227. Tom Jones – Green, Green Grass of Home (1966)

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December 1966: Harry Roberts, John Whitney and John Duddy are sentenced to life for killing three policemen in August on 12 December. Prime Minister Harold Wilson and Rhodesian Prime Minister Ian Smith were in the news throughout the month as they attempted to negotiate the whole independence saga. On 20 December Wilson withdrew all offers and announced that he will only consider independence when a black majority government is installed in Rhodesia. Two days later, a steadfast Smith announced he already considered the country a republic. New Year’s Eve saw thieves steal millions of pounds worth of paintings from Dulwich Art Gallery in London.

And so, after such a stellar year of chart action, we’re back at the Christmas number 1. For the first time since 1962, it isn’t the Beatles, who were working on Strawberry Fields Forever. Holding court as the top of the pops for the whole month, and most of January, was 1966’s best-selling single – Tom Jones’s cover of Green, Green Grass of Home.

Since his last number 1, the storming It’s Not Unusual in 1965, Jones’s popularity had slipped somewhat. Granted, his theme to What’s New Pussycat?, by Bacharach and David, did well, but his theme to the James Bond movie Thunderball wasn’t so popular. His manager Gordon Mills decided a new approach was needed, and steered Jones towards using that deep voice to become a light entertainment-style crooner.

Green, Green Grass of Home had been written by Claude ‘Curly’ Puttman, Jr, and was first made popular by flamboyant country star Porter Wagoner in 1965. Later that year, controversial rock’n’roller Jerry Lee Lewis recorded a version for his album Country Songs for Country Folks, and it was this version that made Tom Jones decide to give it a crack himself. His producer Peter Sullivan weren’t so sure – country wasn’t what they had in mind for Jones, so Les Reed, who had written It’s Not Unusual, arranged the track and took it in an easy listening direction.

Jones recalled in an interview for The Mail on Sunday in 2011 that Lewis was on a UK tour just before the single’s release, and met with Jones. He was bowled over by this new pop version, and told Jones he had a hit on his hands.

It’s an odd one, really. Green, Green Grass of Home is still considered one of Tom Jones’s best songs, and yet it leaves me rather cold. The arrangement is rather dated now, particularly when compared to the previous number 1, Good Vibrations. I think the Beach Boys classic would have made for a much more appropriate song to round the year off. But there’s no accounting for taste. Which leads me onto my next point.

Don’t get me wrong, I’m against the death penalty, but it’s hard to feel sorry for the singer once you know the twist – that he’s behind bars and reminiscing on his hometown before he is hanged. The likelihood here is that this man has done something terrible. An odd choice for Christmas number 1, all in all. I hate the ‘Mary/cherries’ rhyme as well.

Green, Green Grass of Home is a sign of what happens to the charts in 1967. After all this energy, vigour and innovation, things go somewhat downhill. 1967 was a great year for albums, and I used to think that once we got full-blown into the ‘flower power’ era, there would be some wonderful single number 1s. There’s far fewer than I hoped, and more often than not, the fashion sways back towards MOR.

Also that year, Tom Jones performed in Las Vegas for the first time. Like his friend Elvis Presley in the 1970s, his recording output suffered as his live act grew more flamboyant, and it was here he cultivated the sweaty, open shirt image that would make him a figure of fun over the years. There were still hits from time to time though, such as Delilah in 1968. From 1969 to 1971 he presented his own variety show on ITV called This Is Tom Jones. The year it ended he recorded one of my favourite Jones tracks, She’s a Lady, written by Paul Anka and later used to great effect in Terry Gilliam’s adaptation of Hunter S Thompson’s Fear and Loathing In Las Vegas (1998).

By the mid-70s his career had declined and he tried to get more film and TV work, but by the early 80s he was recording country material that failed to chart. The first of his many comebacks came in 1987 when A Boy From Nowhere made it to number two. Then the following year he teamed up with Art of Noise for a smash-hit cover of Prince’s Kiss. Unfortunately, someone missed the point of the original, and changed the lyrics from ‘Women, not girls rule my world’ to ‘Women and girls rule my world’, which sounds a bit seedy to me.

