The Troubles

467. The Police – Don’t Stand So Close to Me (1980)

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The Intro

The bestselling single of 1980 had a controversial subject matter and was The Police’s third number 1. Don’t Stand So Close to Me – the tale of a teacher’s Lolita-like relationship with a pupil – was made all the more eyebrow-raising due to the fact that singer Sting was a teacher before he was a pop star.

Before

Following their second number 1, Walking on the Moon, re-released their fourth single So Lonely, originally issued in 1978. As a pre-fame record it had failed to chart, but this time it peaked at six. A month after its release in February 1980, The Police embarked on their first world tour, performing in countries not used to western pop stars including India and Egypt. To capitalise on their global popularity, UK label A&M released Six Pack, a package featuring their previous five singles (including their first chart-topper, Message in a Bottle), plus an alternate take of album track The Bed’s Too Big Without You.

A&M seemingly couldn’t be satisfied by their biggest group of the moment, however, because they started pressuring The Police for a third album. Recorded in four weeks that July-August, the trio later said Zenyatta Mondatta was too rushed. Nonetheless, it was scheduled for an October release, to be preceded by lead single Don’t Stand So Close to Me on 19 September.

Before he was Sting, Gordon Sumner had taught English at St Paul’s First School in Cramlington, Northumberland. Sting has always understandably stated that Don’t Stand So Close to Me was not about him, but whether it came from experience of a scandal of a colleague, or was just inspired by his teaching career, we don’t know. Anyone who might think a handsome man like Sting may have had no shortage of schoolgirl fans might be right, but nobody has ever claimed the singer has also walked on the moon or been stranded on a desert island.

Review

Opening with a dark and brooding synth, Don’t Stand So Close to Me starts very strong. Sting’s lyrics are compelling and not the subject matter of your average pop song. The first verse is purely focused on the schoolgirl’s desire for the teacher. So far, so very good. But when it gets to the chorus, Don’t Stand So Close to Me goes downhill. While the verses are atmospheric, tense and foreboding, the workmanlike reggae of the chorus is perhaps a sign of the lack of time spent making this album. It’s like a demo recording – as is the instrumental section, featuring some more synth work that screams ‘this will do until we work out what goes here’, but they never went back to it.

Apparently however, The Police and producer Nigel Gray did work on this track for some time, with it initially tried out as a Hammond organ-based soul track. Several complex arrangements were tried, but, perhaps with the ticking of the clock in mind, they were abandoned and the band reverted to an earlier sound.

The second and third verses are strong, detailing the teacher’s lack of torment. However, you could say Sting tries harder to make the listener gain sympathy for the man here, mentioning ‘Temptation, frustration, so bad it makes him cry’. And the definite low point is:

‘It’s no use, he sees her, he starts to shake and cough,
Just like the old man in that book by Nabokov’.

You guessed it! The book in question is Lolita! Terrible, yet Sting later claimed to think it was ‘hilarious’ that he was given so much flak for it.

So the song ends with both student and teacher as the subject of gossip in the classroom and staffroom, and Sting pleading with his pupil to keep away, possibly partly to keep his temptation at bay, but also the rumours. The ending is overlong and if you’re not a fan of Sting’s attempt at reggae singing, Don’t Stand So Close to Me is not going to rank as their best number 1. In a year of so many chart-toppers, with the average duration at the top of the hit parade being only a fortnight, this doesn’t really deserve it’s lofty bestseller status.

The video is a typical Police promo. Sting does a decent job playing the stressed-out teacher, with a young girl hovering around him, while Andy Summers and Stewart Copeland probably revelled in the chance to wind him up by throwing paper aeroplanes and smoking in the classroom. This is intercut with the trio skanking around a schoolroom, with Copeland looking particularly silly holding his drumsticks. Mind you, Summers gives him a run for his money by dropping to his knees for a guitar solo that isn’t actually there. Sting’s adoring fans will have particularly enjoyed their hero getting his top off at one point (bit harsh him telling the girl to keep away when he’s behaving like that).

Don’t Stand So Close to Me has aged better than other similar Lolita-style songs, such as 1968 chart-topper Young Girl, but any sensitivity in which Sting broaches the subject matter quickly evaporates with that terrible rhyme, and nothing is resolved.

After

The melody to Don’t Stand So Close to Me found its way on to another huge 80s hit, when Dire Straits asked Sting to sing on the epic intro to Money for Nothing. Sting sang ‘I want my MTV’ to the tune, and after the release of the LP Money for Nothing, he received a co-writing credit.

The Outro

In 1984 The Police went on hiatus. Two years they reconvened, but the chance of a new album was doomed when Copeland broke his collarbone before they’d had chance to jam. Their final single was Don’t Stand So Close to Me ’86. Copeland and Sting fell out over what to use as drums, the former won out with his Fairlight CMI over the latter’s Synclavier. Unfortunately, while the idea of a reworked version showed a desire to breathe new life into an underworked song, this version is actually inferior. The production is too 80s, and the chorus less catchy. The video, directed by 10cc’s Godley and Creme, is one of the most comically mid-80s things you’ll ever see. The single made it to 24 after the group disbanded.

The Info

Written by

Sting

Producers

The Police & Andy Gray

Weeks at number 1

4 (27 September-24 October) *BEST-SELLING SINGLE OF THE YEAR*

Trivia

Births

5 October: Motorcycle racer James Toseland
13 October: Football player Scott Parker
14 October: Actor Ben Wishaw

Deaths

27 September: Banker Sir Michael Turner
28 September: Pianist Horace Finch
29 September: Labour Party MP Peter Mahon
30 September: Botanist James Wyllie Gregor/Conservationist George Waterston
6 October: Actress Hattie Jacques
7 October: Designer Sir Gordon Russell
10 October: Conservative MP Evelyn Emmet, Baroness Emmet of Amberley/Cricketer Wilfred Hill-Wood
11 October: Singer Cassie Walmer
12 October: Actress Ambrosine Phillpotts
14 October: Labour Party MP Arthur Pearson
15 October: Writer Katharine Mary Briggs
19 October: Radio producer DG Bridson
20 October: TV personality Isobel, Lady Barnett/Tennis player Phoebe Holcroft Watson
24 October: Conservative MP Sir Richard Glyn, 9th Baronet

Meanwhile…

3 October: The 1980 Housing Act came into effect, which gave council house tenants of three years or more in England and Wales the right to buy their home from their local council, at a discount.  

6 October: Express coach services were deregulated.

8 October: British Leyland launched the Austin Metro.

10 October: Prime Minister Margaret Thatcher made her infamous ‘The lady’s not for turning’ speech at conference, after being warned her economic policy was to blame for the recession and record-breaking rising unemployment.

15 October: Former Prime Minister James Callaghan resigned as Labour Party leader after four and a half years in the job.
Also this day, former Prime Minister Harold Macmillan and union leaders criticised Thatcher’s economic policies.

17 October: Queen Elizabeth II became the first British monarch to make a state visit to the Vatican.

22 October: Lord Thomson announced The Times and Sunday Times would close within five months unless a buyer was found.

24 October: MG car production ended.

441. Cliff Richard – We Don’t Talk Anymore (1979)

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The Intro

Remember this guy? Once a mainstay of this blog, the ‘Peter Pan of Pop’ hadn’t topped the charts since Congratulations won Eurovision in 1968. 11 years later, Cliff Richard’s comeback, which began with Devil Woman, was complete with this 10th number 1.

Before

The Shadows, who often acted as Richard’s backing band, with who he shared many hits and number 1s, decided to split at the end of 1968. Their last single together was Don’t Forget to Catch Me, which reached 21. Despite being unfashionable, he still had a large enough following to notch up plenty of hits, ending the 60s with two top 10 hits in 1969 – Big Ship (eight) and Throw Down a Line (with Shadows guitarist Hank Marvin), climbing to seven.

The 70s began with Richard fronting his own BBC series, It’s Cliff Richard, which ran from 1970 to 1976 and featured the singer with musical friends including Marvin and Olivia Newton-John. His 50th single, the intriguingly named Goodbye Sam, Hello Samantha, went all the way to six in 1970. Many of Richard’s singles for the first half of the 70s were in line with his Christian beliefs – I’m not going to listen to them all to find out, but I’d put money on Jesus (1972) being a prime example.

Having been considered almost as much an actor as a singer in his peak years of the 60s, Richard gave up his film career after starring in the film Take Me High in 1973. He also had another bash at the Eurovision Song Contest that year. Power to All Our Friends finished third that year. Apparently he was so nervous during the competition he took valium and his manager struggled to wake him. It was at least a big hit, climbing to four and earning him his best chart performance for the next six years.

The next couple of years were lean for the not-very-mean machine. His only single in 1974, (You Keep Me) Hangin’ On did OK (13), but he messed up in 1975 when he chose to cover Conway Twitty’s Honky Tonk Angel. Richard recorded a video, 1,000 singles were pressed up and EMI expected it to perform well, but when Richard discovered ‘honky tonk angel’ was Southern American slang for a prostitute, the whiter-than-white pop star was horrified and insisted it was withdrawn. What on earth would God have made of it? This meant that, for the first time in his career, Richard had gone a calendar year without a chart entry.

