The first number 1 of 1971 had narrowly missed out on the 1970 Christmas number 1 spot, and although it’s not fit for much, it would have made a more fitting yuletide chart-topper than I Hear You Knocking. Grandad, by comedy actor Clive Dunn, was a canny grab at the purse-strings of pensioners and children, and in that sense was an early pioneer of the novelty Christmas song market. Factor in Dunn’s popularity as doddery old Lance Corporal Jones in BBC One sitcom Dad’s Army, and there’s little surprise it spent three weeks at number 1.
Clive Robert Benjamin Dunn was born in Brixton, South London on 9 January 1920, meaning he had only turned 51 on the day his one-hit wonder about life as an OAP hit pole position. Both his parents were actors, and his cousin was Gretchen Franklin – better known as Ethel in BBC One soap opera EastEnders. Dunn had small roles in films while at school in the 30s, appearing alongside comedy actor Will Hay in Boys Will Be Boys in 1935.
Dunn’s acting ambitions were swept to one side when he served in World War Two for real, joining the British Army in 1940. He served in the Middle East until 1941 when he and hundreds of others were forced to surrender. Dunn was held as a POW in Austria for four years, but stayed with the Army upon his release, until 1947, when he returned to acting.
Fast forward to the mid-50s, and Dunn had found his calling in comedy roles, making several appearances alongside Tony Hancock on ITV and his classic radio series Hancock’s Half-Hour. In the early 60s he took on a role that would define the rest of his career, playing a comical 83-year-old man in ITV sitcom Bootsie and Snudge. He was only 38 at the time.
This made Dunn a natural choice to star in Dad’s Army as the nervy butcher Jones in 1968. As one of the youngest members of cast he could take the brunt of any physical comedy. The role in Jimmy Perry and David Croft’s sitcom made Dunn one of the most popular comedy stars of the era.
In 1970 Dunn met top session bassist Herbie Flowers at a BBC party. Flowers was a founding member of Melting Pot hitmakers Blue Mink and played bass on David Bowie’s Space Oddity (number 1 on its re-release in 1975). Upon discovering his occupation, Dunn allegedly challenged Flowers to write him a hit song.
So Flowers went away and with Dunn’s Dad’s Army character clearly in mind, he wrote a novelty song written from the point of view of an old man looking back at his youth. However, he was stuck for a chorus, until his friend Kenny Pickett (singer with 60s rock band The Creation) called round. Ringing the doorbell, a standard ‘ding dong’ chimed, and Flowers had the simple but scarily effective hook he was looking for.
Over a leaden backing featuring ukelele, Flowers’ bass (I assume), and parping brass, Dunn recalls penny farthings, penny dreadfuls, ‘talking things’, and best of all, how ‘Motorcars were funny things, frightening’, when he was a lad. At the exact point you’re hoping his nurse will interject and give him his medication or clean him up, in comes a sickly kiddie choir, thankfully kept to a minimum, singing ‘Grandad, grandad you’re lovely /That’s what we all think of you’. Let’s be grateful they didn’t overdo it, unlike the similar Christmas number 1 of 1980, There’s No One Quite Like Grandma. Incidentally, co-producer Ray Cameron, is comedian Michael McIntyre’s dad.
It’s rotten, cynical stuff, but at least Flowers made up for it. He’s played on hundreds of hits over the years, and among other things, was a member of CSS, T. Rex and Sky. He also performed on Jeff Wayne’s Musical Version of The War of the Worlds, but most notably, he was the man behind the bass line on Lou Reed’s Walk on the Wild Side. So we can forgive him.
We can forgive Dunn too, such was his charm. He was a staunch socialist too, who would argue with Conservative voter Arthur Lowe over politics, so he’s alright by me (although he did have a brief flirtation with Oswald Moseley’s British Union of Fascists in his youth, which he regretted). He was also known for his friendliness towards autograph seekers.
Dad’s Army ended in 1977, and two years later Dunn found work playing – what else? – an old man in BBC children’s series Grandad. Despite the obvious similarities, it was unrelated to his number 1. When his role as Charlie Quick ended in 1984, Dunn retired and moved to Portugal.