In 1992 he kickstarted the idea of ‘legends’ appearing at Glastonbury Festival, and had cameos on The Fresh Prince of Bel-Air and The Simpsons the following year. Also in 1993 he was back in the charts with If I Only Knew. I personally find this track hilarious for its opening, in which Jones’s bellow is used to headache-inducing levels. It’s hard not to enjoy it though. 1996 saw him cameo in Tim Burton’s sci-fi comedy movie Mars Attacks. He rounded off the millenium with Reload, an enormously successful collection of covers featuring the stars of the time.

It was around then I got a bit sick of Tom Jones. That bellow was everywhere, from the dodgy duet It’s Cold Outside with Matthews (which takes on new levels of meaning when you read he allegedly banged her over the mixing desk during the recording) to the especially irritating version of Mama Told Me Not to Come with Stereophonics. The biggest hit, Sex Bomb, with Mousse T, long outstayed its welcome. But the Queen loved him and he was given an OBE that year, before being knighted in 2006.

He’s never really gone away since the success of Reload, and is now a national treasure. There’s one more number 1 with which he’s involved, from 2009, so I’ll return to his story then.

Next time then, 1967. Until 18 January though, Green, Green Grass of Home reigned at number 1. So what was happening in the news then? On New Year’s Day, the Queen decided to commemorate England’s World Cup achievement by making manager Alf Ramsey a Sir, and also awarded captain Bobby Moore with an OBE.

3 January saw stop-motion children’s TV favourite Trumpton begin on BBC One, and four days later another classic TV series began on BBC Two – The Forstyte Saga.

On 4 January, motorboat racer Donald Campbell was tragically killed while trying to break his own water speed record attempt on Coniston Water in the Lake District. Footage shows his Bluebird K7 and smash into the water. His body wasn’t found until 2001.

And in the world of politics, the UK entered the first round of negotiations for European Economic Community Membership on 15 January. Three days later, the flamboyant Jeremy Thorpe replaced Jo Grimond as leader of the Liberal Party. He was a popular leader and increased the party’s voting stastics, but controversy would end his leadership early.

Written by: Curly Putman

Producer: Peter Sullivan

Weeks at number 1: 7 (1 December 1966-18 January 1967) *BEST-SELLING SINGLE OF THE YEAR*

Births:

Footballer Dennis Wise – 16 December
Rugby player Martin Bayfield – 21 December
Rugby league player Martin Offiah – 29 December
Comedian Mark Lamarr – 7 January
Actress Emily Watson – 14 January

Deaths:

Land and water speed record breaker Donald Campbell – 4 January 

 

220. Chris Farlowe – Out of Time (1966)

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Sporting history was made on 30 July 1966 at Wembley Stadium, as we all know, when England defeated West Germany 4-2 to lift the Jules Rimet World Cup for the only time to date, with a hat-trick from Geoff Hurst – the only instance of one in a World Cup final to date, and another goal from Martin Peters. 32.30 million people saw it on television across the country, making it still the most-watched event ever on UK TV.

Appropriately enough for West Germany, the number 1 at the time was Out of Time. It was credited to Mick Jagger and Keith Richards, and originally released by the Rolling Stones in April that year on their album Aftermath. This brilliantly bitter and spiteful track aimed at an ex-partner was then covered by blues and soul singer Chris Farlowe, and it was his version that hit the top of the pops that summer.

Farlowe was born John Henry Deighton in October 1940. Raised in Islington, North London, he was a big fan of skiffle legend Lonnie Donegan as a teenager, and formed the John Henry Skiffle Group in 1957. He began the group as their guitarist as well as singer, but gave up the guitar to focus on his vocal talent. A year later he joined the Johnny Burns Rhythm and Blues Quartet, and around this time he took the name Chris Farlowe, in tribute to bop guitarist Tal Farlow. In 1959 he teamed up with a rock’n’roll group called the Thunderbirds and together they built up a reputation as a formidable live act and began to concentrate on an R’n’B sound. Unfortunately they couldn’t translate gig popularity into chart success. Among the members of Farlowe’s backing band were future star guitarist Albert Lee.

Farlowe eventually jumped ship to Rolling Stones producer Andrew Loog Oldham’s Immediate Records label, which proved a canny move, as in January 1966 he was in the top 40 with Think, a Jagger and Richards track which they later chose to re-record for Aftermath.

