Death discs! Remember them? No? Don’t worry, it’s been a while. They hadn’t been in fashion since the mid-60s, and the last proper one to top the charts was Johnny Remember Me in 1961. Yet here we are in 1974, with two in a row. First, thanks to their success on Opportunity Knocks, Nottingham-based pop group Paper Lace were at number 1 with Billy – Don’t Be a Hero.
Paper Lace formed in 1967 as Music Box, consisting of Cliff Fish, Dave Manders, Roy White and Phil Wright. They performed contemporary covers by bands including The Beach Boys. In 1969 they became Paper Lace, named after their city’s long history with lace. While working their way through club gigs a year later they auditioned for Opportunity Knocks, the ITV talent show presented by Hughie Green. Nothing came of it at first, but they signed with Philips and released the album First Edition in 1972. The following year they were finally called up to appear on Opportunity Knocks, and they went down a storm, winning five weeks on the trot. By this point, the band consisted of Philip Wright on drums and lead vocals (very unusual, especially in these days), Mick Vaughan on guitar, Fish was still there on bass, and Chris Morris on guitar and vocals.
Meanwhile, hitmaking duo Mitch Murray and Peter Callander, last seen on this blog having written 1968 number 1 The Ballad of Bonnie and Clyde for Georgie Fame, had written Billy – Don’t Be a Hero and were looking for someone to record it. Murray, the man behind Gerry and the Pacemakers’ three number 1s in 1963, wanted an established group to record it, but Callander’s wife saw Paper Lace on TV and suggested them to her husband.
Opening to a chirpy military drumbeat and whistling, Paper Lace’s solo number 1 is the weakest chart-topper of 1974 thus far. It sounds more like a single from the golden era of death discs and it’s too cheesy and naff to get much enjoyment out of. As an anti-war song, some suspect it was a brave move for Billy – Don’t Be a Hero to be released during the Vietnam War and that it was a comment on the situation, but clearly it wasn’t. There are references to ‘soldier-blues’ and ‘riding out’, and on publicity photos and one Top of the Pops appearance, the band (now bolstered by new member Carlo Santanna – not Carlos Santana – on guitar and mandolin), they’re wearing Union outfits. It’s a song about the American Civil War.
But yes, whichever war it’s about, the message is a good one. Don’t be a hero Billy, stay and marry your fiancée. But alas, no. Come the final verse, Billy has indeed died a hero, and his girlfriend throws the letter away. There’s no denying Callander and Murray in particular know how to write a tune, but their songs sound so stale in a year where disco is right around the corner. Having said that, it is unfortunately perhaps a sign of things to come, because there are some truly awful pop songs to come throughout the rest of the decade too.
Considering the subject matter, you’d think Paper Lace might have had a chance with a hit in the US. So it must have been pretty annoying when Bo Donaldson and the Heywoods got in there first and went to number 1 with their rushed cover. The Nottingham boys had more luck second time around though, when Murray and Callander gave them Prohibition-set tune The Night Chicago Died as a follow-up. It climbed to number three on these shores, but they scored a number 1 on the Billboard Hot 100. Third collaboration, The Black-Eyed Boys, just missed out on the top 10, also in 1974. With their second album, Paper Lace and Other Bits of Material released too, it was a busy year. It didn’t take long for Paper Lace to unravel though, and by 1976 the ‘classic’ line-up was no more.
Paper Lace resurfaced with different members in 1978 and scored a top 30 hit when they teamed up with Nottingham Forest FC to record a version of We’ve Got the Whole World in Our Hands. They split up in 1980 but by 1983 another version had formed. In 1990 Wright, Vaughan and Morris re-recorded Billy – Don’t Be a Hero but it was never released due to the Gulf War. The original was on a list of songs banned by the BBC at the time.
These days there are two versions of Paper Lace, each containing different members from their hitmaking days. Why can’t everyone just learn to get along?
Written & produced by: Mitch Murray & Pete Callander
Weeks at number 1: 3 (16 March-5 April)
Snooker player Mark King – 28 March Radio DJ Scott Mills – 28 March Conservative MP John Glen – 1 April
18 March: Most OPEC nations end a five-month oil embargo against the US, Europe and Japan.
20 March: After wounding four people, crazed gunman Ian Ball fails in his attempt to kidnap Princess Anne and her husband Captain Mark Phillips in The Mall, outside Buckingham Palace. When he wrestled her to the floor of the Rolls-Royce and commanded her to get out, the princess’s response was ‘Not bloody likely!’. Passing heavyweight boxer Ronnie Russell came to the rescue, punching Ball twice in the head. Princess Anne’s parting words were ‘Just go away and don’t be such a silly man.’ Ball is still ‘away’, in Broadmoor Hospital.
29 March: The new Labour government re-establishes direct rule over Northern Ireland after declaring a state of emergency.
1 April: The Local Government Act 1972 comes into effect in England and Wales, creating six new metropolitan counties and redrawing the administrative map. Newport and Monmouthshire are legally transferred from England to Wales.
Early 1974 was peak ‘Chinnichap’, with the writers/producers responsible for two number 1s in a row. This first one took Mud out of the minor leagues and made them one of the biggest names in glam rock. And rightly so, because Tiger Feet is a classic pop anthem and one of my favourite number 1s of the 70s. If you don’t love Tiger Feet, you are dead already.
The origins of the Surrey quartet begin with singer Thomas Leslie ‘Les’ Gray, born in Carshalton on 9 April 1946. Gray was a self-taught musician who originally played trumpet in a jazz band while still at school, before forming a skiffle group called The Mourners. When he left education he wrote commercials for cinema advertising legends Pearl & Dean, and then worked for Moss Bros.
By 1966, The Mourners featured guitarist Rob Davis, who had joined with drummer Dave Mounts, his companion in several previous bands. Along with bassist Ray Stiles, they became Mud that February. The following year they released their debut single on CBS Records, the very 1967-sounding Flower Power. It failed to make an impression, and nor did their next few singles, released on Phillips, over the next three years.
With psychedelia largely over, Mud were sinking (sorry) until they met impresario Mickie Most, whose Rak Records were fast becoming the hippest label around when they joined. Much like The Sweet before them, as soon as they began working with their new writers and producers Nicky Chinn and Mike Chapman (despite being on different labels), things swiftly improved.
In 1973 they scored three top 20 singles – Crazy (number 12), Hypnosis (number 16) and best of the three, Dyna-Mite, which climbed to number four. With the Chinnichap template of pop-rock, Gray’s sideburns and deep Elvis-style vocal and Davis’s increasingly outlandish get-up, Mud became a fully fledged glam band with this single, which had originally been rejected by labelmates The Sweet. And then came Tiger Feet.
