Number 1s Blog 5th Anniversary Special – Readers’ Favourite #1s – ‘Everlasting Love’

In the five years that I’ve been writing these blog posts, I’ve covered thirty-five years of the singles chart, and 615 #1 singles. Which means that we are pretty much exactly halfway between 1952 and 2023! We’re not quite halfway through all the chart-toppers, however, as turnover between #1s really sped up in the late ’90s and early ’00s. Around 800 songs stand between us and February 2023.

Anyway, on to today’s guest writer: Max from PowerPop blog. His blog is a treasure trove of pop culture – music, films, TV shows and more, from the ’60s, 70’s and beyond. I’ve discovered so many cool songs from following his blog, and would recommend that you do so too… If you aren’t already! He’s has chosen Love Affair’s 1968 smash, ‘Everlasting Love’. Take it away, Max…

‘Everlasting Love’, by Love Affair – #1 for 2 weeks in 1968

First, it’s an honor to guest host on this wonderful blog! I have discovered many #1 songs that I never knew existed. It’s been a lot of fun going through history with UK #1s blog. I like learning about songs I like and dislike… The more trivial knowledge I can stuff in my brain the better. I like to give its creator a lot of good-natured fun over my dislike of (I even hate typing the name!) Madonna. I always look forward to commenting here.

I was looking through this blog in 2020 and I noticed this song and it hit me hard. It starts in with a cannon shot from the drums and that bass. I’ve been a bass player for a long time and I would love to get that sound now. I was struck on how modern the sound was, along with how Steve Ellis looked like he came from now not 1968. He didn’t look like he was old enough to drive… much less 18 years old. 

This version was much better than the Carl Carlton version I knew. I’m American and knew nothing about Steve Ellis and Love Affair. This version is not as slick, and it punches you in the face in the intro. The video intrigued me as well. The video is very 1960s with what is going on. The lingering flower power along with some 1920s thrown in. It has a nice vibe to it… the Charlie Chaplin girl and the other girl who are dancing around posters of Jimi Hendrix and LBJ… pure sixties. It makes you feel like you are there.

When you look back to 1968 and the music at that time… it was everywhere on the map. You had rootsy music, as in The Band. The Beatles and Stones also shed their psychedelic stuff for more pure music without the studio tricks. Other bands still explored psychedelic, folk, country rock, hard rock, and pop. The sixties had some of the best pop songs of any decade. This is one of those great pop songs.

Only Steve Ellis played on this recording. Studio musicians did the rest. Love Affair went onto achieve five more UK Top 20 hits on which the entire band did get to perform. ‘Everlasting Love’ peaked at #1 in the UK in 1968. It was written by Buzz Cason and Mac Gayden. It was originally recorded by Ray Knight and peaked at #40 in the UK, and at #13 in the Billboard 100 in 1967. Steve Ellis: “The general opinion seemed to be that I should do it with an orchestra and then give it a Phil Spector-type production. Obviously, I felt odd without the band being in the studio but it was for the good of all involved. Two takes and it was done. The band were not too concerned about this approach to things.”

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Number 1s Blog 5th Anniversary Special – Readers’ Favourite #1s – ‘Silence Is Golden’

This week marks FIVE YEARS since I launched this blog with a post on Al Martino’s ‘Here in My Heart’, the first number one single on the first NME chart, published on November 14th, 1952. Over the course of this half-decade, I’ve picked up some dedicated readers and commenters, to whom I’m very grateful for making this whole thing worthwhile. So, to celebrate the milestone, I’m going to hand the blog over to four of my long-time followers. They’ve all chosen their own favourite UK number one single (from between 1952 and 1988 because, well, we don’t want spoilers!)

Up first is John Van der Kiste, and his choice of The Tremeloes ‘Silence Is Golden’. John is a writer and historian, whose recent projects include a book on Manfred Mann in the 1970s, and ‘Eagles on Track: Every Album, Every Song’. His work can be found on Amazon.

‘Silence Is Golden’, by The Tremeloes – #1 for 3 weeks in 1967

When Brian Poole and the Tremeloes parted company in 1966, music pundits thought the former would remain a major star while his band would disappear without trace. They were wrong. After struggling with their first two singles, ‘Blessed’ (a Paul Simon song) and ‘Good Day Sunshine’ (Beatles), the band scored with Cat Stevens’ ‘Here Comes My Baby’, a No. 4 in 1967. Stevens disliked their version, complaining that they had turned his heartfelt love-gone-wrong song into a party romp.

