Author: UK #1s blog

Random Runners-up: ‘Let’s Work Together’, by Canned Heat

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My special feature for the week is a moment in the sun for the singles that didn’t quite make it to the top. These aren’t particularly long-running, or unlucky #2 singles. They may not even be particularly good… They all simply peaked in the runners-up position.

Last one, and we’re off to the seventies today…

‘Let’s Work Together’, by Canned Heat

#2 for 1 week, behind ‘Love Grows (Where My Rosemary Goes)‘, from 15th – 22nd Feb. 1970

A groovy last runner-up for the week. It’s got that slightly fried feel of some of the late-sixties/early-seventies #1s – ‘Spirit in the Sky’, ‘Bad Moon Rising’ and ‘I Hear You Knocking’ – as if the band has been keeping the party going that little bit too long.

The message is positive, though: Together we stand, Divided we fall… Every boy, every woman and a-man…! while the frazzled lead guitar chops and changes, and the rhythm section chugs along with a nasty edge. It really feels like this should be the backing to a tale of sleaze and sauciness – a ‘Honky Tonk Women’ Pt II, for example – not such a feel-good rallying cry.

Lead-singer on this record, Bob Hite, also gives the lyrics a threatening edge. He snarls, rather than encourages. Come on, come on, Let’s work together… he sings, though I’m not sure I would, with him. I like it though, this scuzzy, bluesy, boogie-woogying tune.

It had been written and recorded in 1962, as ‘Let’s Stick Together’ by Wilbert Harrison, before being rerecorded in 1969, by the same guy, as ‘Let’s Work Together’. His version was the hit in the US, while Canned Heat had the success in the UK. It was by far their biggest hit here. I knew it best through the Bryan Ferry version, which he turned back to ‘Let’s Stick Together’… Way to complicate things… Ferry took that to #3 in 1976 – a great, if slightly glossier, reimagining in which he pleads with his wife not to divorce him.

I’ll leave you with the version that made #2 in early 1970, behind ‘Love Grows…’ (what a great top 2!) Enjoy. I’ll do another blast of random runners-up sometime, it was fun. The regular countdown will resume over the weekend.

Random Runners-up: ‘Cool Water’, by Frankie Laine with the Mellomen

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My special feature for the week is a moment in the sun for the singles that didn’t quite make it to the top. These aren’t particularly long-running, or unlucky #2 singles. They may not even be particularly good… They all simply peaked in the runners-up position.

Today’s random runner-up takes us back a good ol’ while…

‘Cool Water’, by Frankie Laine with the Mellomen

#2 for 3 weeks, behind ‘Rose Marie‘, from 5th – 26th August 1955

Before Slade or T Rex, before the Stones and the Beatles, before even Elvis himself, one man dominated the UK singles chart in its earliest days: Frankie Laine.

In 1953, the first full year of the singles chart, he scored three #1s that lasted at the top for a staggering twenty-eight weeks (!) This record was his 16th Top 20 hit in under 3 years. Everything he recorded turned to chart gold… Which perhaps explains the success of ‘Cool Water.’ It was a hit by default.

Or maybe its been so long since I reviewed a pre-rock single I’ve forgotten how dull most of them were. It’s a song from a Western, about a cowboy lost in the desert, dragging his horse, Dan, along in search of water. Cool, clear, water….

Dan can y’see that big green tree, Where the water’s runnin’ free…? Dan doesn’t answer because it’s just a mirage, and he’s just a horse. It’s very 1955, this song, and it fits right in with the spaghetti-western film-score feel of #1s like ‘The Man From Laramie‘, ‘Give Me Your Word‘, and the 11-week mega chart-topper that held this off top-spot, ‘Rose Marie’.

A few months after this hit #2, ‘Rock Around the Clock‘ would come along and that would be that. Rock ‘n’ roll would be here to stay. Frankie Laine’s chart-topping days would be numbered, although he remained a recording artist into the 1970s. In fact, he would re-record ‘Cool Water’ in 1961, for an album titled ‘Hell Bent for Leather’ (Is it just me, or does that sound more S&M than C&W…?)

Meanwhile, the Mellomen, who provide the actually quite cool deep-voiced Cooool Water… backing vocals, have also appeared on a #1 themselves: Rosemary Clooney’s ‘Mambo Italiano‘ earlier in the same year. A fun, catchy song that reminds us there actually were some great chart-toppers before Bill Haley and Co. came along.

