70s music

Random Runners-Up… 25th September

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I’m back from a month of travelling, which means I’ll be speeding up the regular posts again, and also resuming the extra-curricular posts. Such as…

Our Random Runners-up. Yes, it’s time for another trio of randomly selected (thanks to Random.org) number two hits from this date in chart history.

‘Children of the Revolution’, by T. Rex – #2 for 3 weeks, from 17th September – 7th October 1972 (behind ‘Mama Weer All Crazee Now’ & ‘How Can I Be Sure’)

Though our three dates are randomly chosen (honest!), I did rejoice when they threw up this glam rock stomper. While all four of T. Rex’s #1s are great, I would argue that their chart fortunes peaked too soon, and that their two signature singles – ‘Children of the Revolution’ and ’20th Century Boy – sadly missed out on top spot.

‘Children of the Revolution’ was a bit of a side-step for Marc Bolan, a slower, heavier number, with a woozy, waltzing electric violin solo, hinting at less commercial ventures to come. Yet it is still classic T. Rex, with probably the ultimate Bolan lyric: I drive a Rolls-Royce, Cause it’s good for my voice…

‘Ghostbusters’, by Ray Parker Jr. – #2 for 3 weeks, from 16th September – 6th October 1984 (behind ‘I Just Called to Say I Love You’)

The ’80s was a decade filled with movie soundtrack number ones (one of which kept this record from top spot). ‘Ghostbusters’ is certainly one of the best remembered soundtrack hits, but it fell just short.

In truth, its continued popularity is a little odd, as the song’s lyrics are so tied to the film that they make very little sense unless you’ve seen it. But maybe that doesn’t matter when you have such a memorable synth line, and a such a catchy call and response chorus. Plus, as with ‘Children of the Revolution’, it has a great double-take lyric. Bustin’ makes me feel good! Come again, Ray…?

I must confess to struggling with naming any other Ray Parker Jr. song, and this was his only Top 10 hit in the UK (one of only two career Top 40 hits). Apparently Fleetwood Mac’s Lindsay Buckingham was initially approached to write the ‘Ghostbusters’ theme, and one can only imagine how this might have sounded had that came about. Probably not nearly as funky as this.

Another reason for this song living on long beyond its film soundtrack shelf-life is that it always features near the top of the annual streaming services’ Halloween playlists. So synonymous with the season is this song these days that I was slightly surprised to see it at #2 in late September, and not a month later.

‘It’s My Life’, by Dr. Alban – #2 for 3 weeks, from 20th September – 10th October 1992 (behind ‘Ebeneezer Goode’)

Completing our trio – fittingly all three of our random runners-up spent three weeks at #2 – it’s an early ’90s dance classic. I think it’s a classic, anyway. I was a shade too young to remember it. And I don’t know enough about dance music lore to judge how well this is remembered.

It has all the touches of a Snap!, or a 2 Unlimited, record – both of whom scored huge chart-toppers either side of this – but it also has an ominous edge to it. It has a grandness, and an edge… which is ruined slightly by the lyrics, which sound like a fifteen-year-old ranting at their overbearing parents. Stop bugging me, stop forcing me, stop yelling me… It’s my life.

Dr Alban was a Swedish-Nigerian musician and producer, more associated with dancehall, hip-hop and reggae. Dashes of that come through here in his rap, and some of the production elements, but on the whole this is standard Eurodance. And it was by far his biggest hit – his only Top 10 in the UK.

Hope you enjoyed the interlude. Back to the regular countdown, and a girl group double, next.

Never Had a #1… Part 5

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It’s been a while, so here is the next instalment of our look through the Top 40 biggest-selling global acts never to have had a UK #1 single.

We’re into the Top 20 today, counting down acts twenty through sixteen. Before we get going though, why not recap with Parts 1, 2, 3, and 4.

20. Carpenters

Biggest hits: ‘Yesterday Once More’ (#2 in 1973) & ‘Please Mr. Postman’ (#2 in 1975)

The Carpenters are possibly the most surprising name on this list. They weren’t a rock act that sold more albums than singles; they were a singles act that produced some of the best pop music of the seventies. It’s amazing that they didn’t manage a chart-topper in Britain, despite scoring three in the USA.

‘Yesterday Once More’ has one of their best melodies, and one of their catchiest hooks. Every shalalala, Every whoa-oh-oh… It was a very ’70s phenomenon, songs about how the old songs were the best, when the ‘old songs’ had barely come of age. And I’m sure I mentioned this in my post on how the Carpenters had never had a number one, but having traveled widely across Asia I can confirm that ‘Yesterday Once More’, and ‘Top of the World’, are two of the best-known English language songs every recorded.

