The Specials

482. The Specials – Ghost Town (1981)

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The Intro

Few number 1s have captured the zeitgeist like The Specials’ Ghost Town. This classic state of the nation address was released and climbed the charts amidst mass rioting that had spread to most cities in the UK. Prime Minister Margaret Thatcher’s politics had resulted in rising unemployment and disaffected youth. Ghost Town was one of the finest chart-toppers of the decade and spoke volumes to Thatcher’s Britain.

Before

Following the success of their number 1 EP, Too Much Too Young – The Special A.K.A. Live!, The Specials hunkered down to record their second album, More Specials. However, it wasn’t a happy experience, as Jerry Dammers became the 2-Tone band’s leader and producer, and added Muzak sounds to the mix of pop, ska and reggae. This didn’t go down well with guitarist Roddy Radiation, who wanted to steer the group in a rockabilly direction. Singer Terry Hall also began contributing his own material. In the meantime, they released hit double A-side single Rat Race/Rude Buoys Outa Jail, which peaked at five.

More Specials was released in September 1980, and the first single, Stereotypes, reached six. The follow-up, Do Nothing/Maggie’s Farm, was their most successful single to date, reaching four.

However, the accompanying tour was fraught with the growing tensions within the band, as well as audience violence. As The Specials drove around the country, Dammers was haunted by the effects of recession. Shops were closing, unemployment was spiralling, and people were starting to riot in protest. Using ‘weird diminished chords’, as he said in a 2011 interview for The Independent, Dammers began to put his thoughts into music, working on a tune that conveyed ‘impending doom’, matched to sparse lyrics.

In March 1981, Dammers asked reggae writer and producer John Collins to produce Ghost Town, opting for a small 8-track in a house that had been recommended by bassist Horace Panter. The Specials had recorded their last album in a large 24-track professional space, with room for the whole band to play live. For Ghost Town, Collins built the song out of asking each member to perform their piece, one at a time. This didn’t help improve the general mood within the band, who recorded the three-track single over 10 days that April. Dammers, who had spent a year meticulously working out the song, stormed out of the sessions more than once. Radiation kicked a hole in the studio door, singer Neville Staple refused to do what Dammers wanted, and rhythm guitarist/vocalist Lynval Golding ran into the studio insisting the recording was going wrong.

Collins liked the idea of Ghost Town sounding like an authentic roots reggae song, and brought the Sly and Robbie-produced What a Feeling by Gregory Isaacs to the studio for drummer John Bradbury for inspiration. Collins also suggested the Hammond organ rhythm played by Dammers throughout. The shortage of tracks available to record on added to the old-school recording techniques used by Collins, who recorded every instrument in mono, then added stereo reverb over the top. The backing track was almost finished when Dammers insisted on adding a flute, played by Paul Heskett from the band King, which led to a very nervous Collins in danger of accidentally wiping the brass section (Dick Cuthell and Rico Rodriguez) from the entire recording.

Collins took the tracks away and mixed at his home for three weeks. Hall, Staple, Golding and Dammers, who had performed backing vocals, all visited Collins at various points at this time to add further vocals. All that was left was for the producer to add the synthesiser that created the ghostly whistle at the start and end of the song.

Review

Pop, art and politics combine to spellbinding effect on Ghost Town. As a song, it’s unique. As a number 1, it’s incredible. Although written in response to riots in Bristol and Brixton in 1980, it landed at number 1 the day after rioting in cities across the country. Yes, chart-toppers had summed up the public mood in song before – A Whiter Shade of Pale, for example. But that was a blissful psychedelic record in keeping with the Summer of Love. Ghost Town was the polar opposite. The only comparison at the top of the hit parade would be God Save the Queen, if you were to be controversial.

The lyrics to Ghost Town are blunt and concise. Thatcher is never mentioned, but the results of her politics are laid bare. It was six years before the Prime Minister famously said ‘There’s no such thing as society’. However, pre-Falkland War, she was immensely unpopular for plunging the country into recession, with unemployment figures reaching new highs – a 70% rise in two years. ‘All the clubs are being closed down’ was a direct reference to the Locarno in Coventry, which was often frequented by Staple and Golding. The ‘Too much fighting on the dancefloor’ was a sadly familiar sight to The Specials, whose music was popular with skinheads. Despite the 2 Tone act’s admirable attempts to urge their fans to embrace unity, race was a sadly inevitable issue in a divided Britain.

The verses are so on the ball, the chorus needs no words. The wailing that is in its place is at once scary, horrible, ridiculous and histrionic. And the brief blast of nostalgia to the good old days ‘before the Ghost Town’ is a great piece of music in itself, timed perfectly so you long for more before we’re all too quickly returned to 1981. Dammers has later claimed that it was obvious to him that Hall, Staple and Golding were planning to leave the group, and that Ghost Town is also referring to the current mood within the band. Which makes the upbeat section sounding so much like classic Specials that much sadder. The rest of the band weren’t keen on Dammers’ experiments with muzak, but it’s used to great, unsettling effect on Ghost Town – not sure I’ve heard muzakal reggae before or since. So great is this track, it makes it hard to sympathise with the rest of the band. Dammers’ ego may have taken over, but how could you argue against his genius vision here?