One last #2 coming up tomorrow…

Random Runners-up: ‘I’m Gonna Be Strong’, by Gene Pitney

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I’m running a new feature this week – a moment in the sun for the singles that didn’t quite make it to the top. These aren’t particularly long-running, or unlucky #2 singles. They may not even be particularly good… They all simply peaked in the runners-up position.

Today’s random runner-up…

‘I’m Gonna Be Strong’, by Gene Pitney

#2 for 2 weeks, behind ‘Little Red Rooster‘ and ‘I Feel Fine‘, from 3rd-17th Dec. 1964

It reminds me of ‘I Believe‘, with its strong, deliberate chords in the intro. It also reminds me of Roy Orbison’s boleros – his mini-operas – ‘Running Scared’ and ‘It’s Over‘ that grow and grow to outrageously dramatic conclusions.

I’m gonna be strong, And stand as tall as I can, Yes I’m gonna be strong, And let you run along… Gene’s gonna put a brave face on a break-up, gonna look his girl in the eye, smile, and walk away. But, as he finally admits in the final line, as the crescendo crashes: After you kiss me goodbye… How I’ll break down and cry….!

He gives it everything, does Mr. Pitney. It is a song for blowing away the cobwebs, for getting you out of bed on a winter’s morning. It sounds a little old-fashioned, especially considering the songs that kept it off the top, but when someone performs a song like this, with gusto and volume, you’ve got to tip your hat.

Our first two runners-up, The Spencer Davis Group and Connie Francis, had already had #1s. Gene Pitney hasn’t, and he’ll have to wait a good long while for his one and only chart-topper. He scored ten Top 10s between 1963 & ’68, bookended by what are probably his most famous songs (i.e. the ones I know): ‘Twenty-Four Hours From Tulsa’ and ‘Something’s Gotten Hold of My Heart’.

Random Runners-up: ‘Mama’ / ‘Robot Man’, by Connie Francis

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I’m running a new feature this week – a moment in the sun for the singles that didn’t quite make it to the top. These aren’t particularly long-running, or unlucky #2 singles. They may not even be particularly good… They all simply peaked in the runners-up position.

Today’s random runner-up…

‘Mama’ / ‘Robot Man’, by Connie Francis

#2 for 1 week, behind ‘Three Steps to Heaven‘, from 23rd – 30th June 1960

A double-‘A’ to double your pleasure. Except… I haven’t missed these OTT pre-rock intros. Strings swirl, soar, flutter and fly – you know the score. Even in 1960 this sounded old-fashioned. When the evening shadows fall, And the lovely day is through… Darkness falls, and Connie Francis gets to thinking about a lost love. Not a boyfriend, though… Her ‘Mama’.

Connie Francis had two chart-toppers in 1958, the all-time classic ‘Who’s Sorry Now’ and another double-‘A’ in ‘Stupid Cupid’ / ‘Carolina Moon’. They were great rock ‘n’ roll singles (OK, ‘Carolina Moon’ was a bang-average ballad, but still). This though… this is not for me. It’s beautifully sang, gorgeously orchestrated, all that kind of thing, but no. I give thanks that the days of overwrought dramatic ballads hitting #1 are long gone.

‘Mama’ was from Francis’s album ‘Italian Favourites’. She is Italian-American, although she apparently couldn’t speak the language fluently and had to get a tutor to correct her pronunciation as she sang. And perhaps she was ahead of the curve… In a few months Elvis would return from his stint in the army by belting out ‘It’s Now or Never‘ and ‘Surrender‘ – both based on old Italian hits.

Had this made it to #1 then the most interesting thing about it would have been that it was sung largely in a foreign language – not many chart-toppers can claim that – and that it was four minutes long (making it the longest #1 up to that point.) But it didn’t, so all that is moot.

Luckily for us, just before ‘Mama’ lulls us into a stupor, we can flip the disc and enjoy ‘Robot Man’. It’s Connie Francis ™ rock ‘n’ roll by numbers – a mix of ‘Stupid Cupid’ and ‘Lipstick on Your Collar’ – but it’s more than welcome. Plus it’s got a bizarre B-movie sounding intro because, well, robots.