‘Please Mr. Postman’, one of their American chart-toppers, is a decent enough cover. It was once voted as the duo’s best song by ITV viewers, which is just silly.

19. Bob Dylan

Biggest hit: ‘Like a Rolling Stone’ (#4 in 1965)

A man who needs little to no introduction from me, and another about whom I have previously done a ‘Never Had a #1’ post on.

What I will say specifically about Dylan’s biggest hit, is I think it quite fun that following worthy folk anthems like ‘Blowin’ in the Wind’ and ‘The Times They Are A-Changing’, it took a six-minute, sneering bitchfest to bring about his biggest British hit. He then followed it up with the even nastier ‘Positively 4th Street’, one of the great ‘haters gonna hate’ records, proving that he truly was the Taylor Swift of his day.

18. Dire Straits

Biggest hits: ‘Private Investigations’ (#2 in 1982) & ‘Walk of Life’ (#2 in 1986)

Only the third British act in this Top 40, after Genesis (#23) and Def Leppard (#22), and the second highest. (I won’t give the game away, but I’m sure most of you can work out the final British band left to appear…) Anyway, Dire Straits have made number two twice. Once with the languorous Spanish guitars and spoken word combo of ‘Private Investigations’, which really doesn’t sound much like a Top 40, let alone a #2, hit. And then with the far catchier and more immediate ‘Walk of Life’, from their fourteen-times-platinum monster album ‘Brothers in Arms’.

17. The Doors

Biggest hit: ‘Light My Fire’ (#7 in 1967)

Back to the usual ‘bigger in the US’ type of acts that have populated this rundown so far, and it’s The Doors. Despite having two number ones to their name back home, ‘Light My Fire’ was their only Top 10 hit in the British Isles. And while the seven-minute organ solo version is great (the solo now has it’s own ‘chapter’ on this YouTube video), I have included the band’s shorter but much more controversial performance on the Ed Sullivan show, in which Jim Morrison reneged on a promise not to sing the girl we couldn’t get much higher… line. Sullivan refused to shake their hands, and banned them from the show indefinitely.

I have also already done a Doors ‘Never Had a #1…’ post, if you would like to read more.

16. Santana

Biggest hit: ‘Smooth’ ft. Rob Thomas (#3 in 2000)

Carlos Santana had been active since the sixties, both by himself and as leader of his eponymous band, but had never troubled the UK Top 10 until this late nineties classic.

It’s an interesting plot line of the fin de 20th siecle: classic rock acts having a renaissance. Aerosmith had their biggest ever hit in 1998, Blondie made an unexpected chart-topping comeback a few months later, and Santana finally breached the UK Top 10. With a little help from Matchbox 20’s Rob Thomas (who weren’t a British chart force either) they brought about this sexy, Latin-rock groover. (That little Mariachi drumbeat key change that leads to the solo is pop perfection in my book). In my mind this was the sound of the summer of ’99, when the record was initially released, but in reality it reached its chart peak in March 2000, and March is never a particularly hot and steamy time of the year…

So we’re almost into the Top 15, where we have remaining two solo females, three solo males, and ten bands, all of whom rock and/or roll, to varying extents. Until Part VI, then….

My First #1… ‘See My Baby Jive’, by Wizzard

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Today’s guest post comes from long-time follower John, aka popchartfreak, who I believe may have been my first ever commenter, back when each of my posts attracted around 2.5 views. He’s written about the first single he ever parted with cold, hard cash for. And it’s a classic. (Certainly cooler than the first record I ever bought, which was the soundtrack to ‘Joseph and His Technicolour Dreamcoat’.)

How could I celebrate the Number Ones Blog’s anniversary theme? Well, why not my first purchase of a single that was about to hit number one with the help of my pocket money: ‘See My Baby Jive’ by Wizzard, in 1973.

That track triggered in me a massive enthusiasm for Roy Wood, Wizzard, ELO and The Move back-catalogue to boot. Top Of The Pops helped: the outlandishly colourful outfits and makeup on Top Of The Pops and the Phil Spector wall-of-sound-reinvented was thrilling. I loved that record, a sort of glam rock update of the 60’s with added excitement so much so that it sat on top of my personal weekly charts for a record ten weeks.

So what exactly is great about it? In the first five seconds it sounds like an attention-grabbing aeroplane engine on Loud morphing into a furious drum beat, an orchestra strings section, female backing vocals and horns. It’s ten seconds in before Roy starts singing Look out! Look out! The backing singers stay on board throughout, giving it Ronettes vibes through to the hook and back to the verse. There’s no pace let up, the horn section stays big with lots of intricate riffs in the mix, to the instrumental bridge when the strings take centre stage, then the sax, then back to Roy. Verse, chorus, repeat chorus to a crescendo, different parts sung for variation and then to the final sax fizzle out solo via an instrumental bit, oh-oh-ohs, and the kitchen sink thrown in for added excitement. Talk about epic! My jaw still drops at this record, a mini-masterpiece of pop. Love it.