The video to Ghost Town is an early classic of the medium. Graphic designer Barney Bubbles filmed Panter driving the band around the deserted streets of London in a Vauxhall Cresta, which was achieved by filming in the early hours of a Sunday morning. The shots of the band miming along were enabled by a camera attached to the bonnet via a rubber sucker – which you can see fall off at 1:18. The eerily lit shots of the band at night deeply unnerved me as a child, as did Staple’s demeanour. Though now I’m older, his pointed interjections of ‘Why must the youth fight against themselves?/Government leaving the youth on the shelf’ are the soul of the song.

After

The inevitable split happened very quick. Hall, Staple and Golding announced to Dammers at their triumphant Top of the Pops appearance after reaching number 1. Soon after they formed Fun Boy Three, who became best known for their excellent collaborative covers of It Ain’t What You Do (It’s the Way That You Do It) and Really Saying Something with Bananarama in 1982.

The Specials reverted to their previous name, The Special AKA, with a revolving line-up. Their first post-Ghost Town release in 1982 couldn’t have been more different. The Boiler, credited to Rhoda with The Special AKA, was a disturbing new wave tale of date rape that only reached 35. The next single, Jungle Music, was credited to Rico and The Special AKA, and failed to chart. Neither did War Crimes or Racist Friend, their first release of 1983.

However, their 1984 LP In the Studio, featured the number nine anti-apartheid carnivalesque track Free Nelson Mandela, which was their last charting single. Following the release of What I Like Most About You Is Your Girlfriend, Dammers announced The Special AKA was disbanding.

In 1993, producer Roger Lomas was asked by Trojan Records to find a new group to back ska superstar Desmond Dekker. Lomas approached everyone from The Specials, and Radiation, Staple, Golding and Panter took up the offer. With the addition of various session musicians, the album King of Kings was credited to Desmond Dekker and The Specials. Buoyed by the experience, this version of the band went on to record two LPs, Today’s Specials in 1996 and Guilty ’til Proved Innocent! in 1998. Two more albums, Skinhead Girl (2000) and Conquering Ruler (2001) followed, but minus Golding.

In 2007, Hall and Golding teamed up for the first time since Fun Boy Three split up in 1983, to perform Specials songs with Lily Allen and Damon Albarn at the Glastonbury Festival. The following year, Hall and Golding were joined by Staple, Panter, Radiation and Bradbury to perform at Bestival, and announced they were to tour the following year to celebrate the group’s 30th anniversary. This made many a rude boy happy, but not Dammers, who was quoted saying Hall and co’s actions amounted to a takeover. In 2012 The Specials performed at the Olympic Games closing ceremony in London.

2013 saw the departure of Staple, and Radiation left the following year, to be replaced on guitar by Ocean Colour Scene’s Steve Cradock. In 2015, Bradbury died, aged 62. He was briefly replaced for live dates by Gary Powell of The Libertines, before PJ Harvey’s drummer Kenrick Rowe took over.

In 2019, Hall, Golding and Panter were joined by Cradock and Rowe and session musicians to record Encore, the first Specials release to feature Hall since Ghost Town and their first chart-topping album since 1980. Buoyed by its success, one final album, Protest Songs 1924-2012 was released in 2021.

Another album was planned, but the comeback was derailed permanently by the shock death of Hall due to pancreatic cancer in 2022. Soon after, Panter confirmed there was no point continuing without their much-loved vocalist and songwriter.

The Outro

The Specials were one of a kind. In their original incarnation, they combined pop, ska, reggae and political commentary better than the rest. Their fanbase were and are rightly devoted to them. Their live shows were legendary, and they released some of the most exciting and interesting material of the early 80s.

It’s a shame egos and differences in direction broke up that first line-up, but some acts only burn brightly for a while. Dammers may have been too weird for the group to have continued scoring mainstream pop success, but Ghost Town was mostly his doing, and what an amazing feat to accomplish. With its righteous anger, it’s one of the best pop singles of all time, let alone one of the best number 1s of the 80s. If your only issue with this 7-inch is that it doesn’t go on long enough, check out the extended version.

10 years after its initial release, Ghost Town Revisited packaged the original mix with Ghost Dub ’91, credited to Special Productions. It’s superfluous.

The Info

Written by

Jerry Dammers

Producer

John Collins

Weeks at number 1

3 (11-31 July)

Trivia

Births

14 July: Singer Lee Mead

Deaths

11 July: Liberal Party politician John Beeching Frankenburg
17 July: Footballer Sam Bartram
23 July: Welsh Labour Party MP Goronwy Roberts, Baron Goronwy-Roberts
25 July: Journalist Alice Head

Meanwhile…

11 July: More rioting – this time in Bradford, West Yorkshire.

13 July: Martin Hurson is the sixth prisoner to die in the IRA hunger strike.
Also on this day, Prime Minister Margaret Thatcher announces police can use rubber bullets, water cannons and armoured vehicles on rioters.

15 July: Police battle black youths in Brixton after police raid properties in search of petrol bombs, which are never found.

16 July: Labour narrowly hold on to the Warrington seat in a by-election, fighting off former member Roy Jenkins, now with the new SDP.

17 July: The Humber Bridge is officially opened by Queen Elizabeth II. At the time, it was the longest suspension bridge in the world, and my Dad helped supply the cement that built it.

20 July: Secretary of State for the Environment Michael Heseltine tours recession-hit Merseyside to examine the area’s problems.

27 July: The British Telecommunications Act separates British Telecom from the Royal Mail, with effect from 1 October.
Also on this day, the two-month-old daughter of Princess Anne and Captain Mark Phillips is christened Zara Anne Elizabeth.