Connie’s sick of ‘real life boys’ giving her grief, so she wishes she could have a robot man. (Or, as Connie sings it in her New Jersey-by-way-of-Alabama twang, a roo-bot mayun.) That way, she wouldn’t have to put up with any of his human shit. We would never fight, Cos it would be impossible for him to speak!

But, if science fiction has taught us anything it is that robots don’t stay obedient for long. They will learn, they will evolve, and they will enslave us. Soon Connie will be chained to a bucket and mop, reminiscing about flesh and blood boys whose worst fault was that they didn’t phone.

Another runner-up tomorrow…

Random Runners-up: ‘Gimme Some Loving’, by The Spencer Davis Group

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I’ll be trying out a new feature this week – drumroll please – Random Runners-up! Yes, a moment in the sun for the singles that didn’t quite make it to the top. These aren’t particularly long-running, or unlucky #2 singles. They may not even be particularly good… They all simply peaked in the runners-up position.

I used random.org (the website you never knew you’d need) to generate five random dates from between the start of the UK singles chart in November 1952, through to our most recent chart-topper in September 1973. I then checked what record was sitting at #2 that week and, as long as it wasn’t a record that had been at, or was heading to, the top of the charts, I chose it.

First up…

‘Gimme Some Loving’, by The Spencer Davis Group

#2 for 1 week, behind ‘Good Vibrations‘, from 24th Nov. – 1st Dec. 1966

Hey! Not a bad way to kick things off! Listen to that organ blast out like a train that’s just spotted the bridge up ahead has collapsed. Hey! The Spencer Davis’s had had two #1s in 1966 – ‘Keep On Running‘ and ‘Somebody Help Me‘ – but for my money this is the best of the three. Hey!

Well, my temperature’s rising’, Got my feet on the floor… Crazy people knocking cos they want some more… Steve Winwood’s having a party, and everybody wants in. This is a song that hums, throbs, positively trembles with energy. It’s a song for Friday night, for casting off the cares of the week and shaking your ass.

I would have bet good, good money on this being a Motown cover… But no. It was written by the boys in the band – Steve, his brother Muff, and, of course, Spencer Davis. Which makes ‘Gimme Some Loving’ surely one of – if not the – finest example of sixties blue-eyed soul around. (Dusty excepted… Obvs.) It would go on to have a second-wind following its inclusion in The Blues Brothers movie some fifteen years later.

I won’t write as much about these songs as A) I don’t have time and B) they weren’t #1s. Still, this song doesn’t need much analysing. Just get up and start shaking something. It should have been a chart-topper, surely it should, but when the record that holds you off the top is ‘Good Vibrations’ then you probably have to say ‘fair enough’.

Another #2 will be along, same time tomorrow…

336. ‘Young Love’, by Donny Osmond

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We’ve heard this one before, haven’t we…?

Young Love, by Donny Osmond (his 3rd and final #1)

4 weeks, from 19th August – 16th September 1973

Cast your mind all the way back to early 1957, when blue-eyed, all-American heartthrob Tab Hunter was crooning his way into the hearts of many with his own version of ‘Young Love’. I wasn’t keen on it then – and I quote: “I’ve listened to ‘Young Love’ several times now, trying to find something to like about it, but I can’t do it. It’s insipid. And that’s it” – and I ain’t much keener on it now.

It’s a pretty faithful cover – the same lullaby guitar and lyrics, with a few strings thrown in for that trademark Osmond schmaltz. Donny sounds like… Donny. It’s not as teeth-grindingly terrible as ‘The Twelfth of Never’, but it’s no ‘Puppy Love’. Who’d have thought, when I gave ‘Puppy Love’ it’s glowing review, that it would wind up being the best of Donny Osmond’s three chart-toppers!

No, I’m going to play nice. Yes, this is complete tripe, but as I say every time: I am not the target audience for it. Same way that I will not be the target audience for New Kids on the Block, Boyzone, Westlife or 1 Direction, when their times come. Plus, it’s a song by a fifteen year old kid. No way would I want any of the stupid things I did, said, wore, or released on 7” vinyl around the world, aged fifteen, held against me. I’ll let him be…

But then, oh Jesus, he starts talking. Even Tab Hunter didn’t go this far… Just one kiss, From your sweet lips, Will tell me that our love is real… Donny, son, you’re making it really hard for me to not write terrible things about you… You just know that this was the exact moment in the song where girls across the country leant in to give their Donny posters a good hard snogging.

