buy Shadows singles after snapping up those of their hero out of a sense of loyalty. It’s missing a killer guitar line from Hank Marvin, really. If it wasn’t ironic enough that the Shadows replaced themselves (in part) at number 1, only a week later they found themselves overtaken by their two former member, who had released a superior instrumental. Singer Kathy Kirby later released a vocal version of Dance On!, which reached number 11 in September.

As the first wintry month of 1963 drew to a close, 29 January saw President of France Charles de Gaulle veto the UK’s entry into the European Economic Community, along with Denmark, Norway and Ireland. De Gaulle was concerned that the membership of the UK would see US influence creep in.

Written by: Valerie Murtagh, Elaine Murtagh & Ray Adams

Producer: Norrie Paramor

Weeks at number 1: 1 (24-30 January)

Births

Wham! singer Andrew Ridgeley – 26 January
Journalist George Monbiot – 27 January 

144. Cliff Richard and the Shadows – The Next Time/Bachelor Boy (1963)

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1963 may have been a landmark year for the charts, but it started like any other. Elvis had been 62’s Christmas number 1 with Return to Sender, but was replaced on 3 January by the UK’s very own Elvis, Cliff. A year since he and the Shadows had ruled the charts with a film soundtrack (The Young Ones), they were at it again. The musical Summer Holiday was about to be released, and as the UK was still in the early stages of one of the longest, coldest winters of all time, it’s easy to see why this cheesy tale of escapism was about to become so huge.

Summer Holiday is the story of Don (Cliff) and his friends, who are London bus mechanics. One typically miserable summer’s day, Don tells his mates that London Transport will let them borrow a double-decker bus, to convert into a caravan and drive across Europe. This sounds like such a preposterous film, I’m almost tempted to watch it. Almost. Along the way, Don and co are joined by a runaway female singer, who initially pretends to be a man, and they are pursued by her mother and her agent. They end up in Greece, for some reason, and I assume they all live happily ever after. I’d like to see a post-Brexit version, where Don and his pals never get out of the UK due to the feared customs gridlock. Cliff and the Shadows first release of 1963 was a double A-side of tracks from the film, which was released on 11 January, a week into their time at the top.

The Next Time is an average unlucky-in-love ballad by US songwriters Buddy Kaye (who co-wrote Dickie Valentine’s 1955 Christmas number 1, Christmas Alphabet) and Phillip Springer. In the film, Cliff sings this as he wanders around Greece in a string vest, like a young, depressed Rab C Nesbitt. I’m assuming he’s just had a fight or split up with his love interest, as his friends have advised him he’ll love again some day. The problem is, Cliff’s not sure there will be a next time as he’s still in love. It seems primarily designed for Cliff to look all doe-eyed and for his female fans to swoon at, but as far as this sort of thing goes, it’s okay, and Cliff puts in a good performance.

Bachelor Boy is the more famous of the two, and became one of the singer’s signature tunes, yet it was only an afterthought for inclusion in the film. Shadows guitarist Bruce Welch wrote the bulk of it, with help on a verse from Cliff, earning him his only number 1 songwriting credit. The chorus is fairly memorable, but what terrible lyrics. According to the song, Cliff’s father told him when he was young that he’d be a bachelor boy until his dying days. Cliff remembered this ‘advice’ when he fell in love at 16, and swiftly ditched his partner. Bit over the top, no? But the worst lyric (and I’m sorry but I can’t help wonder if this is the singer’s work) contains this dire rhyme:

‘As time goes by I probably will
Meet a girl and fall in love
Then I’ll get married have a wife and a child
And they’ll be my turtle doves’

‘Turtle doves’? He then goes on to sing the chorus again, smug in the knowledge he’s not actually bothered if this doesn’t happen, because he’ll die happy if he remains a bachelor anyway. Of course, Bachelor Boy has become so identifiable with Cliff because that’s exactly what he is, and despite a number of high-profile romances in the past (and an affair with former Shadow Jet Harris’s ex-wife), the rumours over his sexuality have never gone away, and this song is often brought up ironically. It doesn’t help that in Summer Holiday, the song is performed by Cliff, the Shadows and Melvyn Hayes via the most camp skipping dance you’re ever likely to see. Take a look at the clip above, and try not to laugh…

While Cliff Richard enjoyed his sixth run at the top, the political world was stunned at the news of the sudden death of Labour leader Hugh Gaitskell, aged 56. In December 1962 he was recovering from flu when he visited the Soviet Union for talks with leader Nikita Kruschev. He contracted another illness while there, and was admitted to hospital after returning home on 4 January. Two weeks later, he died from complications following a bout of lupus. Labour had been doing well in the polls and it was thought that Gaitskell had a very good chance of being the next Prime Minister, in much the same way that John Smith was considered to be the next PM before his shock death in 1994. Gaitskell’s death was so unexpected and sudden, conspiracy theories regarding his demise have remained ever since. The most popular involves an alleged Soviet KGB plot to ensure that Harold Wilson (supposedly a KGB agent) became Prime Minister. The claim returned to make news upon the publishing of the controversial book Spycatcher in 1987.

Written by:
The Next Time: Buddy Kaye & Phillip Springer/Bachelor Boy: Bruce Welch & Cliff Richard 

Producer: Norrie Paramor

Weeks at number 1: 3 (3-23 January)

Births:

Presenter James May – 16 January 
Speaker of the House of Commons John Bercow – 19 January
Journalist Martin Bashir – 19 January 

Deaths:

Mathematician Edward Charles Titchmarsh – 18 January
Labour leader Hugh Gaitskell – 18 January