28 July: Margaret Thatcher blames IRA leaders for the hunger strike deaths.

29 July: The ‘fairytale’ wedding of Prince Charles II and Lady Diana Spencer takes place at St Paul’s Cathedral. More than 30 million view the event on television, making it the second highest TV audience of all time.

457. Dexy’s Midnight Runners – Geno (1980)

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The Intro

Kevin Rowland’s soul outfit Dexys Midnight Runners two number 1s are among the best-loved singles of the early 80s. Their first was a tribute to Geno Washington, and a comment on the fleeting nature of fame.

Before

Rowland was born on 17 August 1953 in Wednesfield, Wolverhampton to Irish parents from County Mayo. The Rowlands lived in Ireland when young Kevin was aged one to four, before returning to Wolverhampton. The family then moved to Harrow when he was 11. Rowland left school at 15 and became a hairdresser.

The first group featuring Rowland were the Roxy Music-influenced Lucy & the Lovers. Inspired by the rising punk scene, he then formed The Killjoys. This group was also short-lived, and for his next project, Rowland decided to move into soul music, having already written the Northern soul-style Tell Me When My Light Turns Green. Together with Killjoys guitarist and vocalist Kevin ‘Al’ Archer, they began to search for members to join their new band of soul brothers.

Dexys Midnight Runners (note the lack of apostrophe in the first word. There shouldn’t be one, even though the credit for the single Geno mistakenly suggests so) are so-called as a reference to Dexedrine. This brand of dextroamphetamine was used by Northern soul fans to help them stay on the dancefloor all night.

Rowland and Archer recruited ‘Big’ Jim Paterson on trombone, George ‘JB’ Blythe on saxophone (previously of Geno Washington’s Ram Jam Band), Steve ‘Babyface’ Spooner on alto sax, Pete Saunders on keyboard, Pete Williams on bass and John Jay on drums. This original line-up were told to give up their day jobs, as an intense programme of all-day rehearsal sessions was planned. Dexys Midnight Runners was a serious business.

The group began rehearsals in late 1978. By mid-1979, Bobby ‘Jnr’ Ward had replaced Jay on the drumkit. Bernard Rhodes, manager of The Clash, signed Dexys and had them record their debut single, Burn It Down, but suggested the song be renamed Dance Stance first. Rhodes also told Rowland to change his vocal styling, to make it more emotional.

Dexys Midnight Runners supported The Specials on some live shows, and seeing them bedecked in suits got Rowland thinking. He wanted Dexys to have their own distinct look too. Taking Robert DeNiro’s Mean Streets (1973) as a cue, the band started wearing donkey jackets and woolly hats.

Dance Stance was released on Oddball Records. Rowland wasn’t happy with Rhodes’ production, and when it only scraped into the charts at 40, he fired him and signed his group with EMI. Pete Wingfield became their new producer, and Saunders and Ward left, to be replaced by keyboardist Andy Leek and drummer Andy ‘Stoker’ Growcott.

Their first single on their new label was written in 1979 by Archer, to lyrics by Rowland. There’s a striking musical similarity to Your One and Only Man by Zoot Money’s Big Roll Band, as well as elements of The Turtles’ Happy Together. The crowd noises that open and close the track were lifted from Van Morrison’s 1974 live LP It’s Too Late to Stop Now.

And why Washington? In a 1980 interview for The Guardian, Rowland stated ‘He was the greatest soul singer that ever lived, apart from James Brown. I know he blew it, played the cabaret circuit and pissed everyone off but he’s criminally underrated, especially the band he had about ’65. The fire and emotion he performed with, total conviction … it’s that strength and aggression we try to put in.’

If EMI had had their way, Geno would have been relegated to the B-side and might never have caught the public’s imagination. The plan was for the A-side to be their cover of Johnny Johnson and the Bandwagon’s Breaking Down the Walls of Heartache. Dexys’ refused, and there was talk of the single being a double-A-side, but the band won out.

Review

Discovering the riff isn’t entirely original has perhaps slightly taken the shine off the sheer catchiness of Geno. But only a little, because as Rowland said, they tried to capture the power of a Washington show, and what a performance it is. Gritty and determined, Geno is about Rowland as much as it is about his hero, if not, even more so. He recounts a Washington show from 1968 – he’s the youngest in a rough crowd (With the lowest head in the crowd that night/Just practicin’ steps and keepin’ outta fights’).

So captivating was Washington, Rowland needed no ‘bombers’ or ‘Dexys’, because his high was brought on by the gig itself. In the middle eight, Rowland switches from past to present as he explains the schooling he got at that gig, and references the Washington 1966 hit Michael (The Lover) (‘Academic inspiration, you gave me none/But you were Michael the lover, the fighter that won’). The next lyric, ‘But now just look at me as I’m looking down at you’, can be taken literally, in that Washington is now in the crowd looking up at Dexys Midnight Runners. But it’s more likely Rowland proudly pointing out how the student is now the master. Occasionally, he seems almost cruel in his delight at this: ‘And now you’re all over, your song is so tame’, but he soon follows this with more kind words ‘You fed me, you bred me, I’ll remember your name’.

If this review seems a little more lyrically heavy than usual, it’s because I’m thinking you might be like me and have never known half of the content of the lyrics to Geno. Rowland’s singing style is totally unique. Punchy, earthy and emotional, yes. Easy to understand, no. It’s more like yelping at times, but it’s impossible to imagine Geno without Rowland’s testifying.