Opening with the arch string arrangement of Arthur Greenslade, Farlowe’s version of Out of Time beats the Stones original. Fans of the band may strongly disagree, but to me, the Aftermath recording is too long, and rather empty-sounding. Brian Jones’s marimba is an interesting sound in a pop song, but it’s not enough to hold my interest for over five minutes, and it can’t beat Greenslade’s work. Plus, it’s Jagger at the mixing desk for the production anyway, who clearly thought his song would make for a great pop hit. He was right.

Jagger’s sarcastic, disdainful vocal on Aftermath is excellent, but Farlowe edges it with a gutsy, bluesy performance. There’s an element of glee in the way he encourages the listener to join in with the chorus, which as well as ramping up the pop, makes the nastiness of the lyric that much nastier. This woman must have really treated the protagonist like shit, to be treated so badly afterwards.

There’s an all-star cast at work on Farlowe’s recording. In addition to Jagger and Greenslade (who later did the fantastic arrangement on Je t’aime… moi non plus a year later), there’s session guitarists Joe Moretti and Jimmy Page. Moretti, the man behind the classic guitar sound of Shakin’ All Over, contributes some lovely Spanish-sounding licks. Andy White, who played on the album version of Love Me Do, is the man behind that great aggressive drumming along with the strings.

The Stones-Farlowe connection continued, with further covers of Paint It Black and (I Can’t Get No) Satisfaction. His second most notable single was Handbags and Gladrags in 1968. Written by Manfred Mann’s Mike d’Abo especially for him, it’s now best known as the theme tune to the BBC sitcom The Office.

His time as a pop star came to an end by the time the 1970s began, and Farlowe joined jazz-rock group Colosseum in 1970, recording a couple of albums. In 1972 he became a member of rock group Atomic Rooster, consisting of former members of the Crazy World of Arthur Brown, including future prog-rock giant Carl Palmer (although he had left by the time Farlowe joined). Later he provided vocals for the last series of BBC drama Gangsters in 1978. In the 80s, Page, by now a post-Led Zeppelin rock legend, returned the favour of his Out of Time appearance by giving Farlowe appearances on his soundtrack to Death Wish II (1982) and solo album Outrider in 1988. As of 2019, Farlowe still records and performs live.

Out of Time was released as a single by the Rolling Stones in the 70s – but it wasn’t their Aftermath version. Controversial former manager Allen Klein owned their pre-1971 back catalogue, and supervised a bastardised version in which the backing music to Farlowe’s single was married to a vocal that Jagger had recorded as a demo guide for Farlowe. It was included on his 1975 compilation of Rolling Stones outtakes, Metamorphosis, and is better than it deserves to be.

Other covers down the years have come from the Bee Gees in 1966, Del Shannon in 1981, the Ramones in 1994, and the Manic Street Preachers in 2002. This most recent version is particularly good and apes the Farlowe version well, right down to the Beach Boys-esque backing vocal.

Written by: Mick Jagger & Keith Richards

Producer: Mick Jagger

Weeks at number 1: 1 (28 July-3 August)

Births:

Rugby player Paul Loughlin – 28 July

219. Georgie Fame and the Blue Flames – Get Away (1966)

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After coming out on top in their group, England’s World Cup winning ways continued in the knockout stages. On 23 July they defeated Argentina at Wembley Stadium thanks to a goal in the last 15 minutes from Geoff Hurst. Three days later, two goals from Bobby Charlton against Portugal, also at Wembley, saw England secure their place in the final. Their opponents were to be West Germany, who had defeated the Soviet Union 2-1 the previous day.

At number 1 that week were jazz and R’n’B group Georgie Fame and the Blue Flames. Since their previous number 1, Yeh Yeh in January 1965, the group had released three singles. In the Meantime, Like We Used to Be and Something didn’t make it into the top 20. Fame, real name Clive Powell, wrote Get Away to be used in a television advertisement for National petrol. Four years since Cliff Richard and the Shadows’ Summer Holiday, this was a more swinging, hip way of celebrating British summertime, and with the World Cup ongoing, all eyes were on England. Its release proved timely.

Set to an upbeat acoustic guitar, Fame’s gravelly but chipper vocal and chiming brass, Get Away is one of the lesser-known number 1s of the 60s, and is certainly not a classic like the recent Paperback Writer or Sunny Afternoon. That’s not to say it’s a bad track, and I’d imagine it worked very well as an advert jingle., but it rather outstays its welcome as a single. The lyric ‘Don’t mind the weather girl’ proved prescient, as although we like to imagine the summer of 66 was always glorious, in reality July was wet and dull most of the time.