It blew my young mind, growing up on repeats of Dad’s Army in the 80s, to know that Dunn was one of the youngest cast members and one of the few still alive. But even he got old for real eventually, and he died as a result of operation complications on 6 November 2012, aged 92.
Written by: Herbie Flowers & Kenny Pickett
Producers: Peter Dulay & Ray Cameron
Weeks at number 1: 3 (9-29 January)
Artist Jay Burridge – 12 January Actress Lara Cazalet – 15 January Take That singer-songwriter Gary Barlow – 20 January Scottish snooker player Alan McManus – 21 January Sports broadcaster Clare Balding – 29 January
Northern Irish dramatist St John Greer Ervine – 24 January Psychoanalyst – Donald Winnicott – 28 January
12 January: The Hertfordshire home of Robert Carr, Secretary of State for Employment, was bombed, but nobody was injured.
14 January: Extremist group The Angry Brigade claimed responsibility for the bombing of Robert Carr’s house, in addition to planting a bomb at the Department of Employment offices at Westminster.
20 January: UPW General Secretary Tom Jackson led the first ever postal workers’ strike took place. Workers were insisting on a 19.5% pay rise.
21 January: After collapsing in March 1969, a newly reconstructed Emley Moor transmitter in West Yorkshire starts again. It became Britain’s tallest freestanding structure, a concrete tower standing at 1084ft.
23 January: The first Commonwealth Heads of Government Meeting, in Singapore, gave Britain permission to sell weapons to South Africa.
Here’s the muckiest, filthiest number 1 by far we’ve had up to this point. Je t’aime… moi non plus by French Lothario Serge Gainsbourg and his lover, English actress Jane Birkin shocked our stuffy nation and was banned by the BBC… but as is often the case with such singles, whatever the decade, its notoriety only helped its sales. It was also the first foreign language chart-topper.
One of the most important figures in 20th-century French culture, Serge Gainsbourg had been born Lucien Ginsburg in Paris on 2 April 1928. He was the son of Jewish Russian migrants who had fled to the city after the Russian Revolution in 1917. His father Joseph taught Lucien and his twin sister Liliane to play the piano.
The young Ginsberg was deeply affected by Germany’s occupation of France during World War Two, and it would come out in his work in later years. Travelling under false papers, the Ginsburgs escaped to Limoges, which although safer, was still a dangerous place for French Jews.
Nonetheless they survived, and when the war is over, he found work teaching music and drawing in a school set up by rabbis for the orphaned children of murdered deportees. The stories he heard stayed with the horrified teacher for the rest of his life.
By the time he was in his early twenties, he changed his name to Serge Gainsbourg. He liked his new forename because it reminded him of his Russian heritage (and Lucien made him sound like a hairdresser’s assistant), and Gainsbourg in homage to the English painter Thomas Gainsborough.
Fast forward to the late 50s, and Gainsbourg, now married, was a shy, struggling songwriter, who felt the songs he was starting to develop would be too provocative for chansons. Singer Michèle Arnaud took him under her wing and offered to record his songs, and buoyed by her patronage, he released his debut album Du chant à la une!… in 1958.
Gainsbourg was too obsessed with sex and death to be famous just yet. But he became friends with legendary Belgian songwriter Jacques Brel and French singer Juliette Greco, with who he collaborated over the next few years.
In 1965 Gainsbourg, now on to his second marriage, finally found some mainstream success by writing Luxembourg’ entry into the Eurovision Song Contest. Poupée de cire, poupée de son, sung by French teen France Gall, won the competition. However, his next song for her, Les Sucettes, caused uproar. Turns out it wasn’t about lollipops, which is what the title translates into, but oral sex. Gainsbourg, who had once been ridiculed by audiences and critics for his looks, likely enjoyed pissing people off, and despite Gall’s career suffering for a while afterwards, Gainsbourg was onto something.
In 1967 Gainsbourg, divorced for the second time, began an affair with actress, singer and iconic sex symbol Brigitte Bardot. She asked him to write the most beautiful love song he could imagine, and he went home that night and wrote two of his most famous tracks. Bonnie and Clyde, which was released as a duet in 1968, and Je t’aime… moi non plus.