The video to Geno distills the essence of Dexys perfectly. Switching between band members walking moodily around Birmingham wasteland, eating in a dingy cafe, jumping New Street Station barriers, at a boxing gym and stomping around a small stage with a gaudy background. If this was Madness, it’d probably be a lighthearted romp. But this is Dexys Midnight Runners.

After

Geno was criticised in the music press upon release, but that infectious, jerky rhythm caught on big time. Within two months it was number 1 and stayed there for a fortnight. It was replaced by something far inferior, but gained Dexys many fans and had them waiting expectantly for their debut album. It also inspired The Specials, who they once supported, to write their next chart-topper.

The Outro

Much like The Specials, Dexys were a band to believe in. A collective of young soul rebels committed to the rugged beauty of the music they loved. But by the time they had their second number 1 Come On Eileen in 1982, only Rowland and Paterson remained. Dexys were a new band with a totally different look.

The Info

Written by

Kevin Rowland & Kevin Archer

Producer

Pete Wingfield

Weeks at number 1

2 (3-16 May)

Trivia

Births

8 May: Scottish singer Michelle McManus
9 May: Field hockey player: Kate Richardson-Walsh
12 May: Conservative Prime Minister Rishi Sunak

Deaths

4 May: Actress Kay Hammond/Scottish jazz pianist Joe ‘Mr Piano’ Henderson
5 May: Conservative MP Sir Archibald James/Singer Betty May
6 May: Labour MP William Warbey
8 May: Botanist Charles Edward Hubbard
9 May: Historian James Webb
10 May: Trade unionist Frank Lynch
12 May: Academic William A Robson
14 May: Actor Hugh Griffith/Playwright Christine Longford
15 May: Meteorologist John Somers Dines
16 May: Physicist Robert Alan Smith

Meanwhile…

3 May: Liverpool win the Football League First Division title, for the 12th time.

5 May – The Iranian Embassy Siege comes to a dramatic close when the SAS storm the Iranian Embassy building and kill five out of the six terrorists. The dramatic events are broadcast live on TV, and the SAS become national heroes.

10 May: Second Division team West Ham United win the FA Cup for the third time, defeating First Division Arsenal 1-0 at Wembley Stadium.

16 May: Inflation rose to 21.8%.

454. The Jam – Going Underground/The Dreams of Children (1980)

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The Intro

The Specials weren’t the only group successfully reviving a 60s musical movement as the 80s began. Mod power trio The Jam had been around several years before achieving this first of four number 1s. And yet, had it not been for an error at the pressing plant, Going Underground/The Dreams of Children might not have shot to the top spot.

Before

The Jam go back a fair few years than many realise, as singer and bassist Paul Weller began the band aged 14 in 1972, while still at Sheerwater Secondary School in Woking, Surrey. He was joined by Steve Brookes on lead guitar and vocals, Dave Waller on rhythm guitar and Rick Buckler on drums. But this was before the frontman discovered Mod, so The Jam’s setlist mostly consisted of early US rock’n’roll covers. Waller left in 1973 and was replaced by Bruce Foxton.

When Weller heard The Who’s debut album, My Generation, everything changed. He fell totally in love with becoming a Mod. He bought a Lambretta, made the band dress in sharp suits and they started covering Motown, Atlantic and Stax soul music.

In 1975, Brookes also left. Although The Jam advertised for a new lead guitarist (and among those auditioning was apparently a young Gary Numan), Weller decided to ape The Who’s line-up. He persuaded Foxton to switch to bass and he took over full guitar duties.

In 1975, rock music was often moribund. Punk had yet to arrive, so The Jam stood out on the London scene, capturing the imagination and perhaps reminding older gig-goers of happier times. When punk did appear, Weller, Foxton and Buckler were even more distinct – their smart appearance was totally different to the ripped, scruffy clothes of the Sex Pistols and co, and they were in thrall to the 60s. But like the Sex Pistols, The Jam were angry, energetic and distinctive.

They were signed to Polydor in 1977, and that April released their debut single In the City, which peaked at 40. But they struck a chord and their album with the same name was a number 20 hit. When second single All Around the World climbed to 13, Polydor asked for more material ASAP. They completed another LP that year, This Is the Modern World, but the (almost) title track Modern World only reached 36.

In 1978 News of the World (that’s right, three singles in row with ‘world’ in the name) fared better when it peaked at 27. This was the only single to be written and sung by Foxton, and later became the theme tune to BBC Two’s Mock the Week. A third LP was quickly planned, but Weller was struggling for inspiration and their producers dismissed Foxton’s material as poor. Weller became the principle songwriter from here on in.

The influence of The Kinks on The Jam, if it wasn’t already noticeable, certainly was when they released a soundalike cover of David Watts as a double-A-side with ‘A’ Bomb in Wardour Street. These first fruits of their third album All Mod Cons climbed to 25. The next single, Down in the Tube Station at Midnight, is highly regarded as a return to form both critically and commercially, and shot to 15. It also placed a large question mark over The Jam’s early reputation as Conservative poster boys. Where previously they sang about the decline of the British Empire and disparagingly about ‘Uncle Jimmy’ Callaghan, now Weller was talking about being mugged by thugs who had been to ‘too many right wing meetings’.