Georgie Fame and the Blue Flames released two more singles that year, making the top 20 with Sunny and Sitting in the Park. They released third album Sweet Things (featuring new drummer Mitch Mitchell, only a year away from joining the Jimi Hendrix Experience) and shortly after, Fame made the decision to sign with CBS and become a solo artist. He would have one more number 1.

In the 70s, Get Away (which was also known as Getaway due to misprints on records) found further life as the theme tune to a long-running travel show in Australia called, you guessed it, Getaway.

Written by: Clive Powell

Producer: Denny Cordell

Weeks at number 1: 1 (21-27 July)

Births:

Politician Diana Johnson – 25 July 

218. The Kinks – Sunny Afternoon (1966)

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11 July saw the FIFA World Cup begin in England with the home team drawing against Uruguay 0-0. However by the time the 20 July came, they were top of their group, with wins against Mexico and France, both 2-0 up. And the best was yet to come.

The day after the tournament began, the Rhodesia saga continued with Zambia threatening to leave the Commonwealth over British peace overtures. On 14 July, Gwynfor Evans was elected as Member of Parliament for Carmarthen, becoming the first ever Plaid Cymru MP. Two days later, Prime Minister Harold Wilson flew to Moscow in order to begin peace negotiations over the Vietnam War, but the Soviet Government refused to help. And although life in the UK that summer is remembered as being a prosperous, positive time, 20 July saw the start of a six-month wage and price freeze.

That day marked the end of the Kinks’ third and final stint at number 1, with the classic Sunny Afternoon. Since Tired of Waiting for You had ruled the charts, the group had released singles of varying quality. The best of the bunch was the droning, proto-psychedelic See My Friends in the summer of 1965. Released four months before Norwegian Wood (This Bird Has Flown), it is considered to be one of the first pop songs to incorporate an Indian raga sound.

Tensions were emerging within the group in a very public way, and it wasn’t just Ray and Dave Davies that were known to scrap. Drummer Mick Avory and Dave fought on stage that May in Cardiff, with Avory fleeing the scene after knocking out Davies with his hi-hat stand, in fear he had murdered the guitarist. The drummer later told the police it was just a new part of their live show where the Kinks would throw instruments at each other.

The foursome’s chances of making an impact in the US were given a severe knockback when the American Federation of Musicians refused to allow the band permits for the next four years. Ray Davies believed this to have stemmed from him throwing a punch at a TV crew member who had launched into a tirade of anti-British comments at him. But it wasn’t just in the US that Davies was treated with condescension. He was treated with disdain by upper-class fellow guests at a luxury resort. Those guests helped bring about a marked shift in the direction of the Kinks, and the one which marked out Davies as one of the country’s greatest songwriters.

Well Respected Man, released that September, was the first instance of the band taking inspiration from music hall for their sound, with Davies satirising the British class system. From here on in, nobody could write barbed lyrics about life in England quite like Ray Davies. In February 1966 they released one of their best singles, Dedicated Follower of Fashion, taking aim at London’s fashion scene. The power-chord rock of You Really Got Me that originally brought them fame must have seemed a long time ago.

Despite their developing sound bringing them success, Ray Davies was not a happy man. The squabbling within the group and pressures of recording and touring had brought about a breakdown while working on their third album in late-1965, The Kink Kontroversy. Before writing Sunny Afternoon, Davies had bought a white, upright piano but in his depressed state he was struggling to come up with any new songs. He would listen to Frank Sinatra and Bob Dylan over and over for inspiration, but was getting nowhere.

Eventually, like the Beatles on Taxman, released later that summer as the opening track to Revolver, Davies began by complaining about the state of the Labour government’s tax system. As good an opening line as ‘The tax man’s taken all my dough, and left me in my stately home, lazing on a sunny afternoon’ was, Davies wisely realised the public might not feel much sympathy for a rich rock star like him, and so the song evolved into the complaining of a loaded aristocrat who had inherited his money but fallen on hard times. He tried to make the character unloveable, adding that his girlfriend claimed he was cruel when drunk to help make record buyers dislike the protagonist.

You could argue that Davies failed in this however, because Sunny Afternoon is so damn charming. A lot of that is down to his brilliant delivery of the lyrics, which conjure up a tipsy, loaded n’er-do-well. It’s one of their most memorable tunes, and one of the best songs of the mid-60s.