But what the hell is it actually about, if anything? Much like Can the Can, it’s likely they just stumbled upon a phrase they liked and worked it into a song. Clearly, in general though, Tiger Feet is a come-on to some ‘dance hall cutie’, and Gray sees her as a kind-of sexual predator in the way she cuts a rug (I’m lost at ‘tiger lights’ though). Which is ironic, considering the dance that Mud and their crew made up to this song – which may be the least sexy ever witnessed in pop.
It may look ridiculous, but let me say in all seriousness that watching Mud performing the Tiger Feet dance is for me one of the most uplifting moments in pop music. It encapsulates the power of pop, and glam in particular, to make grown men act and look as stupid as possible, with all worries abandoned, totally lost in the moment. At the music night I used to DJ at with friends, I would, without shame, perform said dance time and time again, and I am proud of the fact. Everyone should try it.
So, yes, I am a huge fan of Mud’s first number 1. Ignore the words and any notion of being cool and feel the rip-roaring, childlike glee running wild throughout, from the manic rhythm guitar at the start to the ‘t-t-t-t-t-t-t-tiger feet’ at the song’s fade. It’s very difficult to analyse something so stupid and brilliant too much, so just enjoy it. Just like Slade, Mud gave the country some much-needed light relief in particularly trying times. This is 70s pop at its best.
Written & produced by: Nicky Chinn&Mike Chapman
Weeks at number 1: 4 (26 January-22 February) *BEST-SELLING SINGLE OF THE YEAR*
Actor Christian Bale – 30 January Murderer Ian Huntley – 31 January Sports presenter Ed Chamberlin – 6 February Footballer Nick Barmby – 11 February Singer Robbie Williams – 13 February Singer-songwriter James Blunt – 22 February Radio DJ Chris Moyles – 22 February
Novelist HE Bates – 29 January
4 February: One of the Provisional IRA’s most shocking attacks took place when 11 people, three of whom were civilians, were killed in the M62 coach bombing.
7 February: In the midst of the Three-Day Week, Prime Minister Edward Heath, called a General Election for 28 February, asking who governed, he or the unions. During the campaign, the Labour Party and Trades Union Congress agreed a ‘Social Contract’ intended to produce wage restraint. Also this day, Grenada became independent of the UK.
8 February: The death toll from the M62 coach bombing reaches 12 with the death in hospital of a seriously injured 18-year-old soldier.
12 February: BBC One first aired the classic children’s series Bagpuss, made by Peter Firmin and Oliver Postgate’s Smallfilms in stop-motion animation.
14 February: Birmingham City centre forward Bob Latchford becomes Britain’s most expensive footballer in a £350,000 move to Everton. Also this day, opinion polls showed the Conservative government in the lead for the forthcoming election.
‘IT’S CHRISTMAAAASSSSSSS!’. It’s not. It’s currently mid-August 2020 and we’re coming to the end of a blistering heatwave, which, if you know the story behind Slade’s final number 1, you’ll know is how the song was recorded. Little did they know it would become not only the most famous of their six number 1s, it would become perhaps pop’s greatest festive staple.
And yet, in summer 1973, the future of the band looked in doubt. While Skweeze Me, Pleeze Me was at number 1, drummer Don Powell was in a car crash that killed his girlfriend Angela Morris and left him in a coma for nearly a week. Luckily he successfully recovered, although he still suffers acute short-term memory loss and sensory problems.
Back in 1967 when Slade were The ‘N Betweens, Noddy Holder had written a song called Buy Me a Rocking Chair, with the very psychedelic chorus ‘Buy me a rocking chair to watch the world go by/Buy me a looking glass, I’ll look you in the eye’. Despite liking the chorus, the verse needed work, so they scrapped it. Speaking to the Record Mirror in 1984, bassist Jim Lea recalled he was taking a shower in New York in 1973 when he came up with ‘Are you hanging up your stocking on the wall?’. Lea remembered Holder’s chorus and thought the two could fit together well, and producer and manager Chas Chandler had been nagging them to write a Christmas song. Holder thought the idea had legs, and penned the lyrics at his mother’s house in Walsall in one draft. They played the finished song to Chandler on acoustic guitars.
As hinted at earlier, Slade recorded Merry Xmaƨ Everybody in the middle of a September heatwave in New York while on tour there. Powell had returned to the fray at the Power Plant, where John Lennon had just finished recording his album Mind Games. Lea didn’t look back on the recording fondly, claiming the others weren’t as interested in him at rehearsing, though he did acknowledge Powell was still recovering and his memory was shot. Lea put in the most work, laying down the bass, piano and harmonium (the latter on loan from Lennon). They weren’t happy with the first completed mix as they wanted a bigger sound for the chorus, so they re-recorded it down a corridor, getting baffled looks from passers-by (Slade were virtually unknown in the US). After five days, the song was complete.
With several months to go until they could release their hopeful festive number 1, Slade released a compilation, Sladest, and new single MY FRIEИD STAИ (which looks slightly satanic). For the first time since Christmas 1972, they didn’t get to number 1. It was a departure from the usual Slade formula, but they had to change tack at some point, and it’s a nice little song. So, were they going to miss out on the Christmas top spot for the second year in a row?
Of course not. Merry Xmaƨ Everybody became the first Christmas-themed Christmas number 1 since Harry Belafonte’s Mary’s Boy Child in 1957, and couldn’t have come at a better time. As everyone knows, the UK was going through a particularly grim time in late-1973. You’ve only got to look down at the ‘Meanwhile…’ section to see the Three-Day Week was about to begin, and the first post-war recession had started. Plus there was the OPEC oil crisis, and the IRA could strike at any moment. Glam acts like Slade and Wizzard were sorely needed to keep spirits up, and they did the job then and still do close to 50 years later. ‘Look to the future now, it’s only just begun’. How we could do with some of that optimism in winter 2020.
One of the most important factors that explains the magic of Merry Xmaƨ Everybody is its inclusivity. It’s less rocking and more poppy than previous material. It’s aimed at all the family, with mentions of Granny ‘up and rock and rolling with the rest’. ‘ In 1971 Lennon asked ‘So this is Christmas, and what have you done’, in 1973 Slade said ‘everybody’s having fun’. There’s a nod (pardon the pun) to Christmas songs of old with the reference to ‘momma kissing Santa Claus’.