However, it was decided that, rather than continue down the purely righteous path Richard seemed hell-bent on, he should be repackaged as a rock singer. At the time this must have seemed laughable, and to be honest I’m struggling to imagine it while typing this. But, good Lord, it worked!

Teaming up with Bruce Welch (another guitarist from the Shadows) on production duties, the nicely titled LP I’m Nearly Famous was an unexpected smash. And not only commercially – guitarists Jimmy Page and Eric Clapton were just two of the rock stars spotted wearing ‘I’m Nearly Famous’ badges in honour of the comeback kid. Although Miss You Nights (15) was a ballad, the follow-up, Devil Woman, is a classic slab of pop-rock, with a hell of a chorus. And listen, that’s Cliff Richard singing a song with ‘devil’ in it! With punk rock rearing its ugly head, a more edgy Cliff Richard was very timely.

The comeback didn’t last long though. The next album, Every Picture Tells a Story, spawned only one hit – My Kinda Life (number 15 in 1977). Perhaps feeling he must atone for his sins, Richard then released an album of Christian gospel called Small Corners in 1978. Neither that or his next pop LP, Green Light, performed well. 1978 was also the year Richard reunited with The Shadows for concerts at the London Palladium, as captured on Thank You Very Much.

Despite appearing on stage with Welch once more, the Shadows guitarist didn’t produce his next album, Rock’n’Roll Juvenile. That honour went to Terry Britten, who had worked with Richard many times in the past. Recording sessions began back in July 1978 but vocals weren’t begun until January 1979.

We Don’t Talk Anymore was recorded in one day, five months later. For some reason, Welch received production credit for Richard’s 10th number 1. It was written and arranged by Alan Tarney, a new collaborator, who also played guitar, keyboards, synthesiser and bass on the track, as well as performing backing vocals. On drums was his former bandmate in Quartet, Trevor Spencer.

Review

It’s no Devil Woman, but We Don’t Talk Anymore is a decent pop song and Richard’s best number 1 since Summer Holiday in 1963. I have to confess that I used to think this came much later in his career, and was a Stock Aitken Waterman production from the late-80s or early-90s. It’s something about that catchy, melancholic yet soaring chorus combined with a very light production sound. In its own way, it’s as contemporary as Are ‘Friends’ Electric? with its keyboard-heavy arrangement. Though not nearly as good.

Has to be said though, I’ve never heard Richard sound so passionate. I mean, it’s not exactly a raw, emotional performance – this is Cliff Richard we’re talking about after all. But he gives it a rare bit of oomph! The verses are pretty bog-standard ‘my woman has left me’ and not much to write home about – it’s all about the earworm of the chorus really, and the emotion at the end. Weird lyrical phrasing too – ‘It’s so funny/How we don’t talk anymore’. None too shabby. With The Beatles long gone and Elvis Presley six feet under, Richard could still sell records, when he tried.

The video for We Don’t Talk Anymore is as 70s as it gets, featuring Richard and band performing amid a smoky stage, Richard occasionally merging into himself through a dated but charming kaleidoscopic effect.

After

Cliff Richard fared better in the 80s than the 70s, regularly appearing in the upper reaches of the charts. But it would be seven years before his 11th number 1, for which he shared billing with a series named after one of his most famous chart-toppers…

The Info

Written by

Alan Tarney

Producer

Bruce Welch

Weeks at number 1

4 (25 August-21 September)

Trivia

Births

14 September: Rugby league player Stuart Fielden

Deaths

27 August: Louis Mountbatten, 1st Earl Mountbatten of Burma (see ‘Meanwhile…’)
28 August: Doreen Knatchbull, Baroness Brabourne
29 August: Painter Ivon Hitchens

Meanwhile…

27 August: Lord Mountbatten of Burma, cousin to the Queen and uncle of the Duke of Edinburgh, was assassinated by a Provisional IRA bomb while on board a boat when holidaying in the Republic of Ireland. His 15-year-old nephew Nicholas Knatchbull and boatboy Paul Maxwell were also killed, and Dowager Lady Brabourne died from injuries sustained a day later.
Also that day, 18 British soldiers were killed in Northern Ireland at the Warrenpoint ambush.

30 August: Two men were arrested in Dublin and charged with the murder of Lord Mountbatten and the three other victims of the bombing.

2 September: Police found the body of 20-year-old student Barbara Leach in an alleyway near Bradford city centre. She was to be named as the 12th victim of the Yorkshire Ripper.

5 September: The Queen lead mourning at the funeral of Lord Mountbatten.
Also on this day, Manchester City paid a British club record fee of £1,450,000 for Wolverhampton Wanderers midfielder Steve Daley.

8 September: Wolverhampton Wanderers broke the record by paying just under £1,500,000 for Aston Villa and Scotland striker Andy Gray. 

10 September: British Leyland announced production of MG cars would cease in the autumn of 1980. 

14 September: The government announced plans to regenerate the London Docklands through housing and commercial developments.

21 September: A Royal Air Force Harrier jet crashed into a house in Wisbech, Cambridgeshire, killing two men and a boy. 

435. Gloria Gaynor – I Will Survive (1979)

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The Intro

US soul singer Gloria Gaynor’s disco classic I Will Survive was originally an afterthought, a B-side, with little studio sheen added. It’s now considered a feminist and LGBTQ+ anthem and is a karaoke mainstay.

Before

Gaynor was born Gloria Fowles on 7 September 1943 in Newark, New Jersey. Music was a constant in her youth, with her father Daniel singing and playing ukulele as part of a nightclub group called Step ‘n’ Fetch-it. The Fowles were a large, poor family – five boys and two girls, including Gloria. Four brothers formed a gospel group but she wasn’t allowed to join them. The family moved to a housing project in 1960 and a year later Fowles graduated.

She became a singer in a local nightclub and within a few years she was part of jazz and R’n’B group The Soul Satisfiers. In 1965, as Gloria Gaynor, she released her debut single She’ll Be Sorry. It was produced by Johnny Nash, later to have a UK number 1 with Tears on My Pillow (I Can’t Take It). It was Nash who had suggested she change her name.

Nothing came of it but Gaynor spent years becoming experienced at performing live. Then in 1973 she was signed to Columbia Records by Clive Davis and released another flop, Honey Bee.

Gaynor hit pay dirt when she signed to MGM Records and released debut album Never Can Say Goodbye in 1975. The first side consisted of a remake of Honey Bee, plus covers of soul classics Never Can Say Goodbye and Reach Out, I’ll Be There. Thanks to an uncredited Tom Moulton, this record contained a historic first – it was the first album to consist of one long continuous mix of the tracks. This earned Moulton the title ‘father of the disco mix’. The title track became a hit single, peaking at two in the UK and nine in the US. Reach Out, I’ll Be There then reached 14 on these shores.

It began to look like Gaynor would be a flash in the pan as singles from Experience Gloria Gaynor didn’t grab the attention of the public. One exception was a cover of jazz standard How High the Moon, which climbed to 33 in 1975. Her next few albums – I’ve Got You (1976), Glorious (1977) and Gloria Gaynor’s Park Avenue Sound (1978) all bombed.

Gaynor’s next LP, Love Tracks, was recorded for release in November 1978. A month before that came the single Substitute. Her label Polydor thought this former Righteous Brothers track would be a worldwide hit as it had been for South Africa girlband Clout. However, several DJs – including Richie Kaczor of Studio 54 – began taking note of the B-side, I Will Survive, instead.

It had been written by two former Motown producers, Dino Fekaris and Freddie Perren. The latter had co-written three Jackson 5 US number 1s – I Want You Back, The Love You Save and ABC. After being sacked by Motown, Fekaris was unemployed and wrote the lyrics to I Will Survive after seeing a song he’d written for Rare Earth being used on TV. He took it as a sign things would work out. And they did.

Fekaris and Perren formed their own production company and made Reunited with Peaches and Herb, which became a hit. Afterwards they decided to give I Will Survive to the next singer they worked with. Gaynor was the lucky one.

https://youtu.be/ARt9HV9T0w8

Review

On Gaynor’s previous hits, her voice was pitched up in order to make her songs faster for playing on the dancefloor. And as with most disco songs, the productions would feature a more polished, layered production. It’s interesting to consider whether I Will Survive would have been treated the same way had it been considered for the A-side originally. I’m not sure it would have the same power if it had been.

The highlight of the track is Gaynor’s raw, soulful performance. You really feel the hurt and anger in her voice and the message of the song suits an untamed vocal without any studio trickery. Though the performance is raw and the production understated, the piano at the beginning and the strings after the chorus do a great job of adding to the drama of the song.

