1963 pop hits

152. ‘I Like It’, by Gerry & The Pacemakers

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Act III of the Merseybeat spring offensive sees Gerry and the lads score a quick return to the top. ‘How Do You Do It?’ and ‘I Like It’ acting as the bread; The Beatles’ ‘From Me to You’ as the filling. A sandwich to change pop music as we know it.

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I Like It, by Gerry & The Pacemakers (their 2nd of three #1s)

4 weeks, from 20th June – 18th July 1963

The previous two songs were super perky, ultra-upbeat, and positively dripping in youthful enthusiasm, and the formula isn’t altered very much here. We get a swingin’ little intro, and then: I liiike it, I liiike it…! If you didn’t know that Gerry & The Pacemakers were Liverpudlian, then you do know. This is a great record, but Gerry Marsden’s scouse rasp is possibly the highlight of the whole shebang.

I liiike it…. I liiike it… I like the way you run your fingers through my hair… And I like the way you tiddle my chin… I docked ‘From Me to You’ a couple of points for being a little simple, a little gauche. And I suppose I’ll have to do the same thing here… Except. The charm of this song – of this whole embryonic musical movement – is its down-to-earth charm. These are regular blokes singing a regular, catchy song about love; there are no flowery romantic declarations from note-perfect crooners (see: Frank Ifield) or glossy-teethed American superstars (see: Elvis) here.

Look, for example, at the line: And I like the way you straighten my tie, And I like the way you’re winkin’ your eye, And I know I like you…! Or the And I like the way you let me come in, When your mama ain’t there…. (wink wink) It could have been written by a fourteen-year-old, and that’s all part of the allure. I suppose all the big British pop movements had their roots with kids on the streets: punk, Britpop, garage… and Merseybeat is no different. Music for kids; by kids.

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Just like its immediate predecessors, ‘I Like It’ is another short, sharp pop song; another two minute wonder. And like all the best pop songs there’s nothing too sophisticated going on here. In fact, I’ve covered many better-sung and better-performed songs on this countdown. But… this is the glorious sound of four boys jamming away in their garage, and it presses all my buttons. And ‘boys’ they truly were – Gerry, his brother Fred, Les and Arthur were all aged around twenty when their careers went stratospheric. For a while, in the summer of ’63, the smart money might have been on this four-piece going on to be the biggest band on the planet…

But, of course, that didn’t happen. Perhaps the reason I was a bit harsh on ‘From Me to You’ in my last write-up is that it comes loaded with the knowledge of what The Beatles would go on to do. It’s a perfectly decent pop song but, in my opinion, wouldn’t come near a Beatles Top 20. Whereas, ditties like ‘How Do You Do It?’ and ‘I Like It’ were as good as it got for Gerry and the gang. This is all we know them for; and that’s fine.

Before we finish, I’d like to indulge in a bit of a metaphor. Bear with me, and picture if you can these three Merseybeat chart-toppers from April-July 1963 as a huge meteor killing off hundreds of dinosaurs. These dinosaurs being… *clears throat* … Adam Faith, Anthony Newley, Michael Holliday, Frankie Vaughan, Alma Cogan, Helen Shapiro, The Everly Brothers, Tommy Steele and countless other artists who never topped the UK charts and who I can’t therefore link to… Their careers were all pretty much obliterated (or, at least, heavily affected by) this unstoppable Merseybeat fireball. May they rest in peace. Vive la revolution!

151. ‘From Me To You’, by The Beatles

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Where to start… How do you introduce the most successful, most influential, most important, so on and so forth, band ever? Um….

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From Me to You, by The Beatles (their 1st of seventeen #1s)

7 weeks, from 2nd May – 20th June 1963

Maybe I don’t need to. Anyone with even a passing interest in pop music will have heard this song. Da da da da da dun dun daaa… chiming harmonica and exuberant vocals – you can just picture two mop-heads leaning in towards the mic… If there’s anything that you want, If there’s anything I can dooooo, Just call on me, And I’ll send it along, With love, From me, To You…

Gerry & The Pacemakers set the Merseybeat pace with ‘How Do You Do It?’, but this takes things up another level again – as if someone has just found the warp button and pressed it twice in quick succession, leaving Cliff Richard and Frank Ifield as specks in the distance. There’s a lot of great stuff here: the rasp in John’s voice, the camp little ‘oohs!’ at the end of each line, and Ringo’s drum-fills (I’ve never subscribed to the ‘Ringo wasn’t that good a drummer’ theory – he’s the main man here.) And the saucy line in the bridge: I’ve got lips that long to kiss you, And keep you satisfied… Ooh!