In 2017 I listened to every Christmas number 1 in one sitting and wrote about it here, and came to the conclusion Merry Xmaƨ Everybody is the best festive chart-topper of all time. I pointed out the production is lacking all the trimmings such as sleigh bells etc, and I think that’s another reason it’s stood the test of time so well. It doesn’t need them, as Holder’s ‘IIIIIITTTTT’S CHRIIIISSSTTTMMMMMASSSS!’ at the song’s conclusion gets the childhood joy of Christmas Day across like nobody has before or since.
Slade won the chart battle with Wizzard, who actually only reached number four in Christmas week, but nevertheless the sense of competition between the two glam rock outfits helped to create the battle for christmas number 1 that the media have latched on to ever since. The singles chart for Christmas week was now an event, and that’s thanks to Slade. Which is entirely appropriate, when you consider how glam’s low-budget sense of fun, bordering on the tacky, is Christmassy like no other genre.
Slade’s biggest seller was also a great way for the band to finish their run of number 1s. Six within just over two years is pretty impressive and puts them up there with some of the biggest acts of all time. Their fall was slow and steady, but there were also unexpected twists and turns.
1974 began with the release of the LP Old New Borrowed and Blue, which showcased a more piano-led sound and even a ballad as a single, Everyday, which went to number three. Much of the year was spent filming their film Slade In Flame, a surprisingly gritty drama about the rise and fall of a fictional group called Flame, played by the members of Slade. It was released in November, and although it was critically acclaimed (it has gained somewhat of a cult following in recent years), and the first single from the soundtrack Far Far Away reached number two, the theme song How Does It Feel only made it to number 15. Thanks for the Memory (Wham Bam Thank You Mam), in 1975, was their last top 10 hit of the 70s.
Understandably feeling they had peaked in the UK, in 1975 Slade decided to move to the US and try and hit the big time there. They toured with rock acts like Aerosmith and ZZ Top, and released an eclectic album. Nobody’s Fool, but not only did they fail to make much of an impact, their UK fans accused them of selling out.
By the time they returned to the UK in 1977, punk and the subsequent new wave rendered Slade very unfashionable. Their contract with major label Polydor had ran out and instead they signed with Chandler’s Barn Records. They performed single Gypsy Roadhog on Blue Peter and found themselves banned by the BBC due to its drug references, but the notoriety couldn’t help them up the charts. The next album, Whatever Happened to Slade, was an all too appropriate name.
As the band slid into irrelevance they would release singles based on football chants (1978’s Give Us a Goal) and covers of cheesy party classics (Okey Cokey in 1979) and some material failed to even reach the top 200. Disagreements between Lea and Chandler resulted in the former and Holder producing their back to basics album Return to Base in 1979. It was another failure, and the band briefly went their separate ways. Lea formed a new group, The Dummies, with his brother Frank, poor Hill resorted to driving couples to their weddings in his own Rolls-Royce to make money (it didn’t work), and Holder was briefly considered as AC/DC’s new singer following the death of Bon Scott, but he still thought Slade may have a future and reportedly turned the Australian rockers down.
In 1980, Slade had some luck at last when Ozzy Osbourne cancelled his headlining appearance at Reading Festival late in the day. Organisers rushed around looking for a last-minute replacement, and asked Slade. All but Hill were keen, but the only way he could be persuaded was when Chandler visited him at home and pointed out it could be their big farewell gig. To Hill’s surprise, they went down a storm. The split was forgotten about, and they acted fast to keep the momentum going. Showcasing a sound more in keeping with heavy metal, therefore pleasing the Reading Festival crowd, 1981’s We’ll Bring the House Down (title track to their next album) became their first top 10 hit in six years, and they returned to larger venues after years of touring small clubs and universities.
Slade and Chandler finally parted ways and they signed with RCA Records, who released their heaviest material yet, Till Deaf Us Do Part. That Christmas saw the first of many re-releases of Merry Xmaƨ Everybody, which reached 32. RCA began to demand hits from the band, and set them to work with producer John Punter. The resulting album, The Amazing Kamikaze Syndrome, was released in December 1983, and featured two decent tracks. Power ballad My Oh My very nearly gave them their second festive chart-topper, but was held at bay by The Flying Pickets’ version of Only You. It was followed by Run Runaway, a fair stab at a Celtic-flavoured, Big Country-style sound.
Unfortunately, Holder wasn’t keen on Punter, and troubles in his private life resulted in a cancelled tour. They tried again for another Christmas single, All Join Hands (an inferior retread of My Oh My), but it couldn’t crack the top 10. And the final decline began, with a mainly synth-led album in 1985, Rogues Gallery, followed by a cheap Christmas cash-in LP, Crackers – The Christmas Party Album, along with the umpteenth release of their final number 1. It would take more than returning to deliberately mis-spelling their material to return Slade to form, and You Boyz Make Big Noize, released in 1987, was their final album. They did (sort-of) return to number 1 with Wizzard and lots of other festive hits, courtesy of Jive Bunny and the Mastermixers’ sampling them on Let’s Party in 1989.
In 1991 the Slade fan club organised a 25th anniversary show, and it was the last time they played live. Radio Wall of Sound, recorded for a compilation, was their final chart hit. In March 1992, Holder finally called it a day, and Lea, his much underrated songwriting partner, couldn’t see a future for Slade without their singer. He retired too, leaving Hill and Powell to form Slade II.
Slade II have continued since with various other members, and made the news in 2003 when convicted serial killer Rosemary West announced her engagement to bassist Dave Glover. Glover claimed this was a misunderstanding and he had only written to her about her case, but Hill of course sacked him. In February 2020 Powell claimed he had been sacked by Hill via a rather cold email, which Hill denied. He was all set to start Don Powell’s Slade but suffered a stroke, and with live music practically comatose post-lockdown, it remains to be seen if we end up with two separate Slades on the road.
Lea has largely remained out of the public eye, other than making solo album Therapy in 2007, and revealing he had been treated for prostate cancer.
Holder became a national treasure following Slade’s demise, taking up acting and making a decent job of it in ITV comedy drama The Grimleys. He has presented radio shows, documentaries, and made numerous cameos on TV. He reportedly loved Vic Reeves’ portrayal of him in the Slade at Home sketches on The Smell of Reeves and Mortimer in the early-90s, but Hill wasn’t so fond of Bob Mortimer’s portrayal of him as a disapproving mother figure.
All four members of Slade attended Chandler’s funeral in 1996, and in 2010 had a group meeting to consider a farewell tour, but nothing came of it. It’s unlikely they will ever play together.