For their fourth single, again they decided to take a sad song and make it better (see what I did there). ‘Silence is Golden’, originally the B-side of The Four Seasons’ ‘Rag Doll’ in 1964, was recommended as a potential hit to them by Mick Clarke, who briefly joined as their bassist before being (amicably) replaced by Len Hawkes. Taking a slow, slightly bitter number marked a change in style for them. In three verses and a chorus, the observer tells of his pain at seeing a girl (whom he presumably fancies) being deceived by a guy who obviously doesn’t deserve her. He’s dying to warn her, held back only by the fear that she will tell him he’s lying, so he’d better shut up. A miserable little triangle.

Even so, it flew out of the shops on both sides of the Atlantic. Most of the Trems’ songs featured Hawkes or drummer Dave Munden on lead vocal, but this time they gave the job to lead guitarist Rick West. It shows off the band’s harmonies to perfection. For the most part it follows the arrangement of the original closely with a change in key after the second chorus, the only change coming with a couple of repeats of the final line in a different melody instead of fading out.

1967 may have been the year of Sergeant Pepper, San Francisco and Monterey, but as far as the British charts went, it was big ballad time, with Frank and Nancy Sinatra, Engelbert Humperdinck, Long John Baldry, Tom Jones and The Dave Clark Five all getting sentimental and reaching No. 1 or else getting close. ‘Silence is Golden’ still remains a much-loved staple on 1960s oldies playlists, though some people have never forgiven it for denying The Kinks’ sublime ‘Waterloo Sunset’ the summit after three chart-toppers in three previous years.

(The Trems performing ‘Silence Is Golden’ live in 1967)

The Trems had their chance of repeating history not once but twice, but threw it away. In 1968 they were offered but rejected ‘(If Paradise Is) Half as Nice’, and Amen Corner reaped the benefit. Later they recorded Jeff Christie’s ‘Yellow River’ and scheduled it as a single, though after a change of heart they turned it down, whereupon their producer Mike Smith helped Christie form his own self-named band (with drummer Mike Blakley, whose brother Alan was a Tremeloe) – and take it all the way there in 1970. Also it’s interesting that, of their remaining singles, the most successful were back to the up-tempo party style, with other ballads faring poorly.

Their run of hits continued until 1971 and then faded away (apart from a minor chart entry in 1983 with their version of F.R. David’s ‘Words’), but they have continued to earn a living on the live circuit. Their line-up became something of a revolving door, with West leaving in 1972 after a battle with labyrinthitis, later rejoining on condition that he wouldn’t sing on stage but concentrate on guitar instead. Clarke, who had his moment at the top in 1974 with ‘Sugar Baby Love’ with The Rubettes, has recently been part of the line-up from time to time. The original foursome have all had health issues, with Blakley passing away in 1996 and Munden in 2020, though The Tremeloes have endured in one form or another. Hawkes is still a regular member, while his sons Chesney (as in ‘The One and Only’, No. 1 in 1991) and Jodie often join the line-up on guitar and drums respectively. No mean feat, for a band originally formed in 1958. 

Results: Your Best (and worst) Number One Singles

Last week, to celebrate reaching the 600th UK number one, I published a poll and opened the floor so everyone could vote for their best and worst chart-topping singles. I limited it to the 20 winners/losers from my regular recaps, allowed folks to cast as many votes as they wanted… And the results are interesting!

The Worst

Interestingly, almost twice as many votes were cast for the ‘Best’ record than were cast for the ‘Worst’. Nice to see that so many people just want to stick with the positives! Those who did indulge their negative side gave us a Top 3 that looks like this…

Joint 3rd Place (10% of the vote each): ‘There’s No One Quite Like Grandma’, and ‘Wooden Heart’

A stinkingly saccharine Christmas #1 from 1980, and The King with one of his worst movie soundtrack hits (and there’s plenty of competition in that mini category!) from 1961. Yep, don’t disagree with either of those…

2nd Place (15% of the vote): ‘Star Trekkin”

Our most recent ‘Worst’ chart-topper, from May 1987, but one that instantly goes down as one of the most unforgiveable #1s, ever. Again, I’d have put it this high myself and so can only applaud our voters.