But… ‘From Me to You’ isn’t an amazing, Grade-A, one-of-a-kind, bury it in a time capsule for future generations kind of record. Not quite. They will certainly come for The Beatles, of course; but this isn’t it. It’s a little too cheesy, for a start – a little too close to a nursery rhyme in some of its lyrics: I got everything that you want, Like a heart that’s oh so true… Meh. Plus, they should have brought a guitar in on the solo, rather than reusing the harmonica. It makes the record harmonica-heavy, which is never a good thing. I’d even go so far as suggesting that ‘Please Please Me’ would have made a better first Beatles #1… (in my humble opinion…) It’s funny: criticising anything about The Beatles seems kind of futile, like suggesting Shakespeare should have made ‘King Lear’ a bit shorter, or that Da Vinci should have painted the ‘Mona Lisa’s eyes a little further apart… Futile, and way too late.

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What ‘From Me to You’ is, then, is a rip-roaring intro to the band that will dominate the sixties and beyond. The band that every other rock ‘n’ roll band from now to eternity will rip off, even if they don’t realise it. And, having listened to this record now five or six times in quick succession, it really does sound like a band that knew they were going to be huge. There’s a self-confidence to this record, a swagger and a wink. Maybe that’s just the hindsight talking; though I’m pretty sure it isn’t.

It feels slightly disrespectful to end my first post on The Beatles – my introductory post on the Biggest Band in the History of Popular Music ™ – so quickly. I do usually try to write a bit about the band in these types of posts, a bit of background to the song and so on… Here goes: The Beatles consisted of John Lennon, Paul McCartney, George Harrison and Ringo Starr and you know the rest. Everyone does. I can’t remember the first time I heard them. They were just always there, and I was born fifteen years after they stopped making music, when one of them was already dead and another was narrating ‘Thomas the Tank Engine’ (actually, that was probably my first ever exposure to a Beatle, aged three.) My parents love them. My friends love them. I’ve taught English lessons to young kids in Asia using Beatles songs, and they loved them. I have one friend who claims to not like them; but he’s an idiot.

We will hear from them again soon. Then again. And again until the sixties are out. The Beatles have officially landed, and nothing will ever be the same again…

Follow the OFFICIAL playlist to this blog, updated along with every post, here….

150. ‘How Do You Do It?’, by Gerry & The Pacemakers

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It comes on like some kind of whirlwind, this new sound. A whip-snapping intro with a jabbing piano riff, tight guitars and machine-gun drums. The revolution is here.

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How Do You Do It?, by Gerry & The Pacemakers (their 1st of three #1s)

3 weeks, from 11th April – 2nd May 1963

It’s kind of like rock ‘n’ roll music has undergone a software update – the way that your laptop updates, say, Skype without you knowing and now it’s still Skype but with new colours and maybe rounded corners… This is clearly rock ‘n’ roll – we’ve got guitars and drums and perky lyrics about being in love – but it sounds so fresh, so new. Same same; but different.

How do you do what you do to me, I wish I knew, If I knew how you do it to me, I’d do it to you… These are pretty relatable lyrics – no flowery pretence here. In fact, they could be interpreted as pretty raunchy: When I do it to you… Do what, sir! And to whom!?

The bridge is my favourite bit here – the Like an arrow, passin’ through it… line really works. And then he yelps the song’s title – desperate and frenzied – How do you do it!? As a song it’s very short, and to the point. Four verse-choruses, two bridges and a solo rattle by in one minute fifty-five. Then it’s done; but pop music has changed.

I think it might all be in the voice. Bear with me. Gerry Marsden has an accent – a scouse, Irish accent – that makes him sound like a bloke from down the pub. All the British singers to have topped the chart, with the exception perhaps of Lonnie Donegan, have sounded ‘proper’. Or, in the case of Tommy Steele, they were putting on an accent. But here, Marsden is just singing like he speaks, with a rasp in his vowels, squeezing ‘suppose’ into ‘spose.

I can think of only one record that we’ve heard so far, that’s sounded like such a leap forward, and that was ‘Rock Around the Clock’. I’ve said it before, but hearing these #1s in context, in the order that they topped the charts, really makes the truly special ones stand out. Listening to ‘How Do You Do It?’ barging in after so much Cliff, mid-career Elvis, and Frank Ifield, really does make it sound like a shot of adrenalin, rather than the mid-level Merseybeat pop that it might come across as on a compilation album. And, to me, the fact that this was Gerry & The Pacemakers debut chart hit makes it all the better – they really are arriving out of nowhere to shake up the charts.

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Of course, it might have been even better if The Beatles had been the first ever Merseybeat #1. They came close (there’s a lot of controversy about ‘Please Please Me’ topping various charts in early-1963, but not the ‘official’ ‘Record Retailer’ chart) but it wasn’t to be. In truth, Gerry and the Pacemakers were The Beatles Mk II. They were from Liverpool, cut their teeth in the same clubs and bars, were discovered by Brian Epstein and produced by George Martin. The Beatles did record ‘How Do You Do It?’, but rejected it as a single. Things might have been so different…

But The Fab Four didn’t have long to wait for their own chart-topping run to begin, and within a year they had surpassed their local rivals, conquered Britain, then the US, then the world. But for most of 1963, Gerry and the gang were every bit as big as John, Paul and co. We’ll be hearing from them again very soon, with what I’d class as an ever better song that this.