Slade deserve more credit. Yes, this final number 1 is the best Christmas chart-topper of all time, but before then they released some excellent singles too. Holder had one of the best rock voices of all time, and together with Lea, they wrote several classics. The flamboyant Hill was mainly responsible for their showmanship, and Powell fought back from a near-death experience and continued to belt out the beat. They may have lacked in innovation, but like all the best glam acts, they sparkled and rocked the nation during stormy years.
1973 was by and large very similar to 1972 for number 1s, but better. There was still some old-fashioned pop doing very well, and Donny Osmond and David Cassidy catering for the teens, but there were also glam classics that have stood the test of time.
Written by: Noddy Holder & Jim Lea
Producer: Chas Chandler
Weeks at number 1: 5 (15 December 1973-18 January 1974)
Historian Lucy Worsley – 18 December Comedian Paul Foot – 24 December Matt Tebbutt – 24 December 1973 Spice Girl Melanie C – 12 January 1974 Radio DJ Edith Bowman – 15 January Model Kate Moss – 16 January
Princess Patricia of Connaught – 12 January 1974
19 December: The 17.18 Paddington to Oxford express train was derailed between Ealing Broadway and West Ealing. 10 died and 94 were injured.
31 December 1973: As a result of coal shortages caused by industrial action by the miners, Prime Minister Edward Heath’s energy-saving measures, the Three-Day Work Order, came into effect at midnight, making for the darkest New Year celebrations for decades. Commercial consumption of electricity would be limited to three consecutive days, TV broadcasts would end at 10.30pm on alternate nights for BBC and ITV, and most pubs were closed.
1 January 1974: But it wasn’t all bad news, as New Year’s Day was celebrated as a public holiday for the first time. Also that day, the Northern Ireland Power-sharing Executive is set up in Belfast.
70s glam rock star and secret monstrous paedophile Gary Glitter slowed things down on this second of three number 1s. Like his first,I’m the Leader of the Gang (I Am!), I Love You Love Me Love was one of his most famous anthems.
Weirdly, this track was produced in mono. As Mike Leander died in 1996, we’ll never know if he knew of Glitter’s misdemeanours. Let’s hope not, and if he didn’t, be glad he died before having to have a large part of his production legacy tarnished. Of course Leander worked with other artists than Glitter, and most famously was called up by The Beatles to work on She’s Leaving Home when George Martin was unavailable, and a great job he did, too.
I’m procrastinating to avoid the awkwardness of reviewing another song by this bastard. Sad fact is, it didn’t upset me to hear it as much as his first number 1. Perhaps because it wasn’t so self-referential and you could imagine someone else covering it (yeah, right). It’s a swaying, drunken, stupid lurch of a love song, with a really catchy chorus.
Glitter and his girl (possibly literally in his case unfortunately) have stood by each other through thick and thin, and this is his boastful review of what they’ve had to contend with. As usual though, it’s actually all about Glitter, because despite everyone disliking his hair (wigs) and clothes (well, they were stupid), he was ‘strong enough for two’.
It works as a ‘lighters aloft’ style of song, with Glitter’s ‘gang’ projecting their love on their idol, who gives it right back at them. Especially anyone who looks under 16, no doubt. Ah well, only one more by this wretched human to cover.
Written by: Gary Glitter & Mike Leander
Producer: Mike Leander
Weeks at number 1: 4 (17 November-14 December)
Footballer Ryan Giggs – 29 November
Aircraft engine designer Sir Roy Fedden – 21 November Scottish inventor Sir Robert Watson-Watt – 5 December Crime fiction writer Anthony Gilbert (Lucy Beatrice Malleson) – 9 December Novelist Henry Green – 13 December
26 November: The OPEC oil crisis in the Middle East caused Peter Walker, the Secretary for Trade and Industry, to warn that petrol rationing may have to be introduced in the near future. Britain’s ambassador to Saudi Arabia commented at the time that the oil price rise represented ‘perhaps the most rapid shift in economic power that the world has ever seen’. It’s a shift the UK has never recovered from.
5 December – The speed limit on motorways was reduced from 70mph to 50 mph until further notice.
9 December: The Sunningdale Agreement was signed in Sunningdale, Berkshire by Prime Minister Edward Heath, Irish premier Liam Cosgrave and representatives of the Ulster Unionist party, the Social Democratic and Labour Party and the Alliance Party of Northern Ireland. It was an attempt to establish power sharing in Northern Ireland and a cross-border Council of Ireland, but it collapsed in May 1974.
David Cassidy continued his existential battle to be loved for his music rather than his looks throughout 1972 and 1973. After his first number 1 How Can I Be Sure, the star of The Partridge Family had further hits with the title track to Rock Me Baby and I Am a Clown, which was lifted from his debut LP Cherish.
There were also more albums by The Partridge Family, Cassidy’s fictional TV brethren, on which he had made his name and would have rather been rid of by this point. In October 1973 their final album, Bulletin Board was released, alongside Cassidy’s third solo effort, Dreams are Nuthin’ More than Wishes. To get the point across that he was in charge of his own music, he wrote notes for his reasons for choosing each song. This second number 1 release was a double A-side of tracks from the album.
Daydreamer was written by South African professional songwriter Terry Dempsey, who had written for many big names including Cliff Richard and The New Seekers. In 2910, Dempsey was killed in a bizarre accident when he was struck by the blades of a gyrocscope making an emergency landing during a ceremony in which the family were scattering ashes.
Cassidy stars as a heartbroken loner, walking round in the rain, chasing rainbows in which he may find someone new. Nice, clever wordplay there. It’s reminiscent of 1956 Christmas number 1Just Walkin’ in the Rain by Johnnie Ray, not just due to the obvious mention of rain, but in the sense there’s a melancholy that’s quite comforting at play, that he’s actually kind of happy being on his own and wallowing in misery.
Unfortunately, as with How Can I Be Sure, I can’t enjoy Cassidy’s voice. For someone so determined to be admired for his ability, his singing is so affected, it doesn’t do a lot for me. Once again though, I’d take this over any of Donny Osmond’s number 1s.
The Puppy Song was penned by Harry Nilsson of Without You fame, and had featured on his album Harry, released in 1969. He had written it on request from Paul McCartney for Mary Hopkin’s debut album Post Card, which also included her number 1 from 1968, Those Were the Days.
More light-hearted than the flip side, the two songs complement each other well, with Cassidy’s daydreams moving on to thoughts of owning a dog, to replace the hole left by his love. The second verse comes from the viewpoint of a puppy daydreaming about having a friend to hang around with it. It’s a very ‘Nilsson’ kind of song, with a music-hall feel like a lot of his late-60s work, and an interesting departure for a teen idol, but again, I couldn’t warm to it too much. However, I do like the opening lines, which were paraphrased and became the title of Cassidy’s album.