The title for the latter translates as ‘I love you… me neither’, which was inspired by a Salvador Dali quote: ‘Picasso is Spanish, me too. Picasso is a genius, me too. Picasso is a communist, me neither’. Gainsbourg would over the years describe it as ‘the ultimate love song’, or an ‘anti-fuck song’.
The secret lovers recorded the first version, and indulged in heavy petting when doing so, according to engineer William Flageollet. When word got out, Bardot’s husband was furious and Bardot pleaded with Gainsbourg not to release the recording. I looked forward to hearing this version, eventually released in the 80s, purely for research purposes and not for finding Bardot gorgeous you understand… it’s actually a disappointment. The arrangement is different, with more strings, and less organ, but the main problem is, Bardot’s performance is more reserved than Jane Birkin’s.
Birkin was born on 14 December 1946 in Marylebone, London. Her mother Judy Campbell was a stage actress and her father David Birkin a World War Two spy. Her brother Andrew is a successful screenwriter and director. Birkin was raised in Chelsea, and aged 17 she met her future husband John Barry, the James Bond composer and former collaborator with Adam Faith on his number 1s What Do You Want? (1959) and Poor Me(1960). They married in 1965, and she became famous herself through her roles in counterculture films Blowup and Kaleidoscope, both in 1966, and Wonderwall in 1968. That year, she and Barry divorced.
Birkin auditioned for a role in Slogan in France in 1968. She became the female lead and co-starred with Gainsbourg, and together they performed the film’s theme song, La Chanson de Slogan. They fell in love, and what better way to commemorate than by recording a sexually explicit song? Was this also a slap in the face to Bardot? Possibly, but Birkin was definitely keen. She had heard the original and found it ‘hot’ and insisted they bring it out as a single, because she was jealous of his ex-lover.
With the organ taking centre stage and more prominent bass under a new arrangement by Arthur Greenslade, Gainsbourg and Birkin went in to record their vocals in a studio in Marble Arch. He told her to sing it an octave higher than Bardot, so she would sound ‘like a little boy’.
A typically shocking thing for Gainsbourg to say, but the shift in pitch between their two vocals does add to the contrast and highly charged erotic content. It’s difficult to imagine now just how shocking Je t’aime… moi non plus must have sounded 50 years ago, and its been used, covered and spoofed so many times, but if you overlook the slightly cheesy organ (so to speak), the explicit performance from Birkin is still pretty out there.
Put it this way, I couldn’t and didn’t play it out loud in front of the kids like I easily could any other number 1 before it. It brought to mind L’il Louis & the World’s 1989 house classic French Kiss. Featuring similarly orgasmic moans, it once came on at random in my kitchen and my eldest, then around five, asked why the lady was groaning. At a loss for an answer, I said she had a headache.
There are rumours out there that Birkin and Gainsbourg were actually having sex while recording this. I don’t believe that personally, but it makes for a good story. Birkin certainly puts in an effective performance though, totally letting go and making Gainsbourg’s cool detached replies in the chorus all the more effective too.
There’s a great translation and essay on the meaning of the lyrics of Je t’aime… moi non plushere, which proves it’s more than just two horny people getting it on. Some people consider Birkin is wildly in love with Gainsbourg in the song, and his ‘me neither’ means it’s purely about sex for him. But the site considers the possibility that Birkin doesn’t love Gainsbourg, that she’s just into the sex, and he knows this full well, hence his reply.
It also suggests that, and the rest of the vocals back this up, that if it is just about sex, than Gainsbourg is making sure she has the best time he can give her. Several times he says ‘Je vail et je viens/Entre ten reins/Et je me retiens’, which translates as ‘I come and I go/Inside of you/And I hold myself back’. The song’s ending is a literal climax, with Birkin demanding ‘Non! Maintenant! Viens!’ (No! Come now!)… Stirring stuff, really, and more sophisticated than most record buyers would have realised, especially in 1969. And I’d bet that the average British man at the time would have been astounded at the idea of such selfless sex.