Pop songs about love going wrong often portray the ‘loser’ as weak. Even the icy cool Debbie Harry lets the mask slip briefly in Heart of Glass. But what Gaynor does is fool us into thinking she’s not over her heartbreak during those opening lines. But once she sings ‘And I grew strong, and I learned how to get along’, the song moves up a notch, and from then on, Gaynor sounds like someone you shouldn’t mess with as she belts out those lyrics to I Will Survive.

Obviously, I Will Survive has survived and will always be considered one of the highlights of the disco era. It’s an alluring theme for a song, that of empowerment for the underdog, so there’s no wonder it was adopted, as previously mentioned, by feminists and the LGBTQ+ movement, both fighting back against an era in which political correctness wasn’t high on the agenda of mainstream culture.

However, although there is a lot to enjoy here, I Will Survive is not up there with my favourite disco songs. A lot of that, to be fair, isn’t down to the song, or to Gaynor. It’s the way it’s been done to death over the years by the media. It’s all the parodies. It’s drunk people bawling it when leaving the pub, followed by It’s Raining Men. It’s just a bit tiresome, sadly.

I used to wonder why Gaynor’s performance seemed slightly weird in the video to I Will Survive. It was filmed at the New York discotheque Xenon. Her stance is unusual and she looks genuinely pained. She was. Giving the song a whole new dimension is the fact that in 1978 Gaynor fell over a monitor on stage during a choreographed tug-of-war with her dancers. She was paralysed from the waist down and thought she would never walk again. Surgery helped Gaynor back on her feet but she recorded the song, and the video, in a lot of pain and wearing a back brace. It wasn’t until further surgery in 2018 that the pain went away.

As for the rollerskating dancer in the video, that was Sheila-Reid Pender from skating group The Village Wizards. Gaynor and Pender were filmed separately and didn’t meet until 2014 at a book signing event held for Gaynor’s autobiography, We Will Survive.

After

The song was a global smash and topped the charts in many countries. It came along just in time, as by the end of the year the disco backlash, mainly a thinly veiled excuse for homophobes, racists and sexists to vent anger, had begun.

Hits were few and far between from then on. Let Me Know (I Have a Right) climbed to 32 in the UK in 1979 but it was four years before her next success. She became a Christian in 1982 and distanced herself from what she considered a sinful past. Then in 1983 her version of I Am What I Am also became adopted by the gay community as an anthem and climbed to 13 in the UK chart.

For the rest of the 80s Gaynor continued to release music but nothing troubled the mainstream. DJ and producer Shep Pettibone remixes of I Will Survive were released in 1990. They didn’t chart, but Phil Kelsey’s remix in 1993 coincided with a nostalgic interest in disco and peaked at five. With Gaynor back in the public eye she turned to acting in the late 90s, with cameos in That 70s Show and Ally McBeal.

The Outro

Gaynor continues to release albums sporadically, and of course, I Will Survive has been revisited many times over her career, with remixes, Spanish language versions and lyrics sometimes rewritten to reflect her Christian beliefs and also referencing tragedies such as Hurricane Harvey in Texas in 2017. Her most recent album, the roots gospel collection Testimony, earned Gaynor her second Grammy, 20 years after her first.

There’s been many covers of I Will Survive over the years and the rock version by Cake in 1996 is well worth a mention.

The Info

Written by

Dino Fekaris & Freddie Perren

Producer

Dino Fekaris

Weeks at number 1

4 (17 March-13 April)

The Info

Births

9 April: Actor Ben Silverstone
10 April: Singer Sophie Ellis-Bextor

Deaths

19 March: Actor Richard Beckinsale
23 March: Footballer Ted Anderson
24 March: Founder of Tesco Sir Jack Cohen
30 March: Tory MP Airey Neave

Meanwhile…

17 March: Nottingham Forest defeat Southampton 3-2 at Wembley Stadium to win the Football League Cup for the second year running. 

18 March: Three men are killed in an explosion at the Golborne colliery in Golborne, Greater Manchester. 

22 March: Sir Richard Sykes, ambassador to the Netherlands, is shot dead by a member of the Provisional IRA in the Hague. 

28 March: The Labour government loses a motion of confidence by just one vote, which forces a General Election.

29 March: Prime Minister James Callaghan announces a General Election will be held on 3 May. Having missed the chance to call one before the Winter of Discontent swayed public opinion against Labour, all the major opinion polls point towards a Conservative win, which would make Margaret Thatcher the first female Prime Minister.

30 March: Tory Northern Ireland spokesman Airey Neave is killed by an Irish National Liberation Army bomb in the car park of the House of Commons.

31 March: The Royal Navy withdraws from Malta. 

4 April: 19-year-old bank worker Josephine Whitaker is murdered in Halifax. Police believe she is the 11th woman to be murdered by the Yorkshire Ripper. 

424. John Travolta & Olivia Newton-John – You’re the One That I Want (1978)

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The Intro

1978 was the year of Grease. Romantic leads John Travolta and Olivia Newton-John remained at number 1 for most of the summer with a song that was never in the original stage musical.

Before

The stage show had been created by Jim Jacobs and Warren Casey and premiered in a Chicago, Illinois nightclub in 1971. It was set specifically in Chicago and based on Jacobs’s time at high-school there. Noticeably grittier than the later productions and film it spawned, there were a number of other differences. Most of the characters were Polish-American, Doug Stevenson played Danny Zuko and Leslie Goto was Sandy Dumbrowski. The T-Birds were known as the Burger Palace Boys. The only person from the cast of the original Grease to become famous was Marilu Henner, who played Marty. It had a much shorter running time, was shocking and had an almost entirely different soundtrack.

The team behind the musical made a deal to take the show to Off-Broadway in 1972. It became very popular and received seven Tony nominations. By the summer it was on Broadway itself, where it ran until 1980. Barry Bostwick played Danny and Carole Demas was Sandy. During the course of its run, several actors and actresses came and went, becoming famous and/or starring in the movie. Among the Dannys were Jeff Conaway (before becoming Kenickie) and Patrick Swayze. Richard Gere was Sonny and John Travolta was Doody. In 1973 Grease also started a UK run until 1974, featuring Gere, promoted to be Danny, and Stacey Gregg as Sandy. Paul Nicholas and Elaine Paige took over.

It was only a matter of time before someone decided to turn this musical into a movie. Robert Stigwood, manager of The Bee Gees and producer of Saturday Night Fever (1977), produced with Allan Carr, who had worked on Tommy (1975) and Saturday Night Fever. Randall Kleiser made his movie directing debut after being recommended by Travolta, one of the hottest talents of the era.

John Joseph Travolta was born 18 February 1954 in Englewood, New Jersey. His father was a Sicilian-American tire salesman and his mother an actress and singer. The Travolta children all wanted to follow in their mother’s footsteps. He dropped out of high school in 1971, aged 17 and moved to New York, where he landed the role of Doody. His first major role came in the horror Carrie in 1976 and that same year he had a Billboard top 10 hit with Let Her In. Landing the roll of Tony Manero in Saturday Night Fever turned him into a superstar and so he was a natural choice to star as Danny in Stigwood’s latest project (although apparently Happy Days star Henry Winkler had turned it down). As well as suggesting Kleiser as director, Travolta reckoned pop and country singer Olivia Newton-John would make a great Sandy.

Newton-John was born in Cambridge on 26 September 1948. Her Welsh father had been an MI5 officer and worked on the Enigma project in the Second World War. Her maternal grandmother was Jewish Nobel Prize-winning physicist Max Born and her third cousin is comedian Ben Elton. In 1954, when she was six, the family emigrated to Melbourne, Australia.

Newton-John’s singing career began at the age of 14 when she formed all-girl group Sol Four. She entered and won a talent contest on TV show Sing, Sing, Sing and won a trip to the UK. Although reluctant to go, her mother encouraged her and while here she recorded debut single Till You Say You’ll Be Mine in 1966. When friend and fellow singer Pat Carroll moved to the UK, they formed a duo but she turned solo once more when he returned to Australia.

Music mogul Don Kirshner briefly hired Newton-John to feature in short-lived girl group Toomorrow. From there she released her first solo album, If Not for You in 1971. The title track, written by Bob Dylan and recorded by George Harrison the year previous, was a big hit, peaking at seven in the UK. Follow-up Banks of the Ohio did one better and a cover of Harrison’s What Is Life climbed to 16 a year later. Newton-John’s version of Take Me Home, Country Roads went to 15 a year later.

In 1974 Newton-John entered the Eurovision Song Contest for the UK. She finished fourth with Long Live Love but it did respectably enough chart-wise, reaching 11. Later that year she scored her first US chart-topper with I Honestly Love You and her second with Have You Never Been Mellow in 1975. Despite this and scoring several Grammys too, there was a backlash in the States over a foreigner recording country music. Nonetheless, Newton-John left the UK to live over there. She returned to the UK singles chart in 1977 with the ballad Sam, peaking at six.

Following a dinner party at Helen Reddy’s home in which she met Carr, Newton-John was offered the role of female lead, renamed Sandy Ollson and was told they would make the character Australian to accommodate her accent. However she was initially reticent, fearing she was too old at 28 to be playing a high-school senior. It’s fair to say she probably doesn’t regret changing her mind in the end.