Cassidy remained a familiar presence in the UK charts over the next few years, with hits like If I Didn’t Care and a cover of The Beatles’ Please Please Me in 1974. However, that same year, he was performing at London’s White City Stadium when nearly 800 people were injured in a crush at the front of the stage. 30 fans were taken to hospital, and 14-year-old Bernadette Whelan died four days after her injuries. Cassidy was devastated.
In 1975, Cassidy was free of The Partridge Family, and was the first person to have a hit with I Write the Songs, later to be Barry Manilow’s signature tune. But the follow-up, Darlin’ was his final top 20 entry for 10 years. In 1978 he was nominated for an Emmy Award for a role in Police Story, and he starred in David Cassidy: Man Undercover in 1979 but it was cancelled after one season.
The early-80s saw Cassidy performing in musical theatre, including Joseph and the Amazing Technicolour Dreamcoat and Blood Brothers. He returned to the charts in 1985 with The Last Kiss. It featured backing vocals from George Michael. Another teen idol with ambitions to be recognised for his ability over his looks, Michael cited Cassidy as an influence, and the duo no doubt had much in common. It was his last UK single of note though, despite occasional chart action in the US.
Cassidy struggled over the years with his public image, and claimed the death of Whelan would haunt him all his life. He was arrested several times in later years for drink-driving incidents. Former Page 3 model Samantha Fox claimed on a 2017 Channel 4 documentary that he sexually assaulted her in 1985.
In 2008 he went public with his alcohol problem. Then in February 2017 he struggled to remember lyrics while performing, and fell off the stage. Despite assumptions he had been drinking, Cassidy announced he had Alzheimer’s and retired soon after. That November Cassidy was hospitalised with liver and kidney failure. He was induced into a coma, and although he came out of it, doctors failed to find him a liver transplant in time, and he died of liver failure on 21 November, aged 67. It was revealed after he died that he hadn’t had Alzheimer’s.
Written by: Daydreamer: Terry Dempsey/The Puppy Song: Harry Nilsson
Producer: Rick Jarrard
Weeks at number 1: 3 (27 October-16 November)
BBC Controller Gerald Cock – 10 November
31 Octobe: The sixth series of much-loved BBC One sitcom Dad’s Army opened with the episode ‘The Deadly Attachment’. It’s the one featuring the line ‘Don’t tell them, Pike!’
8 November: The second Cod War between Britain and Iceland came to an end.
12 November: Miners began an overtime ban, while ambulance drivers started selective strikes. Also this day, long-running BBC One sitcom Last of the Summer Wine began its first series run, following a premiere in the Comedy Playhouse on 4 January. Roy Clarke’s whimsical comedy set in rural Yorkshire would run for 31 series spanning 37 years.
14 November: Eight members of the Provisional IRA were convicted of the March bombings in London. Also, The Princess Royal married Captain Mark Phillips at Westminster Abbey.
Only a few months since Donny Osmond’s last number 1, which was a cover of a 50s ballad, the teen heartthrob hit the top once again with… a cover of a 50s ballad.
Young Love, like The Twelfth of Never, was taken from his most recent solo album Alone Together. Since its release, The Osmonds had released an ambitious LP, The Plan, best described as a Mormon concept album with aspirations to be progressive rock. Young Love was nothing like this.
This was the first time a previous number 1 had returned to the top spot – well, sort of – there was Answer Me in 1953, and Singing the Blues in 1957, but both were hits released by two different artists at the same time, competing against one another. Young Love was originally recorded by Ric Cartey in 1956. Cartey had co-written it with Carole Joyner, but it was country star Sonny James who first made it a hit, and then US actor Tab Hunter went all the way to number 1 and made it one of the best-selling singles of 1957.
When I reviewed Hunter’s version (available in my book Every UK Number 1: The 50s), I remarked how Warner Bros. Records were really on to something, picking a good-looking film star to sing a dreamy love song for the teenage girls to go wide-eyed over. 16 years on and the girls are still going ga-ga for handsome young singers. I also said Hunter’s version was better than ‘dross’ like the Osmonds would release in the 70s. I was perhaps harsh there, as boy bands and teen pop is never going to be my bag, but the Osmonds did also record some good material. Donny’s Young Love is serviceable enough – it’s the best of his three solo number 1s. But the slushy backing from Don Costa is a bit overbaked and I preferred the subtlety of Hunter’s take and the uncertainty of his vocal.
Donny continued to release material under his own name, but only two more releases charted in the UK – When I Fall In Love, also 1973, and, fittingly enough, Where Did All the Good Times Go the following year. He was growing up and his voice wasn’t the pre-pubescent squeak with which he had first found fame.
He had more luck in his duets with sister Marie in 1974 , with I’m Leaving It (All) Up to You reaching number two. Marie’s presence renewed interest up to a point, but the sight of siblings singing love songs while looking deep into each other’s eyes proved too much for many. In 1976 they began hosting their own variety show, The Donny & Marie Show, which ran until 1979.
The 80s weren’t a great time for Donny’s music. He and his brothers were considered desperately unhip, and his audience dwindled, although he did return to the charts briefly here in 1988 with Soldier of Love.
In the 90s Donny guested on an album by Dweezil Zappa and performed music for animated films including Disney’s Mulan in 1998. From there he began to record more solo work, inbetween appearances on reality shows like Dancing with the Stars, voiceover work and Vegas appearances with Marie. He even returned to the UK top 10 for the first time in 31 years in 2004 with Breeze On By, co-written by Gary Barlow. His most recent album The Soundtrack of My Life, went into the top 20 in 2014. Donny has kept a loyal following since the 70s, of women who look back fondly on their young love for the boy wonder.