It’s another quantum leap in pop music. We’ve gone from songs about love to seven inches of the hard stuff just like that, and although it proved too shocking to open the floodgates to many similar songs at the time, pop was never the same again. Je t’aime… moi non plus may have been filth, but it’s deep too.
Je t’aime… moi non plus sent shockwaves through the charts. In addition to being banned on many radio stations, Fontana, the label that released it, withdrew it from sale when it reached number two. Fortunately, Gainsbourg arranged a deal with Major Minor Records, and the combination of two different versions only helped its sales. An unusual occurrence in the charts, and I’m not sure if it’s happened before or since.
It wasn’t just deemed offensive in the UK though. It was banned from the radio in Spain, Sweden, Brazil and Italy. It was denounced by the Vatican. In France, it couldn’t be played before 11pm. And yet there have been countless covers and spoof versions over the years, by Giorgio Moroder & Donna Summer, Malcolm McLaren and Pet Shop Boys. The two versions I want to hear the most have to be by Frankie Howerd & June Whitfield and René & Yvette from ‘Allo! ‘Allo!. Just imagine…
Two years after the success of their sole number 1 single (and the album of the same name), Gainsbourg released the concept album Histoire de Melody Nelson, about a middle-aged man accidentally crashing his car into a teenage cyclist, and subsequently falling in love with her. Despite, or maybe because of its Lolita-esque story, it’s considered a landmark in French pop. Birkin provided the vocals for Melody and also featured on the provocative artwork.
Gainsbourg shocked once more in 1975 when his experiences of World War Two inspired the album Rock Around the Bunker, featuring satirically light-hearted songs such as Nazi Rock. His last ‘rock’ album came out the following year, L’Homme à tête de chou (Cabbage-Head Man, which was his nickname).
Gainsbourg moved into reggae, and recorded Aux Armes et cætera, a version of La Marsellaise, with Rita Marley and Sly and Robbie. Many were appalled, and he received death threats. Bob Marley was also disgusted with him for persuading his wife to sing dirty lyrics on his 1981 album, Mauvaises nouvelles des étoiles.
Birkin gave birth to their daughter Charlotte, now a successful actress and singer herself. Following a break in acting, She returned in 1973 to play Brigitte Bardot’s lover in Don Juan, or If Don Juan Were a Woman. Gainsbourg must have loved that. In 1976 she starred in his film, Je t’aime moi non plus, which was banned in the UK. But after 13 years their turbulent, intense relationship finally ended in 1980.
It could be argued that he never really recovered, despite almost immediately beginning a relationship with Caroline Paulus, aka Bambou, which lasted until his death. He recorded two funk and hip-hop-influenced albums, 1984’s Love on the Beat and You’re Under Arrest in 1987, in which much of his wit and playfulness seemed to have been reduced to seeing how far he could go to shock people, even recording the track Lemon Incest with Charlotte, only 13 at the time.
Gainsbourg was becoming increasingly dishevelled, and became best known for his drunken, shambolic chat show appearances. Famously, in 1986 he interrupted a nervous Michel Drucker to announce on his chat show that he wanted ‘to fuck’ an understandably startled Whitney Houston, sat next to him on the sofa. On another show he shouted ‘You’re nothing but a filthy whore, a filthy fucking whore’ at Catherine Ringer, an actress who had also appeared in porn. Understandably, he didn’t appear on TV much after this.
In 1988 while judging a film festival he began to tell the audience an obscene story about Brigitte Bardot and a champagne bottle, which ended in him staggering offstage and collapsing in a seat.
On 2 March 1991 Serge Gainsbourg died of a heart attack, aged 62. Since then most of those final years have been forgotten and he is rightly considered a legendary figure in France for his intelligence and thought-provoking music and film work.
Jane Birkin continued to make music throughout the 70s and 80s, including the albums Ex fan des Sixties in 1978 and Baby Alone in Babylone in 1983. Her film work included in the adaptations of Agatha Christie’s Murder on the Orient Express (1978) and Evil Under the Sun (1982), and she co-starred with John Gielgud in Leave All Fair (1985).