When I was eleven or twelve, I started making mix-tapes based on hits from particular decades. Nineties, seventies – I wasn’t big on the eighties back then – and sixties. But my ‘sixties mixes’ always started in 1963, with Merseybeat. Everything before that just sounded really old – very misty and a little bit scary… Like I was listening to ghosts. Then, eventually, I discovered Elvis, then Chuck and Buddy, and realised that this wasn’t true. But, there’s still a feeling – shared by many – that modern pop music started in the spring of ’63. That this is Pop Year Zero. And I can see why. Listen to ‘The Wayward Wind’, by Frank Ifield. That’s an old-fashioned, easy-listening track that could have been a hit ten years back. ‘How Do You Do It?’ sounds so fresh that it mightn’t have been a hit ten weeks back.

It’s been fun, writing about the previous hundred and forty-nine UK number one singles. I’ve discovered some great new songs, and found unexpected layers to what I’d previously thought of as simply ‘Pre-Rock’ and ‘Rock ‘n’ Roll’. But with this latest chart-topper, we’ve well and truly opened a new chapter… Onwards!

Recap: #121 – #149

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To recap, then…

We’ve fallen into a bit of a slump, really, at the top of the UK singles charts. It happens… This is my fifth recap, and it’s another one without a defining theme to it. We’ve had ‘The Pre-Rock Recap’, and we’ve had ‘The Rock ‘n’ Roll Recap’ and we’ve had two others that were more a bunch of songs squashed together. It’s like throwing dinner parties: sometimes the guests all hit it off smashingly and other times everybody just sits around looking awkward.

If I was to fumble around for a one-word summary of the past thirty twenty-nine chart-toppers, I’d have to go for… ‘easy’. By and large they’ve been very easy listens – nothing too wild, nothing too experimental, no boundary pushing… I’m thinking ‘Moon River’, ‘I Can’t Stop Loving You’, ‘Wonderful Land’, ‘The Young Ones’ – proper records the lot of them. Background music, though, rather than anything that really grabbed me. But maybe that’s just me…

Then there were the downright bland chart-toppers, of which the last few months haven’t been short: ‘Well I Ask You’, ‘Dance On!’ (such a promising title; so little going on), and Frank Ifield’s double-whammy of dull, ‘I Remember You’ and ‘The Wayward Wind.’ Lots of worthy contenders, then, for the latest ‘Meh’ Award… I’m going to give it to Cliff though, for the thoroughly snooze-inducing ‘The Next Time’ / ‘Bachelor Boy’ – a double ‘A’ for double the dullness.

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And, sorry, we can’t talk about ‘dullness’ without mentioning Elvis. This recap covers an unbelievable 5 (five!) chart-toppers from The King. ‘Little Sister’ / ‘His Latest Flame’ is an undeniable classic double-‘A’, don’t get me wrong, as is ‘Can’t Help Falling in Love’. Except, that came with the hideous ‘Rock-A-Hula Baby’ in tow, which took a lot of the shine off. No, it is his three most recent #1s that have really had the eye-lids drooping. ‘She’s Not You’ – OK at best. ‘Return to Sender’ – cheesy, though an undeniable guilty pleasure. And ‘Good Luck Charm’, with its pre-set boogie-woogie riff and half-arsed vocals, which had the temerity to spend five weeks at the top! I was seriously tempted to dish out Elvis’s 2nd Very Worst Chart-Topper award for this… But I can’t. Not when the worst charge you can level at it is that it’s Elvis on auto-pilot. And not when ‘Lovesick Blues’, by Frank Ifield, is barrelling its way towards you like a yodelling freight-train. I honestly still have nightmares about that record… It’s by far the worst of the past bunch.

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That is the big mystery of British music in 1962-3… why Frank Ifield? Why? He bursts out of nowhere to become the biggest star in the land for a year, and then… I’m pinning all my hopes on his final number-one, which is coming up shortly, redeeming the career of Frank Ifield for me. But I won’t be holding my breath.

Before we get to the next awards, a little love for the outliers. The discs that aren’t very bad, or incredibly good, or mad-cap, or even dull. Shirley Bassey (Dame Shirley Bassey, thankyouverymuch) with ‘Reach for the Stars’ / ‘Climb Ev’ry Mountain’, ‘Tower of Strength’ by Frankie Vaughan, ‘Michael’ by The Highwaymen, the bubble-gum bounce of ‘Walkin’ Back to Happiness’ and the irrepressible – no matter how much you want to repress it –  ‘Summer Holiday’. All perfectly acceptable, and all records that I enjoyed (re)discovering at the time.