Written by: Ric Cartey & Carole Joyner
Producers: Mike Curb & Don Costa
Weeks at number 1: 4 (25 August-21 September)
Athlete Darren Campbell – 12 September Racing cyclist Jason MacIntyre – 20 September
Actor Stringer Davis – 29 August Writer JRR Tolkien – 2 September Composer William Henry Harris – 6 September Anthropologist EE EVans-Pritchard – 11 September Welsh scholar CH Dodd – 21 September
8 September: The Provisional IRA detonated bombs in Manchester and Victoria Station in London, with injuries obtained.
10 September: Further IRA bombs at King’s Cross and Euston railway stations in London injured 13.
12 September: The terror campaign continued, with more bombs exploded in Oxford Street and Sloane Square.
I’ve been dreading this ever since I started this blog. How to review the music of one of the, if not the first pop star to be effectively erased from modern times. Gary Glitter was one of the most popular glam rockers of the 70s, and through several comebacks in the 80s or 90s, was a national treasure (and yes, I thought he was great), until his ill-fated trip to PC World and the discovery of child pornography on his computer in 1997. He’s now rightly a figure of hate. At best, he’s ammunition for cheap jokes. His music is rarely heard anywhere, and made the headlines recently for its use in the Todd Haynes’ acclaimed Joker (2019). In the world of cancelled culture, musicians have mostly escaped unscathed. I’ve already reviewed number 1s by the likes of Jerry Lee Lewis and Chuck Berry. But Glitter is another matter.
Paul Francis Gadd was born 8 May 1944 in Banbury, Oxfordshire. His mother, a cleaner, raised him with the help of her mother. He never knew his father. Gadd was a troublesome child, and he was 10 when he and his brother were taken into local authority care. He would frequently run away and head for London, and he became determined he would one day be a star there.
In 1960, aged 15, Gadd released his first record with Decca Records under the name Paul Raven, Alone in the Night. It got him nowhere, but he did well performing in nightclubs in and around Soho. A year later, Raven signed with Parlophone and worked with future Beatles producer George Martin. A further two singles, Walk On Boy and Tower of Strength (a number 1 for Frankie Vaughan that year) also tanked.
Fast-forward to 1964 and Raven was struggling, serving as the warm-up man on ITV’s Ready Steady Go!. He was also wearing a wig, as he had gone bald at 18. Raven starred in TV adverts and auditioned for films, and around this time he first met producer Mike Leander. In early 1965 he joined The Mike Leander Show Band, and soon was helping as a deputy on some of Leander’s production sessions. When the band split, Raven helped form Boston International and toured the UK and Germany. Several singles were also released, sometimes under the name Paul Monday, including a cover of Here Comes the Sun.
Raven must have felt fame would never be his, until he watched on from the sidelines as glam rock began to rise thanks to T. Rex. He searched for a new name. Working backward through the alphabet, he tried to find an alliterative name… Vicky Vomit, Terry Tinsel and Stanley Sparkle were among those considered, before he settled on Gary Glitter.
Glitter and Leander went into the studio and worked on a 15-minute jam session that was to finally catapult him into stardom. Splitting the jam into Rock and Roll, Parts 1 and 2 became Glitter’s first single release in 1972, reaching number two in the UK. With a stomping, deep beat, filthy guitar sound and echoey, double-tracked vocals to hide a poor singing voice, the trademark Glitter sound was there from the start. Rock and Roll, Part 1 paid tribute to the music of Glitter’s past, but Rock and Roll, Part 2 was most popular worldwide. It was instrumental, save for Glitter’s ‘Hey’. This was his only US hit and became used extensively in sport there, where it became known as ‘The Hey Song’. It was also the version in Joker, and in 1988, was reworked by Jimmy Cauty and Bill Drummond, aka, The KLF, aka in this instance The Timelords, as Doctorin’ the Tardis, where it shot to number 1 and gave Glitter his umpteenth comeback.
But I’m getting ahead of myself. With his flamboyant outfits, bouffant wigs and demented stare, Glitter became an instant glam icon, who loved to mythologise himself in a string of hit singles. After years of missing out, his simple, direct glam rock was a case of right place, right time. Debut album Glitter went top 10, and another track from it, I Didn’t Know I Loved You (Till I Saw You Rock and Roll) reached number four.
After the success of Rock and Roll, Parts 1 and 2, Glitter and Leander knew they would need a regular backing band for live shows. The Boston Showband became known as The Glittermen and soon after settled on The Glitter Band. The group consisted of John Rossall (trombone and musical director), Gerry Shephard (lead guitar and vocals), Pete Phipps (drums and keyboards), Tony Leonard (drums), John Springate (bass and vocals), and Harvey Ellison (saxophone).
In 1973, Glitter came ever closer to the top spot, with two singles from Touch Me, Do You Wanna Touch Me and Hello, Hello, I’m Back Again reaching number two. Rossall and Ellison took part in the sessions for Touch Me, but the rest of the instruments were once again Glitter and Leander. However, it seems more likely to have been purely Leander, as it was Glitter who claimed he helped, and who can believe a thing he says?).
I’m the Leader of the Gang (I Am!) became the first of three number 1s for Glitter, and, until he was uncovered as a paedophile, one of his most enduring anthems and giving him the nickname ‘the Leader’.
So here I am listening to Gary Glitter songs in full for the first time in over 20 years. It’s a weird experience to say the least. When the Michael Jackson documentary Leaving Neverland was shown last year, I wondered if I could ever listen to his music again, but I have done, from time to time. When it came to listening to Glitter, I did it in an empty house, with earphones, with a sense of shame and a feeling of being complicit in something terrible.
And yet I had a strange feeling of nostalgia listening to I’m the Leader of the Gang (I Am!). I loved it as a boy, the slow ‘Come on! Come on!’ stomp building in speed and power, and I also liked Glitter, despite being scared by his manic staring. I like Leander’s production on Glitter’s hits and it’s a shame his work has also been wiped from public consciousness – I don’t know if it’s the associations Glitter’s discography now has, but there’s an uneasy, eerie feeling to these songs… I can’t put my finger on it, but it’s a unique, exciting sound.
However, any sentiment I might have felt about this number 1 vanished after I heard Glitter laugh after singing ‘I’m the man who put the bang in gang!’. It disgusted me, brought me to my senses and also made me think I’ve found the reasons Glitter is reviled so much and his work will never be reappraised. Most of the lyrics at best sound seedy, at worst, boastful of his behaviour, like barely hidden clues, as if daring us to find him out. He’s never shown the remotest bit of remorse for his crimes. There’s footage of him on YouTube, leering and winking and mock-shushing people for hinting at his love of schoolchildren on This Is Your Life. He was a fake in his public and private life. A fat, bald pervert, pretending to be a children’s hero. His music would have to be incredible to make you forget all this and enjoy it at all. It isn’t.