The scene in which Danny and Sandy are finally reconciled had until the film been soundtracked by a song called All Choked Up. It was in similar in theme to You’re the One That I Want but as the name suggests, much closer musically to an Elvis Presley pastiche. It was decided that one of Newton-John’s top songwriters and producers, John Farrar, who was a fellow Australian and had featured in The Shadows from 1973-76 would write two brand new songs for the movie. One was Hopelessly Devoted to You and the other, You’re the One That I Want.

Neither really fitted with the rest of the soundtrack which mostly evoked the spirit of 50s pop and rock’n’roll. The former was a country-tinged love song in more in keeping with Newton-John’s usual output. Kleiser was not fond of the latter. Fortunately, the rest of the world didn’t really agree with the film’s director.

Review

Me neither. I’m a self-professed hater of musicals. And yet, there are a few exceptions and this is probably the biggest one. It’s certainly the most famous. Like many of my age, I was first shown Grease as a child in the early 80s. I remember being enthralled from the opening bars of The Bee Gees-written theme tune sung by Frankie Valli when a friend down my street loaded his VHS copy (the Gibbs really were on fire back then). I also remember being really disappointed when the animation ended and an actual film began. The disappointment soon dissipated though.

I loved everything about Grease. I didn’t understand all the risqué jokes and sexual stuff going on but I was bowled over by the characters and music, like most people. And I also think I was chuffed that Danny and Sandy got together and even then, knew that there was something very exciting about Newton-John wearing the tightest clothes I’d probably seen at that point while purring ‘Feel your way’. Not thrilled with the perm, though.

The pure pop brilliance of You’re the One That I Want never dims despite decades of overexposure. It’s unlikely I’d ever put it on by choice but that doesn’t mean I don’t enjoy it every time I hear it. Pure cheese of course, but the strutting verses are cool and the chorus ultra-catchy. It’s always hilarious to watch Travolta miming to those legendary opening lines sung by him like a cat in pain and ‘It’s electrifying’ will never not be funny. Unfortunately I can’t hear it without singing ‘Those new yoghurts you’re supplying, they’re electrifying!’ due to a 90s advert for St Ivel Shape. Weird how these things stick.

After

I’d assumed until now that You’re the One That I Want reigned supreme for almost the whole of the summer of 1978 because Grease was a box office smash and this marks the happy ending of the movie. Amazingly, Grease hadn’t even been released in the UK at this point. The US release came on 16 June, the day before it topped the chart in the UK. The British premiere came on 14 September. So for many, the clip from the film used to promote this single was their introduction to Grease. Which means you can take that mammoth nine-week run, the longest of the decade (equalled by Bohemian Rhapsody and Mull of Kintyre/Girls School) mostly as a sign of sheer love of the song.

However by this point the term ‘new wave’ was being coined to describe the alternative music scene that had risen from the ashes of punk. To the young music fans of acts like Blondie and The Police, the sight and sound of You’re the One That I Want on Top of the Pops throughout that summer must have become a huge annoyance. The Boomtown Rats proved the point to great effect later that year.

Travolta and Newton-John went number 1 across the globe with this first release from what was to become the highest-grossing musical of all time up to that point. It soon became prone to spoofs, from the likes of The Goodies and sadly Hylda Baker & Arthur Mullard. This ageing duo, both comic actors (the latter a horrible bastard), dressed up as Sandy and Danny and performed a truly dire version on Top of the Pops, which took them to 22 in the chart later in 1978.

The Outro

As I write this, You’re the One That I Want is ranked the fifth biggest-selling single of all time. It’s unlikely this will change. In 1990 it saw chart action once more thanks to The Grease Megamix. This amateurishly edited medley of You’re the One That I Want along with Greased Lightnin’ and Summer Nights peaked at three. It remained popular for years though – it was still getting played in my student union in the late-90s. To mark the 20th anniversary of the Grease film phenomenon, a dance version called You’re the One That I Want (Martian Remix) climbed to four in 1998. I have no recollection of this whatsoever. Nor do I remember the London cast recording by Craig McLachlan and Debbie Gibson which reached 13 in 1993.

The Info

Written & produced by

John Farrar

Weeks at number 1

9 (17 June-18 August)

Trivia

Births

20 June: Footballer Frank Lampard
22 June: Race car driver Dan Wheldon
30 June: Comedian Romesh Ranganathan
2 July: Actor Paul Danan
23 July: Footballer Stuart Elliott
31 July: Coldplay drummer Will Champion/Racing driver Justin Wilson

Deaths

23 July: Footballer Tommy McLaren
30 July: Scottish Labour MP John Mackintosh
31 July: Actor Carleton Hobbs
14 August: Writer Nicolas Bentley/Nuclear physicist Norman Feather

Meanwhile…

17 June: Media reports suggest a general election is on the cards in the autumn as the Labour minority government led by James Callaghan appears to be coming to an end. Only four months previous the Conservatives were 11 points ahead but it now looked like Labour would return with a majority.

19 June: Ian Botham becomes the first cricketer to score a century and take eight wickets in one innings of a Test match.

21 June: An outbreak of shooting at a Post Office depot in Belfast between Provisional IRA members and the British Army results in the deaths of one civilian and three IRA men.
Also on this day, the Andrew Lloyd Webber and Tim Rice musical Evita opens at the Prince Edward Theatre in London. 

6 July: 11 people are killed when fire breaks out in a sleeping car train in Taunton, Somerset.

7 July: The Solomon Islands are annexed to the Crown and made independent from the UK. 

25 July: Louise Brown becomes the world’s first human to be born from in vitro fertilisation in Oldham, Greater Manchester.

418. Brotherhood of Man – Figaro (1978)

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The Intro

Brotherhood of Man took their perceived similarity too far with their second number 1 Angelo. When their next single tanked they followed it up with another song named after a man with a similar name to Fernando. It paid off yet again and gave them a hat trick of chart toppers.

Before

The quartet had released Highwayman after Angelo but scuppered a major chance of promoting it on the 1977 Royal Variety Performance by electing to play the former instead. Figaro was their first release from their seventh album B for Brotherhood. As usual, singers Lee Sheriden and Martin Lee penned the track with producer and manager Tony Hiller. I don’t want to be cruel and call them a low budget Stig Anderson, Benny Andersson and Björn Ulvaeus but…

Review

I was incredibly scathing about Angelo and couldn’t believe it when I saw they topped the charts a third time with what was bound to be another Fernando rip-off. So, put it down to very low expectations but I was pleasantly surprised by this. That’s mainly down to it not actually sounding like a straightforward ABBA copy. And I’m all for a bit of wah-wah guitar and the bawdy brass and song’s theme put me in mind of some kind of politically incorrect 70s British comedy film.

Figaro is a lecherous Spanish waiter intent on pursuing the opposite sex. The dirty dog is constantly at it, winking at the girls with his guitar and wandering the beaches looking for prey. The idea came about when Hiller’s daughter returned from a holiday with tales of real-life Figaros trying to romance her and other young ladies. It’s total throwaway nonsense of course, but it’s better than other Brotherhood of Man songs Angelo and Save Your Kisses For Me. Was the title this time around a reference to Bohemian Rhapsody?

After

Brotherhood of Man’s downfall came soon after. The next single Beautiful Lover was the last time they troubled the charts, peaking at 15. A compilation LP, Twenty Greatest, did at least give them their biggest album chart placing at six.

Hiller set up Dazzle Records in 1980 and signed his group but perhaps due to missing Pye’s promotional budget, they stopped selling well. They signed with Warwick Records. No, I’ve never heard of them either. Sheriden opted to leave in 1982 to study for a degree in music. He was replaced by Barry Upton, later a songwriter for Sonia and Steps.

Encouraged by the huge success of Bucks Fizz, Brotherhood of Man signed with EMI in 1982 and Hiller had high hopes of ripping off another Eurovision-winning group. A year later Hiller, Lee and Upton wrote a tune for A Song for Europe for Hiller’s male/female trio Rubic (how early 80s!) but they came fifth. When Upton decided to leave in 1984, the whole group called it a day.

However in 1985 Sheriden returned with Lee, Nicky Stevens and Sandra Stevens for a one-off TV reunion and decided to continue. They became stalwarts of the nostalgia circuit, becoming regulars at Butlins and other holiday camps. As well as their hits from the 70s they performed tracks like 1999 by Prince. That I have to hear.

The Outro

As 2000 dawned they cut back on touring but two years later they unveiled their show The Seventies Story, a nostalgic look back at the decade that brought them their glory years. They still tour now, sometimes with the current incarnation of Bucks Fizz and are often wheeled out for Eurovision-related shows, remaining one of the most successful winners of the competition.