In 1979 two non-album singles, Strange Town and When You’re Young, peaked at 15 and 17 respectively. Then came the first song from the next LP, Setting Sons. The Eton Rifles was rightfully their biggest yet, soaring all the way to three. In 2008, future Conservative Prime Minister, the Etonian David Cameron, called himself a fan of the song back in the day, causing a furious Weller to state ‘it wasn’t a fucking jolly drinking song for the cadet corps’.

The Dreams of Children, recorded during the Setting Sons sessions but not on the LP, was to be their first single of the new decade. It wasn’t on the album, but considering the LP was originally a concept album about three childhood friends, perhaps it was intended to feature originally. It saw the trio broadening their sonic palette with producer Vic Coppersmith-Heaven, while the intended B-side was an angry tirade at the people in power.

However, there was a mix-up at the pressing plant, and this single became a double A-side. Because of this, radio DJs mostly preferred to spin the snappier, catchier, more immediate fare intended for side B.

Reviews

It seems obvious in retrospect that Going Underground deserved to be the A-side. And what a number 1 as the Thatcher era was just getting started. In just a few minutes, Weller succinctly wipes away any doubt of whose side he’s on. And he does it with no small measure of belligerence and fire in his belly. Over jagged guitar strikes, this reads like the manifesto of a man who is so sickened with the state of his country and its politics, he’s retreating from modern life. The only negative to this song is how it resonates even more now than it did in 1980, particularly ‘Some people might get some pleasure out of hate.’

The beauty of Going Underground is how The Jam make such a bleak message so uplifting. We shouldn’t be celebrating the need to opt out of society, but doesn’t it sound so good? And there is a small glint of hope as the song ends ‘Well, let the boys all sing and let the boys all shout for tomorrow’. Not that there’s much hope in 2023 – the other side aren’t offering much to get excited about as another election looms.

There have already been some classic number 1s in the first quarter of 1980. This is the best of the bunch, ahead even of Atomic.

The fact there’s a video for Going Underground is puzzling. If this was always intended as a B-side, why is there one at all? However, the fact both mostly feature the band performing in front of a white background wearing very similar clothes suggests it could have been filmed in the same session. The Going Underground film is one of the most enduring images of the young, angry Weller, resplendent in a scarf, interspersed with images of Uncle Sam, atomic explosions and photos of Conservative Prime Ministers (plus, interestingly, Labour’s Harold Wilson), pushed to one side.

The Dreams of Children is a decent track too, but I doubt it would have become their first chart-topper on its own. Opening with backmasking from Setting Sons track Thick as Thieves, it’s an early sign of Weller’s love of psychedelic rock, and the lyric is akin to songs from that era about loss of innocence, like Pink Floyd’s Remember a Day.

Like Going Underground, The Dreams of Children paints a bleak picture – bleaker in fact. And very true, because Weller explains how he had a glimpse of optimism in his dreams, before waking up ‘sweating from this modern nightmare’. The closing refrain of ‘You will choke on your dreams tonight’ paints a very bleak picture. Interesting stuff, with some nice bass playing from Foxton.

The video is less simple than Going Underground, cutting between the band playing outdoors, hanging out near somewhere derelict and performing once more against a simple white background but with added camera and lighting equipment.

After

The Jam were touring the US to small crowds when they heard Going Underground/The Dreams of Children had made it to number 1. They immediately returned home and prepared for a triumphant Top of the Pops appearance.

The Outro

A version of Going Underground by US rock band Buffalo Tom climbed to number six in 1999, as a double A-side with a version of Carnation by Liam Gallagher and Steve Cradock.

The Info

Written by

Paul Weller

Producer

Vic Coppersmith-Heaven

Weeks at number 1

3 (22 March-11 April)

Trivia

Births

23 March: Comedian Russell Howard
24 March: Sports presenter Amanda Davies
28 March: Labour MP Angela Rayner
3 April: Fascist Conservative MP Suella Braverman
8 April: Actor Ben Freeman/Scottish field hockey midfielder Cheryl Valentine

Deaths

22 March: Historian Evelyn Procter
23 March: Journalist SW Alexander/Royal Navy admiral Sir Henry McCall/Labour MP Charles Pannell, Baron Pannell/Red Cross aid worker Joan Whittington/Racehorse trainer Norah Wilmot
24 March: Actor John Barrie
26 March: Army major-general Basil Coad/Botanist Lily Newton
30 March: Labour MP Francis Douglas, 1st Baron Douglas of Barloch/Trade union leader Jim Hammond
22 March: Historian Evelyn Procter
23 March: Journalist SW Alexander/Royal Navy admiral Sir Henry McCall/Labour MP Charles Pannell, Baron Pannell/Red Cross aid worker Joan Whittington/Racehorse trainer Norah Wilmot – Evelyn Procter, historian (born 1897)
24 March: Actor John Barrie
26 March: Botanist Lily Newton
30 March: Labour MP Francis Douglas, 1st Baron Douglas of Barloch/Trade union leader Jim Hammond
31 March: Actor John Nightingale
1 April: Actress Cicely Courtneidge/Director Alfred Hitchcock/Actress Joyce Heron
2 April: Long distance runner George Wallach
3 April: Geophysicist Sir Edward Bullard/Actress Isla Cameron/Army major-general Sir Alexander Douglas Campbell/Chemist Ulick Richardson Evans
5 April: Scottish composer Hector MacAndrew
6 April: Film director Antony Balch/Writer John Collier/Philosopher Sir Thomas Malcolm Knox
8 April: Horticulturalist Beatrix Havergal
10 April: Writer Antonia White
11 April: Legal historian Norman Hargreaves-Mawdsley/Actor Nicholas Phipps

Meanwhile…

25 March: The British Olympic Association votes to send athletes to the Olympic Games in Moscow, USSR, in the summer, in defiance of the government’s boycott.
Also on this day, Robert Runcie becomes the Archbishop of Canterbury.