Rehearsals for the Royal Variety Performance. Shirley Bassey, 6th November 1961. (Photo by Barham/Mirrorpix/Getty Images)

Because so many of the recent chart-topping records have been planted firmly in the middle of the road, I feel that there is a very fine line between those few that stand out for being the best and those few that stand out for being the craziest. So, I think I’ll have to award my ‘WTAF’ Award, and my Very Best Award at the same time. Should ‘Nut Rocker’ go down as one of the best; or one of the craziest? Should ‘Telstar’ go down as one of the craziest; rather than the best? Maybe I should re-consider ‘Lovesick Blues’… It was an utterly crazy record, after all. Then there’s the gothic-romance-as-three-minute-pop-song of ‘Johnny Remember Me’…

No, I’m going to stick with my gut, and dish the ‘WTAF’ Award out to Mr. B. Bumble and his Stingers, for turning The Nutcracker into a gloriously daft rock ‘n’ roll boogie. Hurrah!

And for the very best – the crème de la crème – I’ve whittled it down to four. In one corner we have The Everly Brothers final UK #1, ‘Temptation’. One the one hand it’s probably the hardest rocker of the past thirty twenty-nine, but on the other it feels like it shouldn’t really be here. It was so long ago that I had kind of forgotten that it would be in this recap. Next we have some real heartbreak in the form of Helen Shapiro’s ‘You Don’t Know’ – it still amazes me that that was the voice of a fourteen-year-old. Then it’s the towering ‘Telstar’, from The Tornados, sending pop music light years into the future. And finally our most recent chart-topper, and The Shadows last ever: ‘Foot Tapper’. I could give a good argument for any of them, but I know deep down which way I want to go… The very best chart topping single between July 1961 and April 1963 is… drum roll please… ‘Telstar.’

In case you’ve lost track, then:

The ‘Meh’ Award for Forgettability: 1. ‘Hold My Hand’, by Don Cornell. 2. ‘It’s Almost Tomorrow’, by The Dream Weavers. 3. ‘On the Street Where You Live’, by Vic Damone. 4. ‘Why’, by Anthony Newley. 5. ‘The Next Time’ / ‘Bachelor Boy’, by Cliff Richard & The Shadows.

The ‘WTAF’ Award for Being Interesting if Nothing Else: 1. ‘I See the Moon’, by The Stargazers. 2. ‘Lay Down Your Arms’, by Anne Shelton. 3. ‘Hoots Mon’, by Lord Rockingham’s XI. 4. ‘You’re Driving Me Crazy’, by The Temperance Seven. 5. ‘Nut Rocker’, by B. Bumble & The Stingers.

The Very Worst Chart-Toppers: 1. ‘Cara Mia’, by David Whitfield with Mantovani & His Orchestra. 2. ‘The Man From Laramie’, by Jimmy Young. 3. ‘Roulette’, by Russ Conway. 4. ‘Wooden Heart’, by Elvis Presley. 5. ‘Lovesick Blues’, by Frank Ifield.

The Very Best Chart-Toppers: 1. ‘Such a Night’, by Johnnie Ray. 2. ‘Cherry Pink and Apple Blossom White’, by Perez ‘Prez’ Prado & His Orchestra. 3. ‘Great Balls of Fire’, by Jerry Lee Lewis. 4. ‘Cathy’s Clown’, by The Everly Brothers. 5. ‘Telstar’, by The Tornadoes.

Actually, looking at those winners, perhaps the word I was searching for to describe this phase of chart history was ‘Instrumental’. Of the past twenty-nine #1 hits, seven have been lyric-less. And really, this is the last hurrah of the instrumental hit because, looking forward, they are about to become a rare species indeed.

I mentioned in my last post that I have broken my own rules slightly here, by doing a recap one song early. But… there was method in my madness. Whatever we’ve been calling the past few years: the rock ‘n’ roll age, the post rock ‘n’ roll age, the 2nd wave of rock ‘n’ roll… One thing’s for sure. It’s over. And another thing that’s for sure is that when I do my next recap, I won’t be complaining about there being no definable ‘sound of’ the time. Because we are about to hit on one of the richest, most distinctive, most glorious eras in British music history…

 We are off to Liverpool.

(P.S. I’ve made Spotify playlist featuring all the #1s so far – I’ll update it every time I post. Follow it below…)

149. ‘Foot Tapper’, by The Shadows

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Once again, The Shadows replace themselves at #1, and all I have to say is ‘Thank God!’ Thank God that ‘Summer Holiday’ wasn’t their final UK chart topper. For the group that contributed more to British rock ‘n’ roll than any other act to bow out from the top spot with a record as sickeningly twee and limp as that would have been a travesty.