The Info

Written by

Tony Hiller, Lee Sheriden & Martin Lee

Producer

Tony Hiller

Weeks at number 1

1 (11-17 February)

Trivia

Births

12 February: Welsh rugby player Gethin Jones

Meanwhile…

13 February: Anna Ford becomes the first female newsreader on ITV. Also on this day, an opinion poll conducted for the Daily Mail shows the Conservatives 11 points ahead of the Labour government, with an election due by October next year. The quick turnaround for the Conservatives, who last month were behind Labour, is believed to be due to Margaret Thatcher’s recent negative comments on immigration.

17 February: 12 people are killed by the Provisional IRA in the bombing of the La Mon restaurant in Belfast. It was one of the most horrific incidents in The Troubles, with some bodies left melted and unrecognisable by incineration.

394. ABBA – Dancing Queen (1976)

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The Intro

Simply magnificent. Right that’s Dancing Queen covered.

I’m joking, but really, what can be said about Dancing Queen that hasn’t already been said? How does one analyse the ecstasy contained within those three minutes and 52 seconds? In a moribund year of number 1s, this stands out not only as the best, it’s one of the greatest pop songs of all time, up there with She Loves You.

Before

Dancing Queen had been the first song ABBA recorded in the sessions for the album Arrival, beginning on 4 August 1975. The demo was known as Boogaloo and as sessions progressed, Benny Andersson and Björn Ulvaeus became inspired by another disco classic – George McCrae’s Rock Your Baby and the drum sound from Dr John’s 1972 LP Dr John’s Gumbo. It’s slightly blown my mind to discover that the intro sounds very similar to Delaney & Bonnie’s Sing My Way Home from 1971. It was manager and co-writer Stig Anderson that gave the song its title.

Once the backing track was complete, with session musicians Rutger Gunnarsson on bass and Roger Palm on drums, Andersson took a tape home and played it to Anni-Frid Lyngstad. She was so moved she burst into tears and later recalled ‘I found the song so beautiful. It’s one of those songs that goes straight to your heart.’. Fellow ABBA vocalist Agnetha Fältskog agreed, reminiscing that ‘It’s often difficult to know what will be a hit. The exception was Dancing Queen. We all knew it was going to be massive.’

Andersson, Anderson and Ulvaeus worked on the missing piece of the puzzle, coming up with lyrics that capture how it feels to be young, on a night out, and feeling the music and eyes of adorers upon you.

Review

Dancing Queen is a masterclass in pop on every level. Just like the Beatles with She Loves You, they know they have a killer chorus on their hands and go straight into it after a triumphant piano roll. It’s euphoric and ecstatic, and before turning the spotlight (or should that be Super Troupers?) on the 17-year-old girl in the disco, it’s pointing at the listener. You can dance. You can jive. Having the time of your life. The combination of this message and the beautiful music is so inviting, I don’t see how can anyone can turn it down. And then the verses. It’s Friday night, the lights are low and the Dancing Queen is on the prowl.

The only real complaint I’ve heard about Dancing Queen is that the lyrics are politically incorrect, that the girl is a prick tease. I don’t agree. I think the lyrics are empowering, particularly considering the era they were written in. To read ‘Anybody can be that guy’ as a sign of her not being fussy who she pulls, needs to pay attention to the preceding line: ‘You come to look for a king’. Although this is obviously considered a disco anthem, the lyrics note she’s dancing to rock music. Andersson and Ulvaeus wisely ditched a verse that was here originally and has survived via footage from a recording session:

‘Baby, baby, you’re out of sight
Hey, you’re looking all right tonight
When you come to the party
Listen to the guys
They’ve got the look in their eyes’

You could still argue with me, and it’s a strong argument, that the final verse really does prove this girl is bad news:

‘You’re a teaser, you turn ’em on
Leave them burning and then you’re gone
Looking out for another, anyone will do’

ABBA somehow manage to make all this sound kind of innocent though, and I’d still say it’s refreshing to see the girl in charge. And it’s true. It’s the girls that hold all the power in the nightclub discos. And if you listen to this wonderful music, you can feel that way again. It’s a song that doesn’t age thanks to the heavenly production. Lyngstad and Fältskog sing like angels and Andersson’s piano is the highlight – I love the way his pieces seem to tumble from ear to ear with earphones on. Nice synth too, adding texture here and there. As the song fades away, you can almost cry at the sheer beauty of it all. Ah to be young again. There’s none of the Europop cheese ABBA often indulge in here. If there is a higher power up there, I think ABBA somehow channeled it with this song. It’s perfect.

Recorded in two days flat, ABBA knew they were on to a winner, but Anderson suggested Fernando should be released before it as it was broader. This seems like madness to me, but both were massive hits so there you go. Dancing Queen went global. A very respectful six weeks here, 14 weeks in their native Sweden and topping the charts in more than 10 countries, including their only number 1 in the US. It became the second track on Arrival, which was a smash.

After

In 1980 they recorded a Spanish version for their Latin LP Gracias Por La Música, where it was renamed Reina Danzante. Over the years Dancing Queen has only grown in stature and is often referenced by critics who want to get over the simple beauty of pop at its best. It returned to the UK charts in 1992, reaching 16 off the back of Erasure’s number 1 Abba-esque EP. it’s perhaps here that the ABBA revival really began.

The Outro

So, with three number 1s, all huge sellers and this one ruling the roost, 1976 really was ABBA’s year. They weren’t one-hit wonders anymore. They were one of the UK’s favourite groups. In the video to Dancing Queen above, they are performing in a small, packed venue to bopping fans. The band look to be on top of the world. They were.

The Info

Written by

Benny Andersson, Stig Anderson & Björn Ulvaeus

Producers

Benny Andersson & Björn Ulvaeus

Weeks at number 1

6 (4 September-15 October)

Trivia

Births

6 September: Footballer Ian Ashbee/Actress Naomie Harris
8 September: Model Abi Titmuss
11 September: Swimmer Neil Willey
16 September: S Club 7 singer Tina Barrett
13 October: Field hockey player Jennie Bimson

Deaths

1 October: Royal Air Force officer George Stacey Hodson
14 October: Actress Edith Evans

Meanwhile…

4 September: 25,000 people attend the Peace March in Derry and call for an end to violence in Northern Ireland.

9 September: The Royal Shakespeare Company opens a production of Macbeth at The Other Place, Stratford-upon-Avon. Directed by Trevor Nunn, it stars Ian McKellen and Judi Dench in the lead roles.

12 September: Portsmouth football club are reported to be on the brink of bankruptcy due to huge debts.

23 September: Eight men are killed when a fire breaks out on the destroyer HMS Glasgow while being fitted out at Swan Hunter at Wallsend on Tyne.

29 September: Ford launch the Cortina Mark IV.

4 October: The famous InterCity 125 high-speed train is introduced into passenger service on British Rail, initially between London Paddington, Bristol and South Wales.

15 October: Two members of the Ulster Defence Regiment are ailed for 35 years for murder of the members of the Republic of Ireland cabaret performers Miami Showband.

393. Elton John & Kiki Dee – Don’t Go Breaking My Heart (1976)

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The Intro

Sir Elton Hercules John is a pop and rock icon and one of the biggest-selling stars of all time. Over 300 million records sold. More than 50 top 40 singles and seven UK number ones, among them Candle in the Wind 1997, the best-selling of all time in both the UK and US, which sold over 33 million worldwide. And yet he didn’t achieve a solo number 1 until Sacrifice in 1990, by which point he was way past his peak. But this first number 1, a duet with friend Kiki Dee, came 14 years beforehand.

Before

A lot of the following info will be familiar to anyone who’s seen the 2019 biopic Rocketman, but John was born Reginald Kenneth Dwight on 25 March 1947 in Pinner, Middlesex. The unassuming Dwight had a rocky relationship with his parents, particularly his straight-laced father, a Royal Air Force flight lieutenant. But they were both keen on music, and passed that down to Dwight, particularly his mother, who loved the rock’n’roll stars of the 50s. Dwight took particular notice of the pianists Jerry Lee Lewis and Little Richard, and it was his beloved grandmother’s piano that he took to from a young age. His mother would get him to play at family gatherings. At seven he started formal piano lessons, and four years later he won a junior scholarship to the Royal Academy of Music. Dwight had lessons each weekend but left at 16 before his final exams.

His parents, who had never really got on, divorced when their son was 14. He did like his new stepfather though, and John loved being in their new apartment so much, he remained until he had four albums simultaneously in the US top 40.

They encouraged his musical development, and at 15 he was hired as a pianist at a local pub, where, known as simply Reggie, he would perform standards and throw some of his own material in for good measure. He also performed briefly with a group called The Corvettes, and around this time he began wearing glasses on stage. He didn’t need to – it was just his tribute to Buddy Holly.

In 1962 he formed Bluesology with friends and inbetween solo shows, within a few years the group were backing touring US soul and R’n’B musicians including The Isley Brothers and would also work as Long John Baldry’s backing band in a new line-up. Dwight and Baldry would become close friends, and Baldry, who was openly homosexual, helped Dwight come to terms with his own sexuality and the fact he did not love his fiancée.