1st Place (20% of the vote): ‘No Charge’

But if I’d had to choose one song to finish above even ‘Star Trekkin”, it would have been this teeth grindingly, forehead smashingly, cloying, preaching, sanctimonious, spoken-word horror from 1976. Well done all! Democracy in action!

I was quite pleased with these results (though, I should really have been pleased with any winner, seeing as I hand-picked my twenty least favourite #1s). Interestingly, the least-worst #1s (those with no votes at all) were ‘Lily the Pink’, ‘Release Me’, and ‘Don’t Give Up on Us’.

The Best

So here we go. Officially, undebateably, 100% verified… The three best British chart-topping singles, ever. (Or, actually, the five best, as we have one three-way tie.) One from the ’60s, three from the ’70s, one from the ’80s…

3rd place (6.5% of the vote): ‘The Winner Takes It All’

Of course. You couldn’t have a Top 3 without this. Third place might be too low, to be honest, but at least it’s there. Timeless pop from the best pop group… ever?

Joint 2nd place (8% of the vote each): ‘She Loves You’, ‘I Feel Love’, and ‘Heart of Glass’

We’ve had ABBA. We couldn’t not have the Beatles…

Plus Donna Summer and Giorgio Moroder, with what still sounds like the most futuristic number one – forty five years on!

And Blondie, with their first in what has to be one of the strongest chart-topping runs, between 1979 and 1980.

1st Place (13.5% of the vote): ‘Baby Jump’

Yes. It’s official. Mungo Jerry’s ‘Baby Jump’ is the best #1 single, of the 600 to make top spot between 1952 and 1987. Um… There’s a bit of a backstory to this. When I published my original post on ‘Baby Jump’ (a glowing post, because I really do love this rocking, drunken, leery stomper of a song) it was quickly re-posted on a Mungo Jerry fansite. (It even, apparently, came to the attention of Ray Dorset – Mungo Jerry’s lead-singer.) And it seems many of these Mungo fans have stayed on as regular readers, because they came out in their droves make the band’s 2nd and final #1 my poll winner. And who am I to argue? It’s one of the least likely sounding #1s, ever. It’s one of the most forgotten #1s, ever (I doubt it would have gone Top 10 without the preceding success of ‘In the Summertime’). But it’s our Very, Very Best.

A quick consolatory shout-out to the two ‘best’ records that got nil points: Bucks Fizz with ‘My Camera Never Lies’ (seems I am out on my own in naming that as one of the very best), and ‘Cherry Pink and Apple Blossom White’ by Perez Prado (which presumably nobody has listened to for seventy-odd years… It is good though!)

These polls will remain open, and I guess it’ll be interesting to revisit every so often and see if anyone has stumbled across them and added a vote. For now, though, thanks to all who took part! Coming up, I’ll be celebrating a classic Christmas #2, then continuing with the regular countdown next week.

Roy Orbison: Best of the Rest

December 6th marks the 34th anniversary of Roy Orbison’s death, at the tragically young age of fifty-two. The ‘Big O’ stood apart from other early rock ‘n’ rollers, with his sombre stage persona, his vulnerable, melancholy songs, and his semi-operatic voice.

After his hit-making days ended in the mid-to-late sixties, a decade in the wilderness beckoned. Personal tragedies also unfolded – the deaths of his wife and his two eldest sons in a car crash and house fire respectively. The eighties saw a rediscovery of his work, with hit covers of his songs by Don McClean and Van Halen, and the formation of The Traveling Wilburys supergroup in 1988, alongside Bob Dylan, Jeff Lynne, George Harrison and Tom Petty. On the cusp of a triumphant comeback, Orbison died from a heart attack on December 6th 1988.

I’ve already written about his three chart-toppers (‘Only the Lonely’, ‘It’s Over’ and ‘Oh, Pretty Woman’) – classics the lot of them – and so to mark this day I’ll cover his five next-biggest UK hits…

‘In Dreams’ – #6 in 1963

A candy-coloured clown they call the Sandman, Tiptoes to my room every night… Only Roy Orbison could give a lyric so ridiculous-and-yet-terrifying the weight that it deserves. He dreams of his ex-lover then wakes, bathed in sweat, and alone. (Of course he’s alone – it’s a Roy Orbison song.) It’s got the same build-up as one of The Big ‘O’s very best songs, ‘Running Scared’, which barely scraped into the Top 10. ‘In Dreams’ is not quite as good, but builds to a fine crescendo. Roy, as was his way, hits a note that most humans are incapable of imagining, let along singing. ‘In Dreams’ was used to famous effect in David Lynch’s ‘Blue Velvet’, a move that initially shocked Orbison but one that he came to accept after seeing the film several times (and perhaps, if we’re being cynical, seeing the publicity it brought his music…)