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Foot Tapper, by The Shadows (their 12th and final #1)

1 week, from 28th March – 4th April 1963

Thank God for ‘Foot Tapper’, then, as it ensures that Hank, Bruce and the other two score their final number one with, in my opinion, the best of the lot. OK, ok, ‘Foot Tapper’ might not be as sweeping as ‘Apache’, as epic as ‘Wonderful Land’ and it might not rock as hard as ‘Kon-Tiki’; but it is an insanely catchy little number.

What does it consist of? A light and limber riff? Check. Natty little drum fills? Check. A bouncy bassline? Check. A super-appropriate title? Check. (Go on – press play on the link below and watch your feet start tappin’.) Unlike their previous #1, ‘Dance On’, this one really does get you moving. This record just has a joie de vivre about it, a certain je ne sais quoi… It’s a song of such special potency that it’s got me speaking French.

It’s a very fitting way to round off three months of unparalleled Shadows dominance in the UK Singles charts. We’ve had The Shadows with Cliff twice (‘The Next Time’ and ‘Summer Holiday’), we’ve had solo-Shadows (‘Dance On!’ and now this) and we’ve had ex-Shadows (‘Diamonds’ from Jet Harris and Tony Meehan). They’ve replaced themselves at the top twice this year already, and now sit right behind Elvis Presley himself as the act with the most #1s in chart history. (Skip forward forty-six years, and The Shadows still remain joint-fifth in the all-time #1s list – level with Take That, and behind only Elvis, The Beatles, Cliff, Westlife and Madonna.)

And while we’re on the theme of Dominance, it is worth noting that ‘Foot Tapper’ is the 3rd chart-topper to be taken from the soundtrack to ‘Summer Holiday’. I’m not sure that there has ever been a more successful soundtrack than that. And… these Cliff ‘n’ Shadows number ones over the past few months have all been produced by the same man: Norrie Paramor. The same Paramor that also produced the only non-Shadows chart-topper of 1963 so far, Frank Ifield’s ‘The Wayward Wind’. So it could be argued that it is he that truly has the charts in a chirpy, string-drenched stranglehold.

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Back to the record in question, though, and I am not alone in holding ‘Foot Tapper’ in high-regard. The tune was, of course, the theme to ‘Sounds of the Sixties’ on Radio 2 – a show that I’ve mentioned before and will happily mention again whenever the opportunity arises. This meant that, no matter what tunes had been played in the preceding two hours – Procol Harum, Velvet Underground, experimental Scott Walker ‘B’-sides… – the last tune you always heard was this. Da-da-da-doo-doo, Doo-doo-dun-dun-da-da…

And so. We arrive at the end of an era. And I don’t just mean in the sense that we’ll never hear from The Shadows again. I mean that this is officially the end of the ‘rock ‘n’ roll age’, which we’ve been wading through ever since Bill Haley shouted ‘One, two, three o’clock…’ back in November 1955. Because of this I’m going to break my own rules slightly and do the next recap one song early (Gasp!) The first number one single after said recap will then be the starting pistol for perhaps the biggest, most influential movement in British popular music history! I’m excited! Are you…?

148. ‘Summer Holiday’, by Cliff Richard & The Shadows

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The doors are locked, the suitcases stowed in the boot, the dog’s at the kennels. Dad starts the car and mum turns to the kids in the backseat. We’re all going on a summer holiday… she sings… No more working for a week or two…

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Summer Holiday, by Cliff Richard (his 7th of fourteen #1s) & The Shadows (their 11th of twelve #1s)

2 weeks, from 14th – 28th March / 1 week, from 4th – 11th April 1963 (3 weeks total)

Chances are, if you had any sort of semi-regular, middle-class British childhood in the latter half of the twentieth century, you will have lived through that very scene. I know I have – more than once. There can’t be many better known #1 hits than this? I’m racking my brain to think of chart-toppers that more people will know the words to, and I can come up with ‘Hey Jude’, and ‘Bohemian Rhapsody’…

We’re goin’ where the sun shines brightly, We’re goin’ where the sea is blue, We’ve seen it in the movies, Now let’s see if it’s true… It’s a horrendously twee song. The jaunty guitar ‘riff’, the glockenspiel, the strings that are apparently now a constant part of Cliff’s musical journey… And those lyrics. So we’re goin’ on a summer holiday, To make our dreams come tr-u-u-u-ue… Fo-or me and you… ‘Trite’ doesn’t even begin to cover it. Then there’s the key-change, and the humming to fade. Humming!

This should be an awful song. It is awful. And yet, it’s not. Not really. Because deep down in even the hardest, most cynical and blackened hearts there remains a kernel of the-child-that-was. And that little kid, in the backseat of his family’s Ford Escort, cares not for the sickeningly perky guitar and the vomit-inducing lyrics; to him it is simply the sound of, well, the summer holidays.