Dwight answered a New Musical Express ad placed by Ray Williams, A&R manager of Liberty Records. Williams was looking for songwriters, and at their first meeting he handed Dwight an unopened envelope of lyrics written by Bernie Taupin, who had also answered the ad. Dwight wrote a song around the words and sent it to Taupin, beginning one of pop’s most enduring and successful partnerships. Six months later Dwight renamed himself Elton John in honour of Bluesology’s saxophonist Elton Dean and Baldry and by the end of the year he had left that band. He legally became Elton Hercules John in 1972.

John and Taupin joined Dick James’s DJM Records in 1968 as staff writers and over the next two years they penned songs for acts including Lulu. They were a two-man factory, Taupin would write the lyrics in under an hour and John would set them to music in half an hour. On the advice of music publisher Steve Brown, John began composing for himself and released his debut single, the John/Taupin composition I’ve Been Loving You in 1968. His first album, Empty Sky, followed in 1969 but it was Elton John in 1970 that really got the ball rolling. Gus Dudgeon was on board as producer and the beautiful second single Your Song reached seven in the charts here and eight in the US. John was finally a star.

The next few albums, country and western concept LP Tumbleweed Connection, live album 17-11-70 and soundtrack to the film Friends all sold nicely, and John’s US tour also went down very well. 1971 album Madman Across the Water contained the classic Tiny Dancer. Honky Château, recorded in France and released in 1972, saw John take a more rocky approach and Rocket Man became his biggest hit to date, shooting to two.

In 1973 John’s flamboyance made him a natural to join the glam rock movement, and Don’t Shoot Me I’m Only the Piano Player spawned the hits Crocodile Rock (five, and his first US number 1) and Daniel (four). Goodbye Yellow Brick Road was his best album yet, featuring Saturday Night’s Alright for Fighting (seven) and the moving title track (six). He topped the year off with the festive Step Into Christmas (eight).

John formed his own music label in 1974. Calling it The Rocket Record Company, he signed Neil Sedaka and Dee, who he took a close interest in. Dee, born Pauline Matthews on 6 March 1947 in Bradford, West Riding of Yorkshire, had always wanted to be a pop star. She won a talent contest aged 10 and at 16 she was singing with a dance band in Leeds while working in Boots by day. She became a session singer and worked with Dusty Springfield among others, and soon she was signed to Fontana Records.

In 1963 she released her debut single, Early Night, from her first album I’m Kiki Dee (songwriter Mitch Murray came up with her stage name). Despite becoming the first British white artist to be signed by Motown in the States, Dee wasn’t really going anywhere until John took her under her wing after two failed singles on the legendary Detroit label. Her fortunes improved with her cover of Amoureuse, which climbed to 13 in 1973. I’ve Got the Music in Me, credited to The Kiki Dee Band, went to 19 in 1974.

That year was another hugely successful one for John. The original Candle in the Wind, from Goodbye Yellow Brick Road, was a smash, peaking at 11. Then came the album Caribou, allegedly recorded in a fortnight and featuring two of his best-known hits Don’t Let the Sun Go Down on Me (16) and The Bitch Is Back (15). He also collaborated with John Lennon on a cover of Lucy in the Sky with Diamonds and then sang harmonies and played piano on Lennon’s Whatever Gets You Thru the Night.

When it became the former Beatles’ only solo number 1 in the US. When they recorded it, John made a bet with Lennon that the song would top the charts. Lennon was so skeptical he promised John he would perform at one of his shows if it happened. He fulfilled the promise with a rare appearance at a Madison Square Garden gig. They performed their two collaborations and a rendition of The Beatles’ I Saw Her Standing There. It would be Lennon’s final major show.

In 1975 John released the autobiographical account of John and Taupin’s early years together. Captain Fantastic and the Brown Dirt Cowboy contained only one single, Someone Saved My Life Tonight, in which he paid tribute to Baldry helping to stop him wanting to commit suicide. The album was the first to go straight to number 1 in the US, and the last to feature the Elton John Band, who had been an important part of his rise to fame. John dismissed drummer Nigel Olsson and bassist Dee Murray. Guitarist Dave Johnstone was retained. That year John starred in Ken Russell’s adaptation of The Who’s rock opera Tommy as the ‘Local Lad’ and recorded a storming version of Pinball Wizard, which was a number seven smash in 1976. By the time that year rolled around, John was heavily into drugs and dressing ever more flamboyantly for his stage appearances. Critically and commercially adored, nobody could see how unhappy he was behind the facade.

He and Taupin originally wrote Don’t Go Breaking My Heart as a duet for John to record with Dusty Springfield. Using the pseudonyms Ann Orson (John) and Carte Blanche (Taupin), they planned a disco-flecked affectionate tribute to Motown duets of the likes of Marvin Gaye and Tami Terrell. When Springfield turned it down due to illness, John decided to give it to Dee, who in addition to being on his label would perform backing vocals on Goodbye Yellow Brick Road and most recent LP Rock of the Westies. Also on the track were James Newton Howard on acoustic piano and orchestral arrangements, Johnstone and Caleb Quaye on electric guitars, new rhythm section Kenny Passarelli on bass and Roger Pope, plus Cindy Bullens, Ken Gold and Jon Joyce on backing vocals, uncredited.

Review

While I don’t deny John’s talent, and a few of the songs I’ve mentioned above are undeniable classics, I’m not always a fan, particularly of his 80s output onwards. So it’s a shame some of his more deserving tracks didn’t top the charts but the later material did. So it goes.

Don’t Go Breaking My Heart isn’t a classic, but it is pretty good. It’s slick and well-produced and does a good job of copying that Motown duet sound. It’s plain to see, from the pseudonyms used and the fluffy lyrics that John and Taupin aren’t taking themselves seriously, but are such talented songwriters, when they do go for a commercial pop sound, they nail it. Dee duets well with John but I’d have loved to hear Springfield’s take.

Having said that, John and Dee clearly have a genuine friendship, as you can see in the video above. The sleeve of the single is another matter – it looks like John is giving her a dirty look behind her back for some reason.

This is one of the better number 1s of the year – not that that’s saying much, and I think John and Taupin winning the Ivor Novello award for Best Song Musically and Lyrically is a bit much but there you go.

After

1976 was a very memorable summer for Dee. As well as holding the number 1 spot for a very impressive six weeks, she went on to support Queen at Hyde Park, performing for more than 150,000 people. The Kiki Dee EP went to 13 later that year. She had a couple more hits in 1977 – First Thing in the Morning (32) and Chicago (28). Things went quiet for a few years but she made a successful comeback in 1981 with Star, which later became the theme tune to BBC One’s Opportunity Knocks. Also on the album it came from, Perfect Timing, was another duet with John, Loving You Is Sweeter Than Ever. Two years later she was singing backing vocals on John’s album Too Low for Zero.

She released music sporadically in the 80s but duetted with John at Live Aid on their number 1. She moved into theatre, and was acclaimed for her performance in Blood Brothers, even receiving an Olivier Award nomination in 1989. She returned to the singles chart with John when True Love nearly garnered another number 1, but it stalled at two in 1993. Her last album to date is A Place Where I Can Go, released in 2013. Rachel Muldoon played her in Rocketman.

The Outro

As for John, well, we know we’ll hear much more from him, but not for a fair while. But I will point you to the 1994 remake of this number 1 in which drag queen RuPaul took the place of Dee. It was a number seven hit and it’s good fun.

The Info

Written by

Ann Orson & Carte Blanche

Producer

Gus Dudgeon

Weeks at number 1

6 (24 July-3 September)

Trivia

Births

27 July: AI researcher Demis Hassabis
9 August: Radio producer Aled Haydn-Jones/Actress Rhona Mitra/Conservative MP Sam Gyimah
13 August: Idlewild singer Roddy Woomble
1 September: Cricketer Clare Connor

Deaths

19 August: Actor Alastair Sim – 19 August
30 August: Labour MP David Rees-Williams, 1st Baron Ogmore

Meanwhile…

27 July: The UK breaks diplomatic relations with Uganda. 

29 July: A fire destroys the head of Southend Pier.

5 August: The Great Clock of Westminster, aka Big Ben, suffers internal damage and stops running for over nine months.

6 August: John Stonehouse, the last person to serve as Postmaster General, is sentenced to seven years in jail for fraud.

14 August: 10,000 Protestant and Catholic women demonstrate for peace in Northern Ireland. 

30 August: 100 police officers and 60 carnival-goers are injured during riots at the Notting Hall Carnival.

1 September: The summer heat takes its toll, as drought measures are introduced in Yorkshire.

August 31-3 September: Riots ensue at Hull Prison.

392. Demis Roussos – Excerpts From ‘The Roussos Phenomenon’ (EP)

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The Intro

As is well documented, the summer of 1976 in the UK was full of long, lingering days of seemingly endless sunshine. And this was perhaps a factor in pushing Greek singer and unlikely sex symbol Demis Roussos to number 1 for a week that July. And with not one, or two, but four songs! For the first time in my blog, I’m reviewing an EP, rather than a single. A very rare occurrence in the singles chart.