Written by: Garry Glitter & Mike Leander
Producer: Mike Leander
Weeks at number 1: 4 (28 July-24 August)
Terrorist Richard Reid – 12 August Northern Irish radio presenter Stephen Nolan – 20 August
Race car driver Roger Williamson – 29 July Actor James Beck – 6 August Motorcycle designer Edward Turner – 15 August Labour Party MP George Benson – 17 August Prime Minister of Northern Ireland Basil Brooke, 1st Viscount Brookeborough – 18 August
30 July: 18 coalminers were killed in the Markham Colliery disaster near stately, Derbyshire when the brake mechanism on their cage failed. Also that day, £20,000,000 was paid to victims of the Thalidomide scandal following a court case that had run for 11 years.
31 July: Militant protesters of Ian Paisley disrupted the first sitting of the Northern Ireland Assembly.
8 August: Stoke City and England goalkeeper Gordon Banks announced his retirement from football. He had lost sight in one eye in a car crash in October 1972.
20 August: Len Shipman, president of the Football League, called for the government to bring back the birch to deal with the rise of football hooligans.
21 August: The coroner in the inquest into Bloody Sunday accused the British army of ‘sheer unadulterated murder’ following the jury’s open verdict.
Whether it was a satire on The Troubles or just an affectionate throwback to Jailhouse Rock, Rubber Bullets introduced us to Mancunian band 10cc, four songwriters who specialised in witty, ironic pop and rock. But the story of ‘The Worst Band In the World’ starts years earlier.
Kevin Godley, Lol Creme and Graham Gouldman knew each other as children, and their first collaboration dates back to 1964, when Gouldman’s band The Whirlwinds recorded Creme’s Baby Not Like You as a B-side. This band evolved into The Mockingbirds, whose drummer was Kevin Godley.
In the summer of love of 1967, Godley and Creme recorded a one-off single as The Yellow Bellow Boom Room. Thanks to Gouldman, the duo were then signed to Marmalade Records, who hoped Godley and Creme may be the UK’s answer to Simon & Garfunkel. They recorded material as Frabjoy and Runcible Spoon, with Gouldman on bass and a guitarist called Eric Stewart.
Stewart had been lead guitarist and singer with The Mindbenders, whose biggest hit was A Groovy Kind of Love, which stalled at number two in 1966. Gouldman was briefly in the group before they disbanded in 1968. That year, Stewart became involved with Inner City Studios in Stockport. It was subsequently moved to bigger premises, and renamed Strawberry Studios, after Strawberry Fields Forever. Stewart became the co-owner.
In 1969 Gouldman, who had previously written hits including For Your Love for The Yardbirds, was in demand as a songwriter. He took up residence at Strawberry Studios and by the end of the year he was also a partner. He was writing bubblegum pop songs for Super K Productions, and would often use Stewart, Godley and Creme to perform them. All four were singers and multi-instrumentalists, and they made so many records under so many aliases, they lost count. They would even sometimes perform what were meant to be female backing vocals.
While Gouldman was working in New York, the other three had their first real success together. As Hotlegs, their single Neanderthal Man reached number two in the UK in 1970 and was a worldwide hit. It was soon followed by the 1971 album Think: School Stinks. Meanwhile, all four continued to write and perform for other bands, and after helping Neil Sedaka on two albums, they were finally spurred on to try and make a name for themselves. They became Festival, but their first single failed and Apple Records rejected their second.
Undeterred, they recorded a spoof doo-wop song, Donna. They contacted eccentric and later disgraced mogul Jonathan King, who loved it and signed them to his label UK Records. He takes claim for dubbing them 10cc after a dream in which he saw ’10cc The Best Band in the World’ on the front of the Hammersmith Odeon, but the most common explanation, confirmed by Creme and Gouldman, is that it was an above average volume of semen produced in a male ejaculation. Seedy, whichever is true.
Radio 1 DJ Tony Blackburn loved Donna, and made it his Record of the Week. It soared to number two in October 1972. However, follow-up Johnny Don’t Do It didn’t even make the Top 40. Fortunately, Rubber Bullets, went all the way. Recorded as part of their eponymous debut LP, this track is another wry throwback to 50s rock’n’roll, a sound all four musicians were very fond of returning to.
10cc have always claimed Rubber Bullets was a sequel-of-sorts to Elvis Presley’s Jailhouse Rock, told from the point of view of the authorities, intent on putting a halt to the celebrations at the local county jail. This may well be the case (and there’s also a touch of the Beach Boys, particularly in Creme’s lead vocal), but it’s impossible to not consider its connection to The Troubles, which had rarely been out of the news in 1972-73. The use of rubber bullets saw a massive increase in this period. Despite being designed to bounce off the ground and strike at about knee level, children were killed by this ammunition. 10cc were obviously clever songwriters. Godley and Creme were responsible for the majority of this track and may well have had the chorus first and perhaps decided to make it less controversial by introducing all the Americanisms. Gouldman should also get a mention for his line ‘we’ve all got balls and brains, but some’s got balls and chains’, although that was edited out of the single version.
Not only were 10cc very smart, they were also very good at coming up with great pop songs, with years of experience between all four of them, there was no lack of expertise on hand, and Rubber Bullets was as catchy as it was clever, with a blistering guitar solo from Stewart, achieved with studio trickery. And yet, for all that’s commendable about this song (it’s apparent sympathies lie with the victims of the bullets), I can admire it rather than enjoy it, and I know I’m not the first person to say this about 10cc’s work. But their second number 1 in 1975 is another matter entirely. It’s one of the best of the 70s.
Written by: Lol Creme, Kevin Godley & Graham Gouldman
Weeks at number 1: 1 (23-29 June)
Conservative MP Tom Tugendhat – 27 June
23 June: A Hull house fire kills a six-year-old boy. It was initially thought to be an accident but it later emerged as the first of 26 fire deaths caused over the next seven years by arsonist Peter Dinsdale. One of Britain’s most prolific serial killers, Dinsdale was imprisoned for life in 1981.
‘BABY BABY BAAAAAABY!’. From one glam classic to another, The Sweet’s Block Buster ! was toppled after five weeks in pole position by another 1973 anthem. Slade finally achieved their goal with their fourth number 1 – Cum On Feel the Noize was the first chart-topper since Get Back to enter the charts as a number 1. There was no stopping the Wolverhampton wonders now.
Slade had recently suffered a slight dip in fortunes however. For the first time since 1971, they released a single that didn’t climb to number 1. Gudbuy T’Jane was kept from the top by Chuck Berry’s My Ding-a-Ling, of all things – although Noddy Holder is in the crowd of that actual performance.
This single was originally called Cum On Hear the Noize, but, recalling a 1972 concert by his band, Holder described being able to feel the sound of the crowd pounding in his chest. A wise move, as it makes the song that much more visceral. As Stuart Braithwaite of Scottish post-rockers Mogwai once said, music should be felt, not heard.