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This song is Cliff doing what he does best. Cliff at his Cliffest. Peak Cliff. This will be his last chart-topper for a while, and it’s kind of fitting that we pause here. ‘Summer Holiday’ draws to an end his teeny-bopper stage – very soon he’ll be usurped by a four-piece from Liverpool as Britain’s foremost pop-act of the age. And it’s the perfect song to do so with, as any lingering hope that Cliff was Britain’s great rock ‘n’ roll hope is finally, brutally, irrevocably snuffed out in this record’s opening chords. Looking back at his seven #1s so far, only ‘Please Don’t Tease’ came anywhere close to being a rocker; and even then it was a super-mild rocker. The coconut korma of rock ‘n’ roll records. ‘Summer Holiday’ is, of course, one of the songs that Cliff performed on Wimbledon’s Centre Court during that rain delay, a moment still commemorated every year in Middle England’s village halls…

‘Summer Holiday’ is also the second chart-topping record from the hit movie of the same name, after ‘The Next Time’ / ‘Bachelor Boy’. Which is impressive – not many movies spawn two #1s (and it’s not finished with the chart-toppers yet!)

It also, and this is something that’s just came to me, confirms ‘Summer’ as the biggest single theme in pop music, after Christmas. We’ve already had ‘Here Comes Summer’ by Jerry Keller as a chart-topper in 1959, and I can think of at least three more summer-themed number ones through the years (there are surely others…) Which makes it all the odder that winter was barely finished when this song actually topped the charts… The power of Cliff! Even the seasons couldn’t contain him!

147. ‘The Wayward Wind’, by Frank Ifield

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I have to admit – I’m struggling to ‘get’ Frank Ifield, Britain’s pop-idol du jour in 1962-3. We’ve arrived at Pt. III of his chart-topping quadrilogy (that’s a word, right?) and still the key to his success is eluding me.

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The Wayward Wind, by Frank Ifield (his 3rd of four #1s)

3 weeks, from 21st February – 14th March 1963

At the very least ‘The Wayward Wind’ is an improvement on Ifield’s last #1, the demented ‘Lovesick Blues’. Largely because the yodelling (Oh God, the yodelling…) is kept to a minimum. Instead we get a harmonica riff (that sounds suspiciously like it’s from an early-Beatles B-side…) and the story of a wanderer:

Oh the wayward wind, Is a restless wind, A restless wind, That yearns to wander… And I was born, The next of kin, Ah, the next of kin, To the wayward wind… It was originally, you may have guessed from those lyrics, a Country & Western song from the fifties – the rest of the lyrics are all about ‘railroad tracks’ and ‘border towns’. Which means it’s the third hit running in which Frank Ifield and his producers have taken an old song and tarted it up to fit in with the sound of the time – i.e. the soon-to-explode ‘beat movement’.

It’s probably the best of Ifield’s three chart-toppers; though that is very, very faint praise indeed. I like the way that strings and cymbals come in on the verses as the ‘wayward wind’ – it’s a nice effect. And we make it almost a minute into the song before the first yodel: made me a sl-a-a-a-eeee-ave…! Frank clearly couldn’t help himself. Maybe it was an actual affliction – yodelling Tourettes? – and he did it even when talking…? He saves it for that line and that line only, though, for which we can all be grateful.

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Like all of Ifield’s hits, ‘The Wayward Wind’ isn’t a song I’d ever heard before. The one good thing about his year in the sun is that all these tunes are completely new to me. There is at least a novelty value to his work. It was quite the popular tune, however, especially in the mid-to-late fifties. Our old friend Jimmy Young did a version (which makes complete sense, thinking about it – this could be ‘The Man from Laramie’ Pt. II) along with Patsy Cline, Sam Cooke and The Everly Brothers. The Beatles included it in their early live shows (I knew it – that harmonica!)

Let’s look at this as a throwback. In fact, let’s view the entire career of Frank Ifield as a throwback. He sings nicely, properly (your gran would have liked him, no doubt) with good enunciation. He was the final Pre-Rock star, the successor to the likes of Jimmy Young, Guy Mitchell and Frankie Laine, and his sudden popularity was the final twitch of a corpse that had been trampled over by rock ‘n’ roll and that was about to be completely buried by beat groups.

But, at the end of the day, this isn’t a very good record. Solid at best. Competent. Maybe his final chart-topper will unlock the mystery of Frank Ifield’s success? Maybe… Anyway, to finish… I’ve really held off mentioning this, but hey… ‘The Wayward Wind’ sounds, to me, like a euphemism for a fart.

On that note…

146. ‘Diamonds’, by Jet Harris & Tony Meehan

/ UK #1s blog / 2 Comments

Here’s a record I’d never heard before; and a rockin’ little record it is too. A hidden ‘gem’ (gettit?) of a record. Not to rag on the previous #1, ‘Dance On!’, too much, but this is how you do instrumental rock ‘n’ roll!