Before

Artemios Ventouris-Roussos came from a Greek family but was actually born in Alexandria, Egypt on 15 June 1946. His father was a classical guitarist and both his parents were amateur actors. Roussos was raised in Alexandria and as a child he studied music and joined the Greek Church Byzantine choir. He was heavily influenced by jazz and traditional Arab and Greek Orthodox music. When his parents lost their possessions in the Suez crisis they moved to Greece, where his mother came from.

Roussos joined a band known as The Idols when he was 17. It was around this time he first got to know Evángelos Papathanassíou and Loukas Sideras, his future bandmates in Aphrodite’s Child. The former was better known as Vangelis. He then joined a covers band called We Five, based in Athens.

In 1967 Roussos, Papathanassíou, Sideras and Silver Koulouris became Aphrodite’s Child, a progressive, psychedelic rock band who released three LPs over five years. Their final release, 666 (1972) was a mammoth, mad double album opus based on the Book of Revelation, featuring the excellent, sprawling The Four Horsemen. Vangelis and Roussos remained friends after the split and would occasionally record together before and after Aphrodite’s Child, including the film score to Sex Power in 1970 and Magic in 1977.

With his impressive, distinctive tenor, Roussos was groomed for solo stardom before the band had split. His debut album On the Greek Side of My Mind (Fire and Ice) spawned the single We Shall Dance in 1971, which became a hit in Belgium and the Netherlands. Over the next few years he grew increasingly popular across Europe (and in size) but not in the UK. It took until 1975 for him to crack the chart here, with Happy to Be on an Island in the Sun, which reached five.

BBC TV producer John King became fascinated by the singer and so he made the documentary The Roussos Phenomenon. In 1976, Roussos’ UK label Philips decided to make the most of this interest and released Excerpts from ‘The Roussos Phenomenon’ EP, rounding up some of his best-known European hits that featured in the documentary. It became the first ever extended play record to reach number 1. Fans of Aphrodite’s Child be warned, you’ll find precious little that sounds like The Four Horsemen…

Reviews

First up is the most well-known Roussos track. Forever and Ever, sharing its title with a number 1 by Slik earlier this year, was originally released in 1973 as the title track to an album. It reached number 1 in Belgium and Mexico. It’s the highlight of the EP and despite being considered somewhat laughable by many, I have a soft spot for it. Yes the production, by Roussos himself, is a bit tacky but the backing vocalists in the opening create an earworm and Roussos’ voice, though not for everyone, is impressive. There are three reasons I like this opener. 1: My dad is known to burst into it with no warning, and only now do I know what the song is. 2: It’s famously used in Mike Leigh’s 1977 TV play Abigail’s Party (replacing José Feliciano’s Light My Fire from the theatre version). 3. One of my favourite singers, King Creosote, performs a hauntingly lovely cover. He has a similar vocal quality and it works great here.

Sing an Ode to Love is a keyboard-led ballad, originally the opener of his 1975 album Souvenirs. The proggy phasing sound in the first half is pretty interesting but once the military drums and choir kick in, it all sounds a bit too Eurovision for my liking.

So Dreamy was his most recent track, originating on 1976 album Happy to Be… It’s very, very similar to Forever and Ever, and inferior. The backing vocals are way too much and already I’m starting to tire of Roussos’ voice.

My Friend the Wind was released as a single in 1973, where it went to number 1 in Belgium and the Netherlands. The second best song here, it’s also the most traditionally Greek sounding of the four. It’s perhaps overlong but a nice tune.

After

In spite of, or maybe thanks in part to, Roussos’ flamboyant/ridiculous image, as seen above, the Greek giant had a few more UK hits, most notably the follow-up to this EP, When Forever Has Gone, which peaked at two. Actually, while on the subject of his image, if you ask me he looks pretty damn cool on the front of the EP at the top of the page. Anyway, Kyrila, released in 1977, was his last chart entry here, at 33. He continued to do well in Europe though, particularly Belgium and the Netherlands.

Roussos struggled with his weight throughout his life, particularly during the early-80s. In 1980 he weighed over 23 stone. He began a diet that enabled him to lose over eight stone in under a year and in 1982 documented his issues by co-authoring the book A Question of Weight.

In 1985 he spent his 39th birthday held hostage as he was among the passengers on TWA Flight 847 from Athens to Rome that was held by alleged Hezbollah terrorists. However Roussos and four other Greeks were released after five days while most of the others remained for 17 days. He was unharmed and even thanked his captors for a birthday cake at a press conference afterwards.

Roussos continued releasing music and touring throughout the rest of the 80s and the 90s, even though his hits tailed off everywhere. He returned to the UK for a tour on the back of Forever and Ever – Definitive Collection in 2002. It was noted that his voice was no longer the powerful force it once was. Roussos’ final album, Demi, was released in 2009. Greece mourned when one of their most famous exports died on 25 January 2015 from stomach, pancreatic and liver cancer, aged 68.

The Info

Written by

Forever and Ever/Sing an Ode to Love/My Friend the Wind: Stélios Vlavianós & Alec R Costandinos/So Dreamy: Robert Rupen & Stélios Vlavianós

Producer

Demis Roussos

Weeks at number 1

1 (17-23 July)

Trivia

Births

19 July: Actor Benedict Cumberbatch

Deaths

21 July (see below): Diplomat Christopher Ewart-Biggs

Meanwhile…

17 July–1 August: Great Britain and Northern Ireland compete at the Olympics in Montreal, Quebec, Canada. They take home three gold, five silver and five bronze medals.

21 July: Christopher Ewart-Biggs, UK ambassador to Ireland and civil servant Judith Cooke are killed by a Provisional IRA landmine at Sandyford, Co. Dublin.

385. The Four Seasons – December, 1963 (Oh, What a Night) (1976)

/ robbarker1979

The Intro

The Four Seasons are one of the the US’s most influential doo-wop and pop groups, and along with The Beach Boys, the only ones to enjoy chart success before, during and after the British Invasion of the 60s. Those Jersey boys had five number 1s in the US (plus two solo singles by Frankie Valli), but the nostalgic December 1963 (Oh, What a Night) was the only one to top the UK charts.

Before

The Four Seasons began in Newark, New Jersey with Valli, their most famous member. In 1954, the singer joined forces with guitarist Tommy DeVito and formed The Variatones. For the next two years the group performed under a variety of names before settling on The Four Lovers. In 1956 they released their first single, You’re the Apple of My Eye, and many more followed over the next few years, but to no success.

1959 was an important year in the group’s development. They started working with producer and songwriter Bob Crewe and Bob Gaudio joined the line-up. The following year, The Four Lovers failed an audition at bowling establishment The Four Seasons but according to Gaudio they decided something good must come out of the failure, so they named themselves after the venue and on a handshake agreement between Gaudio and Valli, the Four Seasons Partnership was formed. The original line-up had Valli as lead singer, Gaudio on vocals, guitar and keyboards, DeVito on vocals and guitar and Nick Massi on vocals and bass. They spent much of 1961 recording for artists on Crewe’s labels Topix and Perri.

The Four Seasons’ debut single Bermuda/Spanish Lace got nowhere but all would change with the follow-up, Sherry. Released in 1962 on Vee-Jay Records, it became their first US number 1, went to eight in the UK, and is considered an early-60s classic. The hits came thick and fast, most notably Big Girls Don’t Cry in 1962 and Walk Like a Man in 1963 also becoming US number 1s.

Following a dispute with Vee-Jay, which was also mired in a dispute with The Beatles and Capitol Records, they jumped ship to Philips in 1964. The hits continued, including number 1s Rag Doll/Silence Is Golden the latter a UK number 1 for The Tremoloes in 1967. Massi left in 1965 and after their arranger and former Four Lovers member Charles Calello stood in briefly, to be replaced by Joe Long.

They recorded under several guises over the next few years – as The Valli Boys and The Wonder Who?, and Valli continued to release solo records. His version of The Sun Ain’t Gonna Shine Anymore, later a UK number 1 for The Walker Brothers, tanked in 1965, but Can’t Take My Eyes off You was a US number two in 1967. However there was a noticeable decline in sales in the late-60s. Considering how unfashionable doo-wop had become, it’s a wonder they could even still enter the charts. But their version of Will You Love Me Tomorrow was their last top 40 US hit for seven years. In a bid to become relevant they recorded a concept album, covering social issues rather than their usual collection of love songs. The Genuine Imitation Life Gazette, released in 1969, performed badly, and The Four Seasons left Philips soon after.

In 1972 The Four Seasons released their first and only album on Motown. Chameleon failed to sell, although one single from it, The Night, credited to Frankie Valli & The Four Seasons, became a favourite among the Northern Soul scene in the UK and was re-released in 1975, charting at seven. Long left, replaced by Don Ciccone and Gerry Polci took up the drumkit. John Paiva joined as lead guitarist in 1973.