It’s short, at least, two and a half minutes and we’re through. That’s it as far as this young man’s solo chart-toppers are concerned, though he does have one more #1 coming up soon with his brothers in tow. I feel we need write no more.

Except, I guess it’s interesting that back in the fifties, at the same time as Tab Hunter took this to the top first time around, right on the verge of the rock ‘n’ roll revolution, that it was common for artists to cover songs from the twenties and thirties. Connie Francis took ‘Carolina Moon’ to the top, Bobby Darin did the same with ‘Mack the Knife’, while Tommy Edwards used an old melody in ‘It’s All in the Game’. This disc marks the first time, of many, that a former #1 will return to the top as a cover version. And, scarily, the 1950s are to the 1970s what the 1930s were to the ‘50s…

335. ‘I’m the Leader of the Gang (I Am!)’, by Gary Glitter

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I ended my last post by claiming that there was no way that this next #1 would be on Spotify, and that I would have to search the deepest recesses of the dark web to find it. Except. It’s there. On Spotify. So…

Ok. You have to type it in in full – the algorithm won’t suggest it to you – but it’s all there. Turns out that ‘hateful’ artists such as this one are ‘buried’ rather than ‘banned’. Which, I think, is the sensible approach to take. Gary Glitter won’t pop up unexpectedly in your party playlist – can you imagine! – but people with blogs in which they write posts on every UK number single can crack on happily.

I’m the Leader of the Gang (I Am!), by Gary Glitter (his 1st of three #1s)

4 weeks, from 22nd July – 19th August 1973

I haven’t heard this song in years… I was in my early teens when the truth about Glitter came out. (For anyone who doesn’t know, he was found to have a lot of child pornography on his laptop, has since gone on to be convicted three times for rape and abuse, and has proven himself to be a pretty unrepentant paedophile.) But I can just about remember him being a celebrity… I have a particular memory of seeing him on Saturday morning kids TV, of all places, and of a schoolfriend’s parents being huge fans. (True story: his name was Gary, and he did not like it when you suggested which disgraced pop star he may or may not have been named after…)

Come on come on, Come on come on, Come on come on come on… Clap clap clap, stomp stomp stomp! It’s all coming back to me… This song was huge. And dammit… I am enjoying this song. I feel grubby saying it, but hey. When it comes to Gary Glitter and his three UK chart-toppers, I’m going to (try to) practise a clean separation of man and music. He is a terrible human being; this is a stupidly catchy pop hit. It starts with a motorbike revving, for goodness sake, meaning that in half a year we’ve had songs intro with air-raid sirens, anti-aircraft guns, and Harleys… What a time to be alive!

It is cheesy, though – towards the Mud and Showaddywaddy end of glam rather than the David Bowie and T. Rex. It’s dumb, it’s repetitive, trashy and disposable. It’s a series of chants rather than a thoughtfully put together song. He’s the leader, and he’ll make you sell your soul to rock ‘n’ roll… It’s glam reduced to its basics; but God if it isn’t an ear-worm. Is there any other genre with such different levels of taste and respectability?

D’you wanna be in my gang, my gang, my gang… Oh yeah? I said I wanted to listen to this objectively, judging the music alone, but it is kinda hard when Glitter gives us lyrics like: I’m the man who put the bang in gang…! Jeez. You do start to wonder if he was hiding in plain sight all along. If glam rock, that most glorious of genres, was besmirched by a pervert who used the image – the mascara and, well, the glitter – to have his wicked way. Just ignore those thoughts and focus on the stomping beat – the so called ‘glitter-stomp’ – and the churning synthey riff that keeps the whole thing chugging along.

Like many glam stars, Glitter predated the movement by quite a distance, releasing several singles in the sixties – his earliest way back in 1960. He went through various name changes: Paul Raven, Paul Monday – his real name’s Paul Gadd – before settling on Gary Glitter. He even worked with George Martin! All of which meant he was almost thirty by the time he hit it big with ‘Rock n Roll Part II’ (the song that caused controversy last year when it was used in a scene in ‘Joker’.)