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Diamonds, by Jet Harris & Tony Meehan (their 1st and only #1s)

3 weeks, from 31st January – 21st February 1963

We start with a cool drum intro, and then a riff straight from the spaghetti-est of spaghetti westerns. Imagine the villain of the piece striding over a sun-baked hill, heat-haze rising around him. He stops and fixes the camera with a thousand-yard stare, spitting his tobacco over the dusty ground…

Then we get horns – Ba! Babababa-Ba! – and it feels as if the sixties, the ‘Swinging Sixties’ ™ are born. It goes from menacing to groovy in 0.5 seconds. First ‘Lovesick Blues’, and now this, have had what I would call a quintessentially ‘sixties’ sound – the sound that will define the next three or four years. And it’s great, the call and response from the brass section, but it’s not the best thing about this record. Because next we get…

A. Drum. Solo. In a number one hit single. I kid you not. What I thought the reserve of eighties hair metal bands and Phil Collins were around as early as 1963! I wish I could somehow describe it; but how on earth can you describe a drum solo? It lasts a good twenty seconds – one-tenth of the whole record! – and is great. That’s my official line on it. ‘Great.’

This whole song sounds familiar. But not. Like The Shadows… But not. It almost sounds as if it’s been recorded by The Shadows alter-egos, as if Hank, Bruce and the boys were moonlighting as darker, less clean-cut, slightly more evil versions of themselves…

Which may be a fitting description, as the two men playing on this record – Jet Harris and Tony Meehan – were (dun dun dun!) ex-Shadows. Harris, who we’ve heard playing bass on all but one Shadows chart-topper, had left the group in 1962 because of his drinking habits. Meehan, he of drum solo fame, had left a few months before that to go into producing. Thus, in the space of a few weeks we’ve had The Shadows supporting Cliff at #1 with ‘The Next Time / Bachelor Boy’, then going it alone with ‘Dance On!’, and now two former band members taking their turn at the top. Utter Shadows domination of the UK charts!

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I’m not sure if Harris and Meehan were on good terms with the other band members after their departures, but I do like the image of the pair celebrating their revenge in knocking their former band off the top of the charts. Interestingly (perhaps…) is the fact that Meehan left in October 1961, when ‘Kon-Tiki’ was at #1, and Harris left in April ’62, when ‘Wonderful Land’ was in the middle of its run at the top. Going out on a high, I suppose. The pair never re-joined The Shadows; but did occasionally collaborate during the eighties and nineties. Meehan died in 2005, Harris in 2011.

If we were to make this into a contest – Shadows Vs Ex-Shadows – then the latter win, hands down. ‘Diamonds’ is a clearly superior record to ‘Dance On!’. But… Harris and Meehan’s solo careers were short lived; almost at a one-hit-wonder level. While The Shadows are one of the most successful British groups of all time. ‘Diamonds’, though, stays with you: that riff and those horns running through your head long after the record has stopped.

Two interesting tit-bits before I finish. In 1962, Tony Meehan had the chance to sign The Beatles for Decca Records. He turned them down… And, the rhythm guitar on ‘Diamonds’ was played by one Jimmy Page, in one of his first session musician, pre-Yardbirds and Led Zeppelin gigs. Which is as close as one of the most famous guitarists in the history of rock ‘n’ roll will ever get to a #1 single!

https://www.youtube.com/watch?v=KAUOnTaa_TE

145. ‘Dance On!’, by The Shadows

/ UK #1s blog / 11 Comments

I might have suggested in my last post that Cliff and The Shadows utterly dominating the early months of 1963 would be a bad thing. I feel I spoke in haste; and would like to take it back. Especially when I see that The Shadows only have a handful of #1s left to come. We’ll be missing them soon enough.

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Dance On!, by The Shadows (their 10th of twelve #1s)

1 week, from 24th – 31st January 1963

Besides – this is a significant moment in British chart history. Fresh from accompanying Cliff on ‘The Next Time’ and ‘Bachelor Boy’, The Shadows now grab a week at the summit for themselves. Not content with being the first act to replace themselves at #1 – back when ‘Apache’ took over from ‘Please Don’t Tease’ – they’ve only gone and done it again!

And unlike their most recent releases, there’s neither a piano nor any strings in sight. It’s just the guitars, the bass and the drums – four boys having a tight little boogie. It’s unmistakably a Shadows record – you’d know as much when Hank Marvin’s lead guitar comes in on ten seconds. I like the bass here, and the way the main riff is drenched in echo. Plus the false endings, where the guitar crunches back to life like a motorbike revving, are cool.

These things aside, though, it is a bit of a throwaway disc. Nice enough, but you’ve pretty much forgotten how it went five seconds after it ends. It’s The Shadows at their most Russ Conway-ish: a decent melody in search of a purpose. Even the name of the record – ‘Dance On!’ – is pretty basic compared to the ‘Boy’s Own’ adventures conjured up by their earlier #1s: ‘Apache’ and ‘Kon-Tiki’… They sounded as if they wanted to tell a story; this just wants you to shake your hips.