Despite finding love again with director Jacques Dollon, with whom she had her third child, Lou in 1982, The Observer reported in 2007 that they separated in the 90s because he ‘could not compete with her grief for Gainsbourg’. In 1998 she starred in Merchant-Ivory’s A Soldier’s Daughter Never Cries and saw out the 90s with the album À la légère in 1999.
The 00s saw her awarded an OBE in 2001, plenty more acting work, and three albums – Rendez-Vous (2004), Fictions (2006) and Enfants d’Hiver (2008). Her last album to date, 2017’s Birkin/Gainsbourg: Le Symphonique, featured orchestral reworking of their collaborations. A year previous, she starred in the Academy Award-nominated short film La femme et le TGV, which she announced would be her final acting work.
A multi-talented, multi-award-winning humanitarian and strong role model, Jane Birkin is now 72 and though her career has have slowed down, she has a fine body of work to look back on, and it would be unfair if she was mainly remembered for her number 1 duet – as great as it is.
Written by: Serge Gainsbourg
Producer: Jack Baverstock
Weeks at number 1: 1 (11-17 October)
Actor Dominic West – 15 October
14 October: The all-new, spectacular seven-sided 50p coin was introduced. The replacement for the ten-shilling note was given a rather mixed reaction from the Great British public, with many complaining that it was too similar to the 10p coin. It wasn’t, but there was enough shock of the new to contend with that week I guess… Also that day, opinion polls were suggesting that, come the next general election, the Conservatives, led by Edward Heath and ahead by up to 24 points, would easily trounce Howard Wilson’s Labour.
On 15 October, the RAF officially retired the last Lancaster bomber. Along with the Spitfire, the plane was synonymous with World War 2. Yet another sign that the country was moving on from the war. You wouldn’t think that by looking at the number one single of the time, however.
Lay Down Your Arms was a Swedish song, originally called Anne-Caroline, by Åke Gerhard and Leon Landgren, but the English lyrics were from Paddy Roberts, who had written Softly, Softly, a 1955 number 1 for Ruby Murray. It was a boisterous military march-themed love song, in which the protagonist is telling her soldier boyfriend that the conflict is over, so he needs to get himself home, lay down his arms and surrender to hers. Clever, eh?
The perfect person to sing a throwback to the war songs of the 40s was Forces Sweetheart Anne Shelton. Born Patricia Jacqueline Sibley in Dulwich, South London on 10 November 1923, she had begun singing on BBC radio show Monday Night at Eight at the age of 12. She had a recording contract at 15, and avoided being evacuated during World War Two by performing with dance-band leader Albert Ambrose.
Changing her name to Anne Shelton, she performed at military bases during the war, and had possibly avoided death when she was forced to turn down the opportunity to work with Glenn Miller due to prior commitments (this was the tour in which Miller died in a plane crash). She had been the first British artist to record one of the most famous songs of the war, Lili Marlene.
After the conflict ended, she became the first Brit to tour the entire US, coast to coast, which took a year. As the years passed she found it difficult to maintain her success with the songs of the 40s, and looked to war-themed material instead, such as Lay Down Your Arms.
It’s hard to fathom why this got to number 1 as far as the timing goes, let alone the quality. A month later, after the embarrassment of the Suez Crisis, would be more understandable. I can only imagine the older generation were going out in droves and buying this because they preferred it to the new rock’n’roll sounds that were loved by the youth. It’s not terrible, the melody is memorable and I’ve had it swimming round my head since listening to it, but it’s no Rock Island Line orWhy Do Fools Fall in Love.
Shelton’s vocal is overbearing – I feel sorry for her soldier boy as she sounds like a terrifying lover. He’d probably be safer back on the beach at Normandy.
The most noteworthy element of the song is the fact troubled genius Joe Meek was the engineer, learning his trade before becoming a famous producer a few years later.
Shelton had a few more hits, including Sailor, which went into the top 10 in 1961 but couldn’t beat Petula Clark‘s number 1 version. She also made two attempts at entering Eurovision.
As the decades went by she was often brought out for war anniversaries and ceremonies, much like Vera Lynn. She died on 31 July 1994 of a heart attack, aged 70.
Written by: Åke Gerhard & Leon Landgren/Paddy Roberts (English lyrics)