Over the years though, I feel that perhaps the message of the song has become somewhat lost in translation in mainstream culture, and is now often used simply to portray the ‘great British summer’. Never mind the fact this guy was probably beating up his partner, lets just have a drink, enjoy the sun and sing along, yeah? That’s not the fault of the Kinks, however. It actually shows the genius of Davies, to be able to hide such biting lyrics within a catchy pop classic.

Although Sunny Afternoon was their last number 1, his genius would continue through the 1960s and early 70s, with albums like The Kinks Are the Village Green Preservation Society (1968) and particularly singles like Waterloo Sunset and Days. Dave Davies would also prove himself to be a great songwriter with solo singles Death of a Clown (co-written with his brother) and Susannah’s Still Alive. Such great work didn’t always equate to hits at the time, though, and much of their best material has only grown in popularity long after release.

In early 1969 bassist Pete Quaife told the rest of the band he was leaving, despite Ray’s pleas for him to stay. He was replaced with John Dalton, who had filled in for him in the past. Their ban in the US was finally lifted, and they added John Gosling as a permanent keyboardist (Nicky Hopkins had filled this role on their recordings previously) when recording Lola. Their last true great single, this tale of an encounter with a transvestite was a top ten hit here and in the US.

The mid-70s were a tough time for the band, with Ray’s family problems causing him to collapse from a drug overdose after announcing he was retiring on stage in 1973. He focused on writing rock opera rather than pop instead, which was poorly recieved. Dalton claims that Ray has never been the same since this breakdown, and he left the group in 1976. Their fortunes improved over the next few years, helped along by the Jam citing them as a major influence and releasing their version of David Watts as a single.

In 1983 their single Come Dancing performed better than anything they had released in years, and they were back on Top of the Pops with a number 12 single, but personal problems came to the fore once more. Ray fell out with Dave over solo projects, Ray’s relationship with Pretenders’ singer Chrissie Hynde ended badly, and Dave finally refused to work with Avory any longer. He was replaced by Argent member Bob Henrit, but thanks to Ray he would contribute occasionally. Line-up changes continued, but Avory and Quaife did show up when the Kinks were inducted into the Rock and Roll Hall of Fame in 1990.

Despite their public profile improving considerably in the mid-90s thanks to Britpop, one of the best UK groups in music finally chose to call it a day. They played together to celebrate Dave’s 50th at the Clissold Arms pub, where the Davies brothers musical journey had begun years ago.

A year later I saw Ray Davies for the first time at a sodden Glastonbury Festival, where he performed a mostly acoustic set of the classics. One of the few times I felt summery that weekend. When I next saw him there, during a blazing hot festival with my wife in 2010, Quaife had just died, and the highlight of another great show was a very emotional Davies dedicating Days to his former bassist and friend. He broke down several times while performing it. It was a very different show to 1997, his voice not as effective, but he was bolstered by a choir and both shows were great for different reasons.

Rumours of a Kinks reunion have never gone away, and baby boomers the world over were delighted to hear that the feuding brothers appeared to have finally buried the hatchet and a reformation was announced, with Avory also returning. Unfortunately, nothing seems truly concrete yet, but it is believed they will be working on a new album. No doubt it won’t match the glory days (few groups can), but I’d love to see Davies one last time at Glastonbury, this time with his brother and Avory alongside him.

Written by: Ray Davies

Producer: Shel Talmy

Weeks at number 1: 2 (7-20 July)

Births:

Actress Tamsin Grieg – 12 July
Presenter Johnny Vaughan – 16 July

211. The Walker Brothers – The Sun Ain’t Gonna Shine Anymore (1966)

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Four months before the FIFA World Cup was scheduled to kick off in England, the Jules Rimet Trophy was stolen. On 20 March a thief broke into the Methodist Central Hall in Westminster, ignored rare stamps nearby that were worth far more, and took the trophy from its public display. A package with the removable lining was left at Stamford Bridge with a ransom demand. When police arrested Edward Betchley, who mailed the package, he claimed the real culprit was known as ‘The Pole’. He/she have never been found, but the trophy was, by a dog called Pickles, a week after the robbery. His owner, David Corbett, bought a new house with the reward money, and Pickles won a medal and was invited to a celebration banquet when England won the tournament. He went on to a TV career before dying in 1967 after getting caught up in his choke chain while eating cheese. Poor Pickles, what a way for a hero to go.