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Which, I suppose, is a fundamental aspect of pop music. That’s what it all boils down to at the end of the day: shaking your hips. And you never get the feeling that this record is trying to be anything more than something you can dance (on!) to. Which makes it kind of hard to write about…

There you have it, then. The Shadows follow Elvis in hitting a double-figured amount of chart-topping discs. Hurrah! And, if you thought them replacing themselves at the top for the second time was an impressive act of chart dominance, you’ll never believe who is about to cut short the reign of ‘Dance On!’ at the top …

144. ‘The Next Time’ / ‘Bachelor Boy’, by Cliff Richard & The Shadows

/ UK #1s blog / 9 Comments

As in 1962, the first number one of 1963 is by Cliff and his gang. New year; new Cliff? Well, kind of. His sound is changing… For the worse, mostly.

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The Next Time / Bachelor Boy, by Cliff Richard (his 6th of fourteen #1s) and The Shadows (their 9th of twelve #1s)

3 weeks, from 3rd – 24th January 1963

The first thing I noticed after pressing play on ‘The Next Time’ was that there’s an awful lot of piano. Previously, no matter how bland and soppy Cliff got – and he’s been plenty bland and soppy in his five previous chart-toppers – they were all guitar-led tracks. The Shadows are here, apparently, but quite why they were deemed necessary is beyond me. If I were Hank Marvin I wouldn’t have bothered getting out of bed for this one.

Away from the instruments, Cliff is properly crooning. They say I’ll love again someday, A true love will come my way, The ne-e-e-ext time… But after you there’ll never be a next time, Fo-o-o-or me… The song unravels at a snail’s pace, the verses and chorus blending together in a soggy mush. Lord, this is dull. It sounds like something Cliff should have been releasing in his forties; not when he was twenty-two!

There are lots of recurring themes here. It isn’t the first time that The Shadows have had their name on a disc to which their contribution was minimal (see ‘Travellin’ Light’.) It isn’t the first time that Cliff – the man who just three years ago was being hailed as Britain’s great rock ‘n’ roll hope – has released bland, saccharine crap (see ‘I Love You’.) But the more it happens the less I find I have the patience to listen to it.

By the time Cliff’s gone all nineties Hugh Grant, mumbling that he’s Still so very much in love… I’m over it. Grow some balls, Clifford. I can’t think of many previous #1s that were so lacking in oomph, so in need of a kick up the backside.

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Can the flip-side of this double-‘A’ redeem it? Well, straight away I’m getting strong whiffs of ‘Whatever Will Be Will Be’, both in the lilting rhythm and in the lyrics. When I was young, My father said, ‘Son I have something to say…’ And what he told me, I’ll never forget, Until my dying day… What is it that his dad imparts, in this testosterone-fuelled ‘Que Sera Sera?’ Well… Son you are a bachelor boy, And that’s the way to stay, Son you be a bachelor boy, Until your dying day…

Why his father is so anti-marriage is not explored, which is a shame, but Cliff wastes no time in putting Pop’s wise words into action. When I was sixteen, I fell in love, With a girl as sweet as can be, But I remembered just in time, What my daddy said to me… There’s no suggestion that he is staying unattached for any kind of racy, sow-my-wild-oats kind of reasons. No, not our saintly Cliff. He concedes, grudgingly, that he probably will fall in love eventually; though he doesn’t sound thrilled at the prospect. Until then though he’s Happy to be a bachelor boy… so on and so forth.

It’s better than ‘The Next Time’, but that’s a very low bar to get over. It’s faster paced, and at two minutes doesn’t outstay its welcome. I suppose this song would have been forgotten completely in the canon of British pop, even in the canon of Cliff, if it hadn’t become a sort of self-fulfilling prophecy: Sir Cliff has famously never married. Never even had a serious girlfriend, it seems. Which means that every time the ‘Daily Mail’ runs a story about Cliff and one of his female friends they will, without fail and to this very day, though he’s pushing eighty, trot out the ‘Bachelor Boy’ headlines. I bet he wishes he’d never recorded the bloody song.

Of course, there have always been rumours that Cliff is something of a ‘confirmed bachelor’, ‘not the marrying kind’, a ‘friend of you-know-who’ if you know what I mean, nudge, nudge… And people always argue that, in these enlightened times, he should just come out with it. But when you’ve been courting the evangelical Christian market for decades, and risk losing the only people that still buy your records in doing so… Anyway, all this is neither here nor there. The fact that I’ve started blethering on about this rather than the chart-topping record in question is a sign that I should wrap up.

Both ‘The Next Time’ and ‘Bachelor Boy’ featured on the soundtrack to ‘Summer Holiday’ – Cliff’s latest box-office smash (the 2nd biggest movie of 1963). And I hope you’re ready for more from Cliff and more from The Shadows, because they are going to utterly dominate the first three months of this year. Yay….