‘I’m the Leader of the Gang (I Am!)’ was the culmination of this long-awaited ascent to pop stardom for Glitter, though he had already had #2 hits with ‘Hello, Hello, I’m Back Again!’ and ‘Do You Wanna Touch Me’ (a song it is impossible to listen to and not squirm, knowing what we know now…) He’ll go on to have two more chart-toppers in the next year. As uncomfortable as it is to discuss him nowadays; he was a big, big star, and a huge figure in seventies pop music.

334. ‘Welcome Home’, by Peters and Lee

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I know from the second I press play on our next number one that it is a song I’m going to enjoy. The intro alone is an example of such lavish, seventies, horns ‘n’ strings cheese that, despite knowing much, much better, I like it before the voices have even come in.

Welcome Home, by Peters & Lee (their 1st and only #1)

1 week, from 15th – 22nd July 1973

I’m so alone, My love, Without you… You’re part of everything I do… There’s a gentle, country and western twang in there too, adding to the sentimentality of it all. And then comes the chorus, and I’ve heard this song before. I know it, of course I do, because it’s the sort of chorus you’d know even if you’d never listened to music before. Welcome home, Wel-come… Come on in, And close the door…

‘Welcome Home’ makes the work of Tony Orlando – ‘Knock Three Times’, ‘Tie a Yellow Ribbon…’ and all that – seem subtle and understated. It is that cheesy. Listening to it, I immediately picture Elvis giving it the glitzy, jump-suited Vegas treatment. (Though to be honest, I can’t find any evidence of him ever singing it. Shame…)

Peters and Lee were a duo, obviously, but hearing this single it sounds more like a singer and his backing vocalist. The woman’s voice is much softer, and much further back in the mix. Lennie Peters had been a pianist and singer, travelling round pubs for gigs throughout the sixties. He was blind, having lost sight in one eye in a car crash aged five, and in the other aged sixteen, when a brick was thrown at him! He met Dianne Lee on the same pubs and clubs circuit. She was nearly twenty years younger, and dreamt of being a ballet dancer…

And if you were expecting a seedy story of exploitation and creepy age-gaps… You’ll have to wait (at least until our next #1…) For it seems that Peters and Lee were two people who simply enjoyed singing with one another. They entered a TV talent show called ‘Opportunity Knocks’, and the rest, as they say, is history. Two people for whom life might not have turned out quite as they’d hoped, but who suddenly found themselves at number one on the pop charts. Yes it’s sentimental, yes its ridiculously uncool, but it’s kind of lovely. As your nan would have said: “They don’t make ‘em like that anymore!”

I’m not quite sure what’s just happened. I should have approached this song much more cynically, but the more I listen to it the more I sway along. I better stop before I start claiming this is some kind of all-time classic. Peters & Lee had a few more hits, and kept intermittently recording and touring through to Peter’s death in 1992.

They also spent a good chunk of their time, in the later years, recording crappy karaoke-backing-track versions of their biggest hit. These are the only versions of ‘Welcome Home’ on Spotify; you have to go to YouTube, or your nearest record store, if you want it in all its original, schmaltzy glory. 1973 has truly been the year to ruin my #1s Blog Spotify playlist, and the situation probably won’t be helped by our next chart-topper…

333. ‘Skweeze Me, Pleeze Me’, by Slade

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Slade are back, for their fifth number one single in a year and a half, with an intro that goes: Slade, slade, slade, slade, sladesladesladesladeslade…

Skweeze Me, Pleeze Me, by Slade (their 5th of six #1s)

3 weeks, from 24th June – 15th July 1973

If you were being kind you’d say it was Slade at their Sladest; if you weren’t you’d say it was Slade by numbers. The intro sounds like a blend of ‘Mama Weer All Crazee Now’ and ‘Cum on Feel the Noize’’s, while the lyrics reference ‘Take Me Back ‘Ome’. In fact, the girl in this one might just be the same as featured in that earlier hit…

You got rude talk, You got one walk, All your jokes are blue… She’s a wild one. And Noddy’s quite confident that he can show her the way: You know how to please me, Woah-oah, You’re learnin’ it easy, Woah-oah… If you tune in and listen to the lyrics,  they range from the raunchy – a lot of squeezing and pleasing – to the fairly dubious: When a girl’s meaning yes, She says no…