Valli had been forced to sing less as a result of hearing loss, so these new members took the brunt of the singing until he had surgery. Meanwhile, Valli went to return to number 1 in the US, when he bought the master recordings for My Eyes Adored You from Motown and took them to Private Stock Records. This single helped the band get signed to Warner Bros. Records.

Who Loves You (a reference to Kojak?) was their first album with the new line-up and it completely turned around their fortunes. They wisely added a disco sound just as the genre was exploding in the US, and perhaps their fans from 10 years previous were ready to relive their youth. Its title track went to three in the US and six in the UK and December, 1963 (Oh, What a Night) came out next.

Originally, this track was called December 5, 1933 with co-writer Gaudio celebrating the repeal of Prohibition, but his future wife and lyricist Judy Parker agreed with Valli that it wasn’t quite right. Parker suggested it should be about the courtship between her and Gaudio. It ended up being a man having a nostalgic look back at losing his virginity.

Review

Were you not to pay close attention to the lyrics, you’d possibly not realise this. I’ll admit I thought it was about a first kiss, or just a date. That’s partly down to the sweetness of the melody and the production, which is slick and drips of innocence and young love and of course those famous Four Seasons vocals only add to that feel. This sole UK number 1 doesn’t actually feature Valli very much. He’s only singing backing vocals and the bridge. Polci is on lead, making this a rare number 1 to feature a singing drummer. And that’s Ciccone describing the orgasm (‘And I felt a rush like a rolling ball of thunder/Spinning my head around and taking my body under’). Belying the innocence are lyrics like ‘you know I didn’t even know her name’ – was she a prostitute?! And ‘Oh my, as I recall it ended much too soon’. TMI, guys.

Knowing how risque this actually is has improved my opinion of it, and like I said, it’s really well-produced. I like the phasing on Valli’s parts – was that done to mask how much is singing prowess had dropped at the time? Whatever the reason, I’m a sucker for 70s noises like this and Shapiro’s keyboards. What I’m not too keen on is the trademark Valli falsetto lead sound of their earlier material – it sets my teeth on edge, so I welcome the difference here. Although Valli is responsible for one of my favourite movie themes – Grease (1978). Brilliant and so cool.

After

The combination of that disco sound and heavy dose of nostalgia for halcyon days made December, 1963 (Oh, What a Night) a smash, and two more from the album, Fallen Angel and Silver Star, went to 11 and three respectively that year. But this return to peak form wasn’t to last. With the exception of Grease, neither the group or Valli troubled the top 30 in either the US or UK again.

The line-up has fluctuated ever since, the only constants being Valli and Gaudio (who is permanently behind the scenes), but they have remained a big draw through their live shows. In 1984 they collaborated with The Beach Boys on the LP East Meets West but it was a surprising flop. Dutch DJ and producer Ben Liebrand updated their number 1 for the 80s dancefloors, but December, 1963 (1988) didn’t trouble the charts. In 1992 the last Four Seasons album to date, Hope + Glory, was released. Valli has occasionally appeared on TV as an actor, most notably in The Sopranos.

Then in 2005 the hugely successful jukebox musical Jersey Boys, chronicling the career of The Four Seasons, brought the band back in the public eye and has toured ever since. A film adaptation produced and directed by Clint Eastwood followed in 2014.

Of the original line-up, Massi died of cancer in 2000 and DeVito of COVID-19 in 2020.

The Outro

December, 1963, renamed Oh What a Night, was also a hit for British dance act Clock in 1996, where it peaked at 13.

The Info

Written by

Bob Gaudio & Judy Parker

Producer

Bob Gaudio

Weeks at number 1

2 (21 February-5 March)

Trivia

Deaths

23 February: Artist LS Lowry

Meanwhile…

2 March: Brent Cross Shopping Centre opens in London.

4 March: The Maguire Seven are found guilty of the offence of possessing explosives used in the Guilford pub bombings of 1974 and subsequently wrongly convicted for 14 years. The decision was reversed in 1991. On the same day, the Northern Ireland Constitional Convention was formally dissolved in Northern Ireland, resulting in direct rule from London via the British parliament.

360. David Essex – Gonna Make You a Star (1974)

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The Intro

With bucketloads of charisma and good looks to melt the heart of his fans, singer-songwriter and actor David Essex was a star in the making in the early 70s and finally hit the big time playing… a star in the making. And his first number 1 was about, yep, a star in the making.

Before

Born David Albert Cook on 23 July 1947 in Plaistow, Essex, his father Albert was an East End docker and his mother Olive was an Irish traveller and a pianist. Albert contracted TB and underwent hospital treatment, so Olive and David lived with Olive’s sister in the early years. When Albert was finally better and David was two, the Cooks moved to Canning Town.

As a schoolboy, Cook was obsessed with football and played for West Ham Juniors, but that all that changed when he visited an R’n’B club called The Flamingo in Soho at the age of 13, and he learnt to play the drums, driving his neighbour mad to the point where he had a fight with Albert and was knocked out.

By the time he was living in Romford, Cook had played with a handful of blues bands, but manager Derek Bowman encouraged him to become a singer. He changed his name to ‘David Essex’ and recorded a single for Fontana in 1965, And the Tears Came Tumbling Down. For the next two years he toured nightclubs with a band as David Essex and the Mood Indigo, while also cutting his teeth as an actor in repertory theatre.

As the 70s began he built up momentum, at least in his acting, with small roles in the thriller Assault (1971) and drama All Coppers Are… in 1972. But it was getting the lead role in the stage musical Godspell in 1971 that really took things up a notch. Also among the cast was Jeremy Irons.

In 1973 Essex really struck gold when he was cast as the lead in the coming-of-age drama That’ll Be the Day. Set in the late-50s and early-60s, the film told the story of hedonistic teenager Jim MacLaine, and Essex was picked due to his inherent charm in an attempt to make the character more likable. Set to a nostalgic rock’n’roll soundtrack, it also starred musicians including Ringo Starr, Billy Fury and Keith Moon.

As the film was in production, Essex was also working on his debut album with Jeff Wayne. The son of actor and theatre producer Jerry, Wayne had composed the music for his father’s musical Two Cities in the late-60s. Inspired by his role in That’ll Be the Day, Essex wrote eventual title track Rock On, which name-checked James Dean, Summertime Blues and Blue Suede Shoes. Entering the studio for a vocal demo, Essex banged on a bin for the rhythm, and with echo applied, they liked the groove that formed. When it came to recording the song proper, they stuck to the sparse approach, with only three session musicians, and the bass played by Herbie Flowers brought to the forefront. Rock On was a slinky, sexy, edgy tune, and it deservedly became a big hit.

A year later, Essex was working on his eponymous second album and also filming Stardust, the sequel to That’ll Be the Day, marking MacLaine’s rise to fame later in the 60s. Once again inspired by his second job, he wrote Gonna Make You a Star, which became the opening track on David Essex.

Review

Had Essex carried on down the path Rock On set out, he may be considered a more credible artist than he is. Instead, his two number 1s widened his fanbase by taking him down the family-friendly, lovable entertainer route, and to be fair, it certainly worked for him.

Although Gonna Make You a Star is inferior to Rock On, it’s an enjoyable commercial pop tune, which is partly down to Wayne’s colourful synthesiser work, which adds a nice bounce and sprightliness to proceedings. That line ‘Oh is he more, too much more than a pretty face’ shows a witty touch of irony from Essex, as does the retort ‘I don’t think so’. Pretty decent 70s pop-rock with a wink and a cheeky smile. Shaun Ryder, mentioned in my previous blog, was clearly a fan, as he quotes the chorus in the Happy Mondays track Lazyitis (One Armed Boxer), melding Essex’s song with The Beatles’ Ticket to Ride.

The Info

Written by

David Essex

Producer

Jeff Wayne

Weeks at number 1

3 (16 November-6 December)

Trivia

Births

24 November: Comedy writer Stephen Merchant
27 November: Welsh racing cyclist Wendy Houvenaghel

Deaths

25 November: Folk singer-songwriter Nick Drake

Meanwhile…

21 November: The Birmingham pub bombings became one of the worst atrocities in the Troubles, when 21 people were killed and 182 injured by Provisional IRA explosions at the Mulberry Bush and Tavern in the Town. It was the worst terrorist act on English soil between the Second World War and the 2005 London bombings.

24 November: The Birmingham Six were charged with the pub bombings. Sentenced to life imprisonment in 1975, they protested their innocence and claimed they were coerced into signing confessions through severe psychological and physical abuse. They weren’t released until 1991 after their convictions were declared unsafe. It’s one of the biggest miscarriages of justice in British history

25 November: Home Secretary Roy Jenkins announced the government’s intention to outlaw the IRA in the UK.

27 November: The Prevention of Terrorism Act was passed.

5 December: The final episode of Monty Python was broadcast on BBC Two. The last series of the classic surreal sketch comedy had shortened its title and lost a member, when John Cleese declined to take part other than the penning of a few sketches.