26 March: On Budget Day, Chancellor Geoffrey Howe announces raises in tax allowances and duties on petrol, alcohol and tobacco.

31 March: British Leyland agrees to sell its MG factory in Abingdon to Aston Martin-Lagonda in the autumn.

1 April: The steelworkers’ strike is called off, and Britain’s first official naturist beach is opened in Brighton.

2 April: 130 people were arrested after rioting in St Pauls, Bristol.

3 April: The Assisted Places Scheme introduces free or subsidised places for children at fee-paying independent schools, based on examination performances. It also gives parents more powers on governing bodies and admisssions, and removes the obligation for local education authorities to provide school meals and milk. Thatcher, Thatcher, milk snatcher.

4 April: Alton Towers Resort was opened as a theme park.

10 April: The UK and Spain come to an agreement, and the latter reopens its border with Gibraltar.

450. The Special A.K.A. Featuring Rico – Too Much Too Young – The Special A.K.A. Live! (EP) (1980)

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The Intro

The Specials/The Special AKA quickly grew into one of the most beloved bands of the early 80s. Their state-of-the-nation address Ghost Town is one of the greatest singles of the decade, but before that, the Coventry-based ska revival legends became the first act since Demis Roussos in 1976 to reach number 1 with an EP. It was also the first ska number 1 since Double Barrel in 1971, and the first live recording to be a chart-topper since Billy Connolly’s D.I.V.O.R.C.E. in 1975. And The Specials are among my earliest memories – I can remember being struck by the 2-Tone record label, watching the black and white man in the suit spinning on our record player, as my big brother was a huge fan.

Before

The Special AKA formed in 1977 and were known as The Automatics, then The Coventry Automatics. They consisted of songwriter and keyboardist Jerry Dammers, vocalist Tim Strickland, drummer Silverton Hutchinson and bassist/vocalist Horace Panter, aka Sir Horace Gentleman. Terry Hall replaced Strickland very soon after. They were joined in 1978 by vocalist Neville Staple and guitarist Roddy Byers, aka Roddy Radiation. Dammers hoped his band could unite black and white music lovers, coinciding with the Rock Against Racism movement. And they were given a huge leg-up in exposure when Joe Strummer invited the band to support The Clash.

As 1979 rolled around, Hutchinson left and was replaced behind the drumkit by John Bradbury. Dammers launched the 2 Tone Records label and released The Special AKA’s debut single, Gangsters, which was a reworking of Jamaican singer-songwriter Prince Buster’s Al Capone, which shot to number six – impressive for a debut. They changed their name to The Specials and began recording their eponymous debut album, produced by hip new wave star Elvis Costello and also featuring horn players Dick Cuthell and Rico Rodriguez.

The ska seven-piece stood out thanks to their Mod stylings and two-tone suits, but the material they released was as strong as their image. The Specials, released that October, featured a heady mix of original material and covers of ska classics. The first fruits of this, A Message to You, Rudy, was a cover of Dandy Livingstone’s Rudy, a Message to You, and it peaked at 10.

As great as the album was, it didn’t capture the energy of their live shows. So it was a very wise move to release a live EP in January 1980. As we know through this blog, the first month of the year can bring up many surprising chart-toppers. Credited to The Special AKA Featuring Rico (although the vinyl also, confusingly, billed them as The Specials), Too Much Too Young – The Special A.K.A. Live! EP was a five-track showcase of the group on stage in 1979. Side A featured two tracks from the Lyceum in London, and Side B was a three-track medley – billed as Skinhead Symphony – from Tiffany’s, in their hometown.

Review

The title track is of course one of the most beloved by The Special AKA. Loosely based on the 1969 song Birth Control by reggae singer and producer Lloyd Charmers, Too Much Too Young was originally recorded and released on The Specials.

Inspired by Dammers considering a relationship with a married woman who had a child, Too Much Too Young may be a great tune, but it’s lyrics are somewhat divisive. You could argue the band are railing against wasted youth caused by teenage pregnancies, and are calling for better sex education and knowledge of contraception. This is most likely, considering The Specials’ usual left-wing leanings. But critics have a point when they say Dammers and co come across as preachy and patronising – even somewhat right-wing – by criticising a poor young mum, just because the narrator wants a good time with her, ultimately.

Far more clearcut is just how good this live cut is. It’s the definitive version, and much better than the Costello-produced album version, which is overlong and plodding by comparison. At 2:04, this incendiary version of Too Much Too Young is the shortest number 1 track of the 80s. But it packs in so much in such a short time, it’s easily the best song on this EP, which is no mean feat when it’s up against four classics of the genre. Most noteworthy are Hall’s passionate performance, Gentleman’s bass and Golding and Radiation’s guitar.

Guns of Navarone, the other Lyceum track, is a straightforward cover of The Skatalite’s skanking 1965 version of the theme tune to the 1961 film of the same name. Staple provides great toasting, accompanying expert trombone skills by Rico.