Four days after Pickles’ discovery, Harold Wilson’s gamble paid off, and the Labour party won the snap general election, increasing their wafer-thin majority significantly. It’s unlikely him and the rest of the Cabinet were dancing to the number 1 at the time though. The Sun Ain’t Gonna Shine Anymore isn’t exactly Things Can Only Get Better, is it?

Frankie Valli and the Four Seasons songwriters Bob Crewe and Bob Gaudio (also one of the Four Seasons) originally wrote the track as a solo single for Valli. However, his backing group also performed on The Sun Ain’t Gonna Shine (Anymore), as it was originally known upon its release in 1965. The Walker Brothers had stayed popular since achieving their first number 1 that year with Bacharach and David’s Make It Easy on Yourself. It was an admirable attempt to replicate Phil Spector’s ‘wall of sound’, but fell short despite making it to the top. They then went to number three with My Ship Is Coming In before having a crack at Valli’s tale of heartbreak. This time they really nailed it.

Listening to Valli’s version, it’s clear that this was already a strong track, but the Walker Brothers and producers Johnny Franz and Ivor Raymonde take it to another level and really ramp up the melodrama. Their version starts with a rather Mexican/Spanish feel in the intro, before Scott’s baritone lead begins. As the song continues, his voice is almost lost in the lush intrumentation, but that’s entirely appropriate, as the singer is drowning against an overwhelming tide of heartbreak. Something about the way he sings the lines ‘The tears are always clouding your eyes/When you’re without love’ gets me every time. I’m a big admirer of Scott Walker as an artist, but nothing he’s written tops this in my opinion.

Following a month at number 1, Scott Walker began to take over with song choices and would also join in on production duties, but as his role grew, so did the dissension, and their success began to decline. In early 1968, after touring with the Jimi Hendrix Experience, Cat Stevens and Engelbert Humperdinck, followed by a tour of Japan. The trio disbanded.

All three ‘Walkers’ continued to record as solo artists, with Scott gaining a cult following that only grew over the years, even if mainstream success eluded him. His late-1960s albums are now considered classics. The best in my opinion, was Scott 3 (1969), featuring the trippy masterpiece Plastic Palace People.

In 1974 the Walker Brothers reformed and released three albums between 1975 and 1978. Apart from the title track to No Regrets however, they’re very MOR-country and not worth hearing. Since their final split, Scott Walker went even more leftfield and now releases albums sporadically to great acclaim. He also produced Pulp’s final album, We Love Life in 2001. Scott is a big hero of frontman Jarvis Cocker, and was also famously a big influence on David Bowie, which became ever more apparent during Bowie’s last few albums. A birthday message from Walker to Bowie on his 50th in 1997 even reduced him to tears.

The other two Walkers, John and Gary, released biography The Walker Brothers: No Regrets – Our Story in 2009, in which John seemed philosophical about losing his importance in the group to Scott. In 2000 he set up his own record label and began touring, but he died of liver cancer in 2011. Gary has seemingly disappeared back into obscurity.

Also in the news during the reign of The Sun Ain’t Gonna Shine Anymore… 7 April saw the UK ask the UN Security Council for authority to use force to stop oil tankers that violate the oil embargo against Rhodesia. The UN did exactly that three days later. And the day after that, the Marquess of Bath, in conjunction with Jimmy Chipperfield, opened Longleat Safari Park at his Longleat House, which was the first drive-through safari park outside of Africa.

UPDATE (25/3/19): It was announced today that Scott Walker has died aged 76. He leaves behind a fascinating life story and a truly innovative body of work.

Written by: Bob Crewe & Bob Gaudio

Producers: Johnny Franz & Ivor Raymonde

Weeks at number 1: 4 (17 March-13 April)

Births:

Politician Andrew Rosindell – 17 March
Footballer Nigel Clough – 19 March
Politician Mark Williams – 24 March 
Athelete Roger Black – 31 March 
Disc jockey Chris Evans – 1 April
Footballer Teddy Sheringham – 2 April 
Footballer Steve Claridge – 10 April 
Singer Lisa Stansfield – 11 April 

Deaths:

Author CS Forester – 2 April
Footballer Barry Burtler – 9 April 
Author Evelyn Waugh – 10 April