It was another tailor-made anthem by Holder and bassist Jim Lea, building upon their last number 1, Mama Weer All Crazee Now, in which the band describe the atmosphere of performing for their ever-growing army of fans. The initial ‘Baby, baby, baby’ was intended as a mic test, but it worked as a great intro to such an exciting song.
This brilliant call-to-arms stomp is Slade firing on all cylinders. Were it not for Merry Xmaƨ Everybody, it would probably be even better recognised, but this is a Slade single that’s for life, not just for Christmas.
The lyrics, as always with Slade, are pretty simple, but there’s some wit displayed here, as Holder winds up his detractors, most notably with ‘So you think my singing’s out of time, well it makes me money’. As with their previous single, it’s a masterstroke to add audience-style backing vocals chanting the chorus, creating another easy chant for maximum audience interaction. Everyone involved is having the time of their lives here, knowing that this was their time. I particularly like Lea’s busy bass throughout. This song remains a total joy from start to finish, and must have been immense at live shows of the time. A welcome distraction from continuous IRA-related terrible news in the early spring of 1973.
In 1983, US heavy metal act Quiet Riot had a big US hit with their cover, with slightly different lyrics and a very hair-metal sound. Then in 1996 at the height of their fame, Oasis made it an extra track of their single Don’t Look Back In Anger, memorably performing both tracks on one edition ofTop of the Pops. While it may have made sense for a band like Oasis to cover this (both acts had large followings, distinctive lead singers, were at the height of their powers), neither of these covers match the original.
Written by: Noddy Holder & Jim Lea
Producer: Chas Chandler
Weeks at number 1: 4 (3-30 March)
Conservative MP Penny Mordaunt – 4 March
Ornithologist David Lack – 12 March Playwright Noël Coward – 26 March Conservative MP Douglas Douglas-Hamilton, 14th Duke of Hamilton – 30 March
3 March: Two IRA bombs exploded in London, killing one person and injuring 250 others. 10 people were arrested later that day at Heathrow Airport.
8 March: In the Northern Ireland sovereignty referendum, 98.9% of voters in the province wanted Northern Ireland to remain part of the UK. This was the first referendum on regional government in the UK.
Also that day, more IRA bombs exploded in Whitehall and the Old Bailey in London.
10 March: Richard Sharples, the governor of Bermuda, and his aide-de-camp were assasinated.
17 March: The new London Bridge, replacing a 19th-century stone-arched bridge, was opened by Queen Elizabeth II.
21 March: Seven men are killed in flooding at the Lofthouse Colliery disaster in West Riding, Yorkshire.
26 March: Women were admitted into the London Stock Exchange for the first time.
Of course, the first half of the 70s wasn’t just glam rock. Catering for the teenage and pre-pubescent girls were squeaky-clean singing sensations The Osmonds. And most popular of them all was Donny, who scored their first number 1 with a Paul Anka song.
George Virl Osmond, Sr and Olive Osmond, living in Ogden, Utah, were members of The Church of Jesus Christ of Latter-day Saints. They raised nine children – Virl, Tom, Alan, Wayne, Merrill, Jay, Donny, Marie, and Jimmy.
Their music career began in 1958 when Alan, Wayne, Merrill and Jay, all aged between three and 10, formed a barbershop quartet, in part to raise money for hearing aids for Virl and Tom, who were born with severe hearing problems. George thought his boys had something special, and he took them to an audition in California. It fell through, but they visited Disneyland, and while there, a bigwig spotted the boys singing with the theme park’s Dapper Dans. He was so impressed he hired them to perform on a TV special, Disneyland After Dark.
Among those sat watching at home was easy-listening legend Andy Williams’ father. He thought they would be a perfect fit for his son’s TV show and urged him to book them, and they became regulars from 1962-69. In 1963 the quartet were joined by five-year-old Donny, the Osmonds’ seventh son, born 9 December 1957.
As the 60s went on, the boys had ambitions to become a proper pop group. George was initially sceptical, but they won him over and record producer Mike Curb was brought on board to help them garner a major label recording contract, which they did, with MGM Records. Their first single with MGM, One Bad Apple, was originally intended for The Jackson Five. It made The Osmonds number 1 in the US in 1971, and the hits went on.
A year later, Donny, who had shared lead vocals with Merrill, was singled out for a solo career to run alongside working with his brothers, thus cornering that all-important ‘impressionable girls’ market. Debut single, the aptly-named Sweet and Innocent, was a number seven smash in the US, and follow-up Go Away Little Girl was a number 1 in America.
Whoever had the idea to make Donny record Puppy Love, I hope they were rewarded. Anka’s 1960 rock’n’roll tearjerker had been written by the wunderkind (who had the biggest-selling UK single in 1957 with the similarly-themed Diana for Annette Funicello, with whom he was having an affair. This maudlin ballad was tailor-made to make young hearts swoon for poor Donny, who keeps being told he’s not old enough to know what love is. How dare they!
It’s very hard as a 41-year-old cynical old sod to relate to this, and it’s really not helped by the fact Donny sounds even younger than his true age of 15 back then. His overacted whining of ‘Someone help me/Help me please’ is nauseating, but to be fair, not as annoying as Anka’s own version. In its defence, it’s a nice tune, well-produced and Donny sings it well, other than the lines I just mentioned.
In short, I’d take Crazy Horses over this every time. But compared to the next Osmond-related number 1, Puppy Love is a classic…
Written by: Paul Anka
Producers: Mike Curb & Don Costa
Weeks at number 1: 5 (8 July-11 August)
Spice Girl Geri Halliwell – 6 August
TV presenter Sarah Cawood – 7 August
21 July: Nine people died and over a hundred were injured on Bloody Friday in a series of explosions by the Provisional IRA in Belfast city centre.
28 July: Thousands of dockers went on strike, leading to Edward Heath declaring the second state of emergency of the year on 4 August.
31 July: In Northern Ireland, the British Army started to regain control of the ‘no-go areas’ established by Irish republican paramilitaries in Belfast, Derry and Newry.
Also that day came, sadly, Bloody Monday, in which three car bombs in Claudy, County Londonderry killed nine. In 2010 it was discovered that a local Catholic priest was an IRA officer believed to be involved in the bombings, but his role had been covered up by the authorities.
6 August: Ugandan dictator Idi Amin announced 50,000 passports were to be expelled from his country to the UK within the next three months.
9 August: Tim Rice and Andrew Lloyd Webber’s musical Jesus Christ Superstar made its West End debut.