I mean, I like Slade and I like this. If you like Slade then it’s impossible to truly dislike ‘Skweeze Me, Pleeze Me’ because it is the band at the height of their chart-humping, biggest-in-the-land phase. This, like ‘Cum on Feel the Noize’ entered the charts at #1, on name alone, really, in a manner not seen before and not seen again for a decade. And it is Slade treading water, but I have an image in my mind of Noddy Holder and Jim Lea bashing out the lyrics in five minutes, saying ‘Fuck it, that’ll do’, and ordering another pint. And I like it…

There is no way on earth that this single needs to be four and a half minutes long, though. Ten years ago, ‘House of the Rising Sun’ ran that long and it was revolutionary. Now it’s run of the mill. Maybe Slade were so popular that the record label were too scared to edit them down? They knew this would be a massive hit in any form. Maybe Slade themselves were so popular that they had become afraid to experiment…?

And maybe that’s true, because they were about to go slightly experimental, with ‘Slade in Flame’, and the music would be better, but the #1s would dry up. Suddenly glam rock as a whole would be up… But not yet. They have one final #1 single to come. Their best known one. Their retirement plan…

332. ‘Rubber Bullets’, by 10cc

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On the face of it, this next #1 isn’t a glam rock record. But there are enough glam touches here to keep it sounding very ’72-’73. It chugs, it boogies, it makes you wanna shake something…

Rubber Bullets, by 10cc (their 1st of three #1s)

1 week, from 17th – 24th June 1973

If it isn’t a glam rock record, then… What is it? Well, it’s got huge nods towards fifties rock ‘n’ roll – Elvis’s ‘Jailhouse Rock’ in particular – some Beach Boys’ harmonies, some CCR-style Americana, a middle-eight that goes all Simon & Garfunkel, as well as lots of squiggly, experimental-sounding effects. Recently, we heard Roy Wood and Wizzard chuck every idea they’d ever had into the mix on ‘See My Baby Jive’ to produce a wondrous piece of music, and this is 10cc’s attempt at something similarly epic.

Except, ‘See My Baby Jive’ wasn’t testing any lyrical limits. It was about the singers baby, jiving. ‘Rubber Bullets’, on top of all the sonic fun and games, is also trying to make a statement. I went to a party at the local county jail, All the cons were dancing and the band began to wail… In ‘Jailhouse Rock’, Elvis and the lads have a great time at their party. Here, the governor is quickly forced to call in the police

Load up, load up, load up, Your rubber bullets… Sargent Baker and his men shoot over to the jail, to keep order. From here on, the story is told in different voices. The cons: Is it really such a crime, For a guy to spend his time, At the local hop at the local county jail… And the police: I love to hear those convicts squeal, It’s a shame these slugs ain’t real… There are a few gems, too. The line about having a tear-gas of a time, and the all-time classic: We all got balls and brains, Some have balls and chains… (which was cut when this disc got a spin on the radio…)

By the end things have escalated to such a point that they’ve called in the National Guard. (And suddenly a forty-seven year old song sounds very 2020…) In 1973, despite the band putting on very deliberate American accents, and the lyrics being all very small-town US, the controversy came from the fact that the British army had just started using rubber bullets to deal with the troubles in Northern Ireland.

So. While ‘See My Baby Jive’ flourished under the ‘kitchen sink’ method, I feel that ‘Rubber Bullets’ suffers a little from all its many influences. It’s an exhausting listen at times. But it’s still great fun – don’t get me wrong – and not for a second does the record drag. Apparently, as it was one of the first singles recorded by 10cc, the band were simply enjoying having an entire recording studio to mess around in. And for my money, the very best bit of the song is the super-scuzzy, sped-up, distorted guitar solo.

That guitar returns to end the well over five minute album version of ‘Rubber Bullets’, while the radio-edit comes in well under four minutes. I think I’ve attached the right, somewhere in between those two lengths, single version below. 10cc, the sort of band that you know more songs from than you realise, had had one #2 hit before this – ‘Donna’ – and will go on to have two more #1 singles in the 1970s. Neither of which sound anything like ‘Rubber Bullets’. They were fun, experimental, and I need to listen to more of them. And I dare you to look up the inspiration behind their name…

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