Skinhead Symphony on Side B is a jubilant, celebratory six-minute-plus medley of more 60s ska greats. Opening with a bugle call by Rico, Longshot Kick the Bucket is a faithful rendition of Longshot Kick de Bucket by The Pioneers, originally recorded in 1969. Long Shot was a real horse, that dropped dead mid-race, who the Jamaican group had sung about before. The Liquidator is the only track that doesn’t really live up to the original. Part of The Harry J All Stars 1969 original’s charm is the wonky feel of the primitive recording, which disappears in this sprightly run-through. The symphony closes with a version of 1969 rude boy anthem Skinhead Moonstomp by British ska band Symarip. This was based on Moon Hop, released earlier that year by rocksteady great Derrick Morgan, in honour of the Moon landing that July. It’s the perfect way to cap off a collection of great live recordings. In spite of the rather basic production, the atmosphere is palpable and you can only listen in envy at the fans chanting ‘Specials’ at the end.

In true ska fashion, it’s worth noting there are many credit errors on the original EP. Guns of Navarone songwriter Dimitri Tiomkin’s surname was spelled ‘Thompkin’. The mysterious ‘Gordon’ credited on Longshot Kick the Bucket was George Agard, and Sydney Cook, should be ‘Crooks’. And Symarip’s Monty Naismith should say ‘Naysmith’. Things like this matter!

After

The Special AKA reverted to calling themselves The Specials and continued to score hits throughout 1980 and 81, leading up to their masterpiece, Ghost Town.

The Outro

It’s worth noting that this EP knocked the Pretenders’ Brass in Pocket off the top spot. Singer Chrissie Hynde had provided backing vocals on The Specials, and the video to their number 1 had two band members miming ‘Special!’ in the video. Tenuous, perhaps, but I’m pointing it out anyway.

The Info

Written by

Too Much Too Young: Jerry Dammers & Lloyd Chambers/Guns of Navarone: Dimitri Thompkin & Paul Francis Webster/Longshot Kick the Bucket: Gordon, Sidney Cook & Jackie Robinson/The Liquidator: Harry Johnson/Skinhead Moonstomp: Roy Ellis & Monty Naismith

Producers

Jerry Dammers & Dave Jordan

Weeks at number 1

2 (2-15 February)

Trivia

Births

5 February: Scottish Liberal Democrats leader Jo Swinson
10 February: Photographer Matt Irwin/Actor Ralf Little/Footballer Steve Tully

Deaths

4 February: Labour MP Edith Summerskill
9 February: Journalist Tom Macdonald

Meanwhile…

14 February: The ever-loving Margaret Thatcher celebrates Valentine’s Day by halving state benefit to strikers.

14-23 February: Great Britain and Northern Ireland take part in the Winter Olympics in Lake Placid, New York. But they only win one gold medal, thanks to figure skater Robin Cousins.

323. Chuck Berry – My Ding-a-Ling (1972)

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The Intro

As mentioned in my blog for Mouldy Old Dough, the UK seemed to be having a nervous breakdown as far as its number 1 singles are concerned in late-1972. Here’s further proof. Rock’n’roll pioneer Chuck Berry, one of the most influential guitarists in musical history, at the top of the charts for his one and only time with his nadir – a live recording of tawdry jokes about his penis.

Before

Charles Edward Anderson Berry was born 18 October 1926 in St Louis, Missouri. He grew up in the middle-class area known as the Ville. Berry was into music from an early age, and he gave his first public performance at Sumner High School in 1941. He was still a student there when he had his first of several run-ins with the law. In 1944 he was arrested for armed robbery after robbing three shops in Kansas City, Missouri. Berry was sent to a reformatory, where he spent his time learning to box and performing in a singing quartet. He was released on his 21st birthday in 1947.

Berry married a year later and became a father for the first time in 1950. To support his family he worked in car assembly factories and as a janitor, and he also trained to be a beautician. To help make ends meet he also played blues with local bands, and learnt riffs and tips on showmanship from T-Bone Walker. By 1953 he was performing in pianist Johnnie Johnson’s Trio, a relationship that endured, and would win over skeptical black audiences by playing country music, mixed in with ballads, blues and R&B. Soon white audiences were attending too.

Everything changed when Berry met Muddy Waters in 1955. The blues legend suggested Berry get in touch with Leonard Chess of Chess Records. Although he thought they may like his take on the blues, Chess loved his version of traditional tune Ida Red, which Berry called Maybellene. There is a strong argument for rock’n’roll beginning right here.

Classic after classic followed. In 1956 there was Roll Over Beethoven and You Can’t Catch Me (inspiration for The Beatles’ Come Together). In 1957, as rock’n’roll peaked, School Day (Ring! Ring! Goes the Bell), became his first chart hit in the UK. He went on tour that year with other greats including Buddy Holly and The Everly Brothers.

Berry’s classics kept coming for the rest of the 50s, including Rock and Roll Music, Sweet Little Sixteen, Johnny B. Goode and Memphis, Tennessee. For some reason, only Sweet Little Sixteen and Memphis, Tennessee charted over here – was this down to distribution problems? Whatever the reason, by the end of the decade he was a huge star, had starred in films, opened a racially integrated nightclub and invested in real estate. But in December 1959 he was arrested for alleged underage sex with a girl he had transported over state lines.

The 60s got off to a terrible start, with Berry sentenced in March 1960 to five years in prison. He appealed and claimed the judge was racist, but he was convicted again, and a further appeal failed. His last single before jail time was Come On in 1961, which became the first single by The Rolling Stones.