‘Too Soon to Know’ – #3 in 1966

A country cover that, I must admit, I’d never heard before. And yet it’s one of his biggest UK hits. It must have sounded quite unfashionable in the swinging charts of 1966 and yet… When was Roy Orbison ever truly in fashion? Or out of fashion, for that matter? He ploughed his own, spectacular furrow. It’s sweet, but lacking the oomph of Roy’s biggest and best hits.

‘Blue Bayou’ – #3 in 1963

Another bit of country-pop, with a cool bassline. And with Orbison’s angelic tones in the chorus, this is no normal country tune. No matter what genre he turned his hand to – country, pop, rock ‘n’ roll – he couldn’t help doing it a bit different. As a kid, I had no idea what a bayou was, but always thought it sounded nice: where you sleep all day, and the catfish play… I’m still not one-hundred percent certain what a bayou is, but I’d definitely like to hang out there…

‘You Got It’ – #3 in 1989

The comeback hit that never was. Well, it was a hit – one of his biggest – but Roy wasn’t around to enjoy his return to the top end of the charts. And ‘You Got It’ is almost the perfect comeback – a slight updating of Orbison’s sound, with some help from Jeff Lynne, but still a record that could easily slip in amongst his classics from the early sixties. The video above was filmed just a few weeks before his untimely death. It feels churlish to wonder if it would have been such a big hit had he not died… Maybe it would, as it’s a great song.

‘Dream Baby (How Long Must I Dream)’ – #2 in 1962

Interesting that this rockabilly ditty is Roy Orbison’s biggest non-#1. It’s nice enough: a repetitive refrain that turns into a sort of mantra as the song progresses, and it builds to a crescendo as all the best Orbison songs do. But it’s not an all time classic. Not a ‘Crying’, a ‘Running Scared’ or a ‘Blue Angel’ (my personal favourite). The video above is worth a look if not for the song then for the spectacularly uninterested audience. What did he say just before launching into the song…?

Roy Orbison, then. One of the most original chart stars going, with one of the very best voices.

Roy Orbison, April 26th 1936 – December 6th 1988

Never Had a #1… Tina Turner

Part II of this look at huge chart stars who’ve never quite made it to the top. Yesterday we featured Bob Marley, whose five biggest UK hits were an eclectic mix. Today we feature a woman whose career spans eight decades… and whose five biggest hits are wall-to-wall classics. The Queen of Rock n Roll: Tina Turner.

‘The Best’ – #5 in 1989

I should actually do a full ‘Should Have been a Number One’ on what is probably Turner’s signature song, in Britain at least. It deserves the attention. Although released in the final year of the decade, ‘The Best’ sums everything great about the 1980s (a decade I may have been critical of, musically speaking, from time to time…) Throbbing synths, power chords, a belt-it-out-at-the-top-of-your-voice chorus, a galloping black stallion in the video, and one of the most outrageous uses of a saxophone ever heard in a pop song.

Before writing this, I had no idea that the original had been recorded by Bonnie Tyler a year earlier, or that it was written by the man behind so many ’70s glam rock classics, Mike Chapman. All that is interesting, and relevant, but also completely shunted to the background by Tina Turner’s performance in owning would could be, in different hands, a completely ridiculous song. The fact that I can even overlook ‘The Best’s decades-long association with Glasgow Rangers – they enter the pitch to it, and fans even had the song re-enter the chart at #9 in 2010 – is a testament to how good it is.