Fortunately for Berry, his release from prison in 1963 coincided with the rise of The Beatles, who covered his material, and The Beach Boys Surfin’ U.S.A. reworked Sweet Little Sixteen. Although he never reached the same commercial heights as the 50s again, there were still some great songs, and UK hits with No Particular Place to Go and You Never Can Tell in 1964. The latter of course is now best known for its use in 1994 Quentin Tarantino smash Pulp Fiction. After that his career went on the slide. He jumped ship to Mercury Records and earned a reputation for erratic live performances.

Berry returned to Chess in 1970 with the appropriately named LP Back Home. His album The London Chuck Berry Sessions was a mix of studio tracks and three live performances recorded on 3 February 1972 at the Lanchester Arts Festival in Coventry. Amazingly, the venue of the festival, the Locarno, was also the site of The Specials’ live EP Too Much Too Young – The Special A.K.A. Live!, a number 1 in 1980. Berry was late for his slot, which annoyed headliners Pink Floyd as it meant they were an hour late for their set. In his band were guitarist Onnie McIntyre, drummer Robbie McIntosh, who went on to form Scottish funk outfit Average White Band, and bassist Nic Potter from prog-rockers Van Der Graaf Generator.

I’d thought in the past that My Ding-a-Ling was likely an off-the-cuff skit by Berry, but no, it’s an actual cover of a song by Dave Bartholomew, writer of many rock’n’roll hits including I Hear You Knocking, the Christmas number 1 by Dave Edmunds in 1970. Bartholomew released it first back in 1952. Berry first recorded it as My Tambourine in 1968.

Review

I of course was within my rights to think this was a skit, of course, because it’s bloody awful. Thankfully hacked down from over 11 minutes on the album, it may well be that Berry had no say in the release of this as a single, but whether it was him or Chess, what the hell made them think it was a good idea, and more to the point, why did the UK prove them right? An eager audience including Noddy Holder (Slade were one of the acts on earlier that day) lap up every minute of this Carry On-style ditty disguised as a playground rhyme. Believe me, I’m all for that type of humour at the right time, but this is just terrible. Perhaps there was just a lot of nostalgic affection for Berry at the time, with a rock’n’roll revival ongoing and bands like T. Rex paying respect?

And once again, it’s unavoidable to think of My Ding-a-Ling‘s lyrics without context, without thinking about all the light entertainment and pop stars since outed as paedophiles and Berry’s many misdemeanours with women… it makes jokes that weren’t funny to begin with even worse.

After

My Ding-a-Ling reached number 1 here and in the US, but thankfully it didn’t stick around long enough to reach the Christmas number 1 spot in 1972. Unfortunately it was beaten by an even worse song…

Another live track from the album, Reelin’ and Rockin’, was Berry’s final hit. He spent much of the 70s touring along with his Gibson guitar, relying on local bands wherever he went, which often did his reputation damage, but along the way, pre-fame Bruce Springsteen and Steve Miller were among those helping out. Springsteen later revealed Berry didn’t give the band a setlist and didn’t interact with them afterwards, but it didn’t stop him helping out again when Berry was entered into the Rock and Roll Hall of Fame in 1995.

The ‘Father of Rock and Roll’ ended the decade with a gig at the White House for President Jimmy Carter in June 1979, but that year he was also sentenced to jail again – four months and 1,000 hours of community service for tax evasion.

The 80s saw Berry continue his one-man tours. In 1986, documentary Hail! Hail! Rock ‘n’ Roll covered two concerts for his 60th birthday featuring Keith Richards, Eric Clapton and Etta James, among others. But he just couldn’t keep out of trouble. In 1987 Berry was charged with assaulting a woman at New York’s Gramercy Park Hotel. He pleaded guilty to harassment and paid a fine. Three years later, he was sued by women who claimed he had installed a video camera in the cubicle of his restaurant. Although his guilt wasn’t proven he opted to settle… with all 59 women. 59 women. During this scandal his home was raided and police found a huge stash of pornography, videos, slides and books, some of which appeared to show underage girls. The child abuse allegations were eventually dropped, and seem to have been largely forgotten in many of his obituaries.

In 2000, Johnson sued Berry, claiming he deserved co-writing credits on over 50 of his songs but the case was dismissed when the judge said too much time had passed. He continued to tour, and played festivals across the globe, but on New Year’s Day 2011 he passed out with exhaustion and had to be helped off stage.

On his 90th birthday in 2017 he announced he would be releasing his first new studio album since Rockit in 1979. Chuck featured his children Charles Berry Jr and Ingrid and was dedicated to his wife Toddy, who had remained all those years. It was to be his swansong, as Berry died of a cardiac arrest on 18 March. Chuck was released to critical acclaim two months later.

The Outro

Without Chuck Berry, who knows which direction pop would have gone in. He inspired some of the greatest musicians of all time, and his iconic duckwalk is fondly remembered. Sadly, he was also a sex offender and maybe a paedophile, and this lone number 1 really doesn’t help his legacy.

The Info

Written by

Dave Bartholomew

Producer

Esmond Edwards

Weeks at number 1

4 (25 November-22 December)

Births

30 November: Labour MP Dan Jarvis
6 December: Scientist Ewan Birney
12 December: Footballer Nicky Eaden
14 December: Comedian Miranda Hart/Actor Jonathan Slinger
20 December: Labour MP Sarah Jones
21 December: Labour MP Gloria De Piero

Deaths

28 November: Composer Havergal Brian
30 November: Scottish novelist Sir Compton Mackenzie
13 December: Writer LP Hartley