‘Nutbush City Limits’ – #4 in 1973 (with Ike Turner)

Before her reinvention as an eighties power-rock diva, Tina had a first wave of success with her then husband Ike in the sixties and seventies. And if ‘The Best’ has a rival for its position as Turner’s signature tune, then ‘Nutbush City Limits’ is it… (OK, and ‘Proud Mary’, which doesn’t feature here…) It’s a fabulously funky tale of a little ol’ town in Tennessee, that sounds as crispy as a piece of fried chicken. It’s a (hopefully) tounge-in-cheek ode to her hometown: no whisky for sale, you get caught – no bail, salt pork and molasses, is all you get in jail… Elevating the song further is the rumour that the track’s distinctive lead-guitar was recorded by none other than Marc Bolan…

River Deep – Mountain High’ – #3 in 1966 (with Ike Turner)

Belted out by a young Tina, and produced by Phil Spector using every Wall of Sound trick in the book (it even has Darlene Love on backing vocals), ‘River Deep, Mountain High’ gave Turner her first big hit. Ike was credited, but didn’t actually feature on this version (the couple would go on to re-record it in 1973). It was a big hit around Europe in 1966, but flopped in the US. Spector was so distraught by the song’s failure that he didn’t produce another one for two years, and set off on a very destructive path…

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What’s Love Got to Do With It’ – #3 in 1984

Turner’s certified biggest hit, and her only solo #1 in the US. This was her big comeback after seperating, both musically and romantically, from Ike. While it doesn’t do it for me like ‘The Best’ and ‘Nutbush’ – it tends a little too much towards ‘icky eighties’, especially in the harmonica – I can accept its classic status. In fact, Turner’s outrageous hairdo in the video would be enough to seal this one’s place in the pantheon. ‘What’s Love Got to Do With It’ went on quite the journey before being recorded by Tina: Cliff Richard turned it down, Donna Summer dithered over recording it, and Bucks Fizz recorded a (pretty decent) version that never saw the light of day until 2000.

We Don’t Need Another Hero (Thunderdome)’ – #3 in 1985

Turner’s joint-biggest hit is this track from the soundtrack to ‘Mad Max Beyond Thunderdome’. She starred in the movie, alongside Mel Gibson. Again, I’m not a huge fan of this one: it’s standard mid-eighties power-balladry (though I do like the snarling guitar). I’d have taken ‘Private Dancer’ (a #26), or ‘Proud Mary’ (never released as a single in the UK!) over this.

Still, there you have Tina Turner’s biggest UK hits that never quite made it to #1. One more ‘Never Had a #1…’ up tomorrow. And it’s the 1980s biggest girl-group!

Random Runners-Up: ‘The Son of Hickory Holler’s Tramp’, by O.C. Smith

The late sixties were one of the most eclectic periods for the UK charts, as the classic mid-sixties beat sound fractured, and a multitude of different genres filled the void.

‘Son of Hickory Holler’s Tramp’, by O. C. Smith

#2 for 3 weeks, from 3rd-24th July 1968, behind ‘Baby Come Back’

Which means country/soul oddities like this were free to spend three weeks at #2, behind the Equals’ reggae-rock chart-toppers. I say ‘country/soul’ because, while the sound is pure rhythm and blues, with a brilliantly funky bass-line, the story it tells is one of pure country woe…

Oh the path was deep and wide, From footsteps leading to our cabin, Above the door there burned a scarlet lamp… Daddy’s a drunk who packed up and left, leaving the weeds high and the crops dry so, yes, mum’s turned to whoring to feed her fourteen children. And yet, it’s an overwhelmingly positive song. Yes, I’m the son of Hickory Holler’s tramp! announces O. C. Smith, unashamed of how his mother made ends meet.

The neighbours did nothing to help, but did plenty of talking, and judging. The children didn’t notice though – all we cared about was momma’s chicken dumplings... – and grew up loved and nurtured. Mum’s dead now, Smith sings, but every Sunday fourteen roses arrive at her graveside. By the end, as Smith declares once again just who he’s the son of… Well, if there isn’t a tear in your eye.

It’s a very progressive song – probably long before ‘progressive’ became a thing – and I wonder why such a big hit has been erased from the sixties canon? Maybe it’s because the subject matter is just a little too on the nose, a little too celebratory towards the world’s oldest profession? Either way, I’m glad the date-generator threw up this forgotten hit. Ocie Lee Smith had many chart entries on the Billboard chart in the sixties and seventies, but in Britain he is a bone-fide one-hit wonder. He died in 2001.

One last number two for you tomorrow, and it’s one we can all sing along to…

Random Runners-Up: ‘Are You Sure?’, by The Allisons

Part II of this week’s runners-up feature, and the random date generator throws up one of the longest-running #2s in chart history…

‘Are You Sure?’, by The Allisons

#2 for 6 weeks, from 9th-23rd Mar / 30th Mar–27th Apr 1961 (behind ‘Walk Right Back’ / ‘Ebony Eyes’ and ‘Wooden Heart’)

Six weeks, over the course of two months, is a long and very unlucky amount of time to be marooned in second place, but it will happen if you’re up against two of pop music’s most famous acts.

This is a slice of early-sixties pop that probably sounded a little old-fashioned even when it hit the charts. The staccato strings and jaunty pace ape Adam Faith‘s hits, which in turn borrowed heavily from Buddy Holly’s posthumous chart-topper ‘It Doesn’t Matter Anymore’. The Allisons are also clearly going for an Everly Brothers vibe, but when you listen to the Brothers’ record that kept this off the top then there’s no contest. It’s pleasant enough, and over in a trice; but it’s a reminder of why The Beatles couldn’t come fast enough…

Goodbye, Farewell, I’m not sure what to do… Compare and contrast the well-mannered harmonising here with the Greek-stomping hit I featured yesterday, ‘Bend It!’. Only five and a half years separate these two songs, but they just so happen to have been the most fertile five years in pop music history.

The Allisons were, perhaps surprisingly, not actual brothers. Bob Day and John Alford were simply marketed that way. And this record has a particular claim to fame, perhaps even more important than its long run at number two… It was the first big British Eurovision hit single. The Allisons represented the UK at the 1961 contest, finishing in second place. It’s fairly middling as Eurovision singles go: not the best, but far from being the worst… Yet it was the duo’s only real hit, though they would continue performing for many years afterwards.

Next up, tomorrow, and we’re going even further back in time…

Random Runners-Up: ‘Bend It!’, by Dave Dee, Dozy, Beaky, Mick & Tich

I’m going to spend the next week in the company of some songs that almost featured on this blog in their own right. Instead, all these hits peaked in the most frustrating position of all… #2. As with this feature last year, they’ve been chosen at random – honest – and the date generator has thrown up some interesting choices. Two songs I’ve never heard of, a couple that I’m acquainted with, and one that nearly everyone on this planet knows word for word… Kicking us off, here’s one I’m acquainted with:

‘Bend It!’, by Dave Dee, Dozy, Beaky, Mick & Tich

#2 for 2 weeks, from 6th-20th October 1966 (behind ‘Distant Drums’, by Jim Reeves)

One of the kookiest bands of the decade – in a decade that wasn’t short on kooky bands – sat in second place for a fortnight with this Greek-sounding foot-stomper. Bend It! Bend It! they exhort… Just a little bit… It’s all about two people fitting together, like a jigsaw puzzle. It’s all a little suggestive – suggestive enough to get it banned and hastily re-recorded in the US.

Like many of DDDBM&T’s hits, ‘Bend It!’ doesn’t follow standard pop song conventions. Each verse works its way up to crashing, plate-smashing crescendo, before settling back down to a woozy stomp. Apparently it was inspired by ‘Zorba’s Dance’ – that tune you hear in every Greek restaurant. I’d say it was more than just ‘inspired by’ that earlier hit…

Still it’s a fun tune. Dave Dee and pals knew how to keep it interesting. A year or so after this they scored their only chart-topper, the epic ‘Legend of Xanadu’. That was another fun one, and fairly unique for the band in that the title wasn’t followed by an exclamation mark. They also scored Top 5 hits with the thumping ‘Hold Tight!’ (their breakthrough and my favourite), ‘Okay!’, and ‘Zabadak!’

The fact that this single featured on an album called ‘If Music Be the Food of Love… Then Prepare for Indigestion’ is both brilliant, and a fitting summary of the band’s approach to making pop music. Try everything once! It’s just a shame that they seem to have slipped from the official sixties pantheon.

Another #2 is up tomorrow…

Never Had a #1… Bob Dylan

For my next three posts, I’ll be returning to a feature I tried out last year… The biggest bands and artists – who’ve sold millions and are beloved by billions – but who’ve never made it all the way to the top of the UK singles chart.

First up. A Nobel prize winning songwriter who put the concerns of an entire generation into his early records, who has featured twice in my countdown as a songwriter (‘Mr. Tambourine Man’ and ‘The Mighty Quinn’), who celebrated his 80th birthday just yesterday, and whose singing style I once heard described as sounding ‘as if he were sitting on top of a washing machine going at full spin’…

Bob Dylan has never been much of a singles artists but, at least early in his career, he was a consistent presence in the charts. Here are his handful of Top 10 singles:

‘The Times They Are A-Changin”, and ‘Subterranean Homesick Blues’, both #9 in 1965

1965 was Dylan’s most prolific year on the singles chart with four Top 10 singles – including this pair. One is a rousing clarion call to the young, telling the old fogeys to get out of their way… The order is rapidly fading… It sounds a bit preachy now, and the acoustic guitar and harmonica combo grate on me after a while. File under: Of Cultural Significance.

The latter single is much more fun, and has a very famous attempt at a music video. As the name hints, it’s a short, sharp bluesy number and where ‘The Times…’ is looking forward, ‘Subterranean Homesick Blues’ is looking up from the gutter. It drips with sarcasm and cynicism. The pump don’t work ’cause the vandals took the handles… They certainly did. ‘What??’ the last card reads as Bob swaggers off, too cool for school.

‘Positively 4th Street’, #8 in 1965

Probably my favourite of this bunch. Any song that opens with a line like: You got a lot of nerve, To say you are my friend… is going to be fun. Bob has a bone to pick! With whom exactly has been the subject of much discussion, but the consensus is that he’s taking aim at the critics of his move away from the acoustic folk of ‘The Times They Are A-Changin” and ‘Blowing in the Wind’ (4th Street runs through Greenwich Village, and the clubs where Dylan made his name).

‘Rainy Day Women #12 and 35’, #7 in 1966

Some people don’t like this song. Possibly because it sounds like Dylan and his band were having a lot of fun making it, and Bob Dylan’s music should at all times be taken SERIOUSLY! He’s a Nobel prize winner for God’s sake! Whatever. Apparently he insisted that everybody taking part in the recording of ‘Rainy Day Women’ be highly intoxicated, and it certainly has a boozy, woozy, last day of spring break feel to it. A ‘rainy day woman’, I have literally just learned, was 1950s slang for a doobie. Dylan claims that this isn’t a ‘drug song’. Except… Everybody must get stoned!… he shouts, as the band whoop and holler behind him. Radio stations at the time certainly had their suspicions, and many refused to play what turned out to be one of his biggest hits.

‘Lay Lady Lay’, #5 in 1969

His most recent Top 10 hit. Oftentimes Dylan’s lyrics are pretty oblique, but this one seems pretty clear. He wants his girl to stay, to lay across his big brass bed. That line, in the wrong hands, could sound ridiculous… But here it’s a sweet sentiment in a sweet song.

‘Like a Rolling Stone’, #4 in 1965

One of the foundation pillars of rock music. This tale of a spoiled rich girl whose life has fallen apart gave Dylan his biggest chart hit in the UK. It sounds a lot like ‘Positively 4th Street’, both in terms of the organ and the barely concealed sarcasm. And again, there has been a lot of debate over just who the song is about, but it has definitely not got anything to do with The Rolling Stones. At six minutes long, ‘Like a Rolling Stone’ was, at the time, one of the longest singles ever released.

Another #1-less artist coming up tomorrow – one that can’t compete with Bob Dylan’s legacy and influence, but that certainly has a better voice…

Cover Versions of #1s – CCR & The Slits

Last night I did two cover versions of the same band; tonight it’s two cover versions of the same song! Onwards!

‘I Heard it Through the Grapevine’, by Creedence Clearwater Revival – 1970 album track

(Originally a #1 in 1969, by Marvin Gaye)

Before we go any further, I don’t claim that any over version of ‘Grapevine’ is an improvement on one of the most perfect pop songs ever recorded. But these two gave it a right old go… First, Creedence, with an epic eleven minute take on it, from their ‘Cosmo’s Factory’ album. Does any song really need to be eleven minutes long? No, probably not. But the band sound so in-tune, firmly lodged in their groove, that we can indulge them. The first four minutes is the song, what remains is a jam session based around that timeless riff. It was eventually released as a single, in 1973, but couldn’t breach the US Top 40.

‘I Heard It Through the Grapevine’, by The Slits – reached #60 in 1979

Shorter, though not exactly sweeter, post-punk band The Slits give us an oh so sarcastic rendition. When lead singer Ari Up sings I’m just about to lose my mind… you can’t tell if she’s walking away grinning, rolling her eyes, or preparing to launch herself at her dirty, rotten ex. Plus, the bass line here is really cool.

Two final covers up tomorrow!