In total, Roy released a trio of Phil Spector-ish hit singles: ‘Angel Fingers’ (another number one) and ‘I Wish It Could Be Christmas Everyday’ – a universal Christmas classic that peaked at #4 (behind Slade), and that is still in the UK charts every Christmas fifty-three years later. Roy flirted with all sorts of stuff: ’50s revivalism for Wizzard, and his quirky solo career – album ‘Boulders’ was fabulous, he did 100% everything on the album instrumentally and vocally, hopping from Eurovision gospel to a ‘2001: A Space Odyssey’ pastiche of a computer in love. Later, hit single ‘Forever’ was a Beach Boys via Neil Sedaka pastiche, and ‘Going Down The Road’ was bagpipes reggae. The man was a musical hero who could turn his hand to anything. Everybody in the UK still knows who Wizzard are in the 2020’s: that Father-Christmas-decked-out bloke who wishes it could be Christmas everyday! I just wish they could hear ‘See My Baby Jive’ for a change!

Thanks John. A great post on a great song. And a reminder to vote for your best and worst #1s before I reveal the results on Sunday!

Happy Birthday… Cher

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Tomorrow, May 20th, marks the birthday of a pop music icon. Cher. One four-letter name, seven decades of classic hits. It’s unbelieveable to think that she turns eighty today. (Though if you don’t think she looks a day over fifty, that’s because most of her isn’t…)

Cher has enjoyed four British number one singles – ‘I’ve Got You Babe’, ‘The Shoop Shoop Song’, ‘Love Can Build a Bridge’, and ‘Believe’ – and has held records for being the oldest chart-topping female, and for having the longest time-span between her chart-toppers. But what of her other UK chart hits?

To celebrate her big day, here are her five next biggest – five Top 5 hits – covering a whopping thirty-three years…

Bang Bang (My Baby Shot Me Down) – #3 in 1966

It’s not really the case that Cher made her name with Sonny Bono and then went solo. Her own chart-career ran concurrently with their partnership, and this record made #3 shortly after ‘I Got You Babe’. Amazingly, this would be Cher’s final Top 3 hit until ‘The Shoop Shoop Song’ in 1991.

While still a solo track, ‘Bang Bang’ was written by Sonny. It is possibly more famous in Nancy Sinatra’s hands, although her version was never released as a single. Cher’s original is a little livelier, with a sort of gypsy troupe backing, but I do think Nancy’s vocals lend the song a more atmospheric edge. Not that it’s a competition!

Gypsies, Tramps and Thieves – #4 in 1971

Through choice or typecasting, Cher traded on her exotic name and heritage (her father was Armenian, her mother was of Cherokee descent) through songs like ‘Half Breed’, ‘Dark Lady’, and most famously ‘Gypsys Tramps and Thieves’.

One of many comebacks for Cher, it was her first hit for five years and gave her a first solo Billboard #1. It tells the story of a girl born in a travelling show, with an appropriately carnivalesque backing band. I was going to call it Cher’s signature song, but a woman with such a long and varied career has several signature hits, one from each decade at least. Let’s call this her signature seventies song.

Dead Ringer for Love (with Meat Loaf) – #5 in 1981

Another comeback single, after a late-seventies slump in her chart fortunes. I am bending the rules a bit, because Cher is not credited by the OCC (meaning she technically went over sixteen years without a British hit), but really. This is Cher’s song every bit as much as it is Meat Loaf’s.

Because ‘Dead Ringer’ wouldn’t be half as good without Cher playing the vampy foil to Meat’s sex-obsessed jock in this Grease-meets-Rocky Horror throwback classic. In truth, she deserves lead-billing alone for delivering the lines I’m lookin’ for anonymous and fleeting satisfaction, I wanna tell my daddy I’ll be missing in action… with such gusto.

I Found Someone – #5 in 1988

Although her 1970s ‘Bob Mackie dress and waist length hair’ look is iconic, Cher really achieved what we now think of as her classic look in the late 1980s. Plus her voice was perfectly suited to an eighties rock-ballad such as this. I think her cannon-straddling turn in ‘If I Could Turn Back Time’ is much better remembered than ‘I Found Someone’, but that charted one place lower in 1989. And I can understand why, as this record is a bit power-ballad-by-numbers. Okay, but not a classic.

‘I Found Someone’ was technically yet another comeback for Cher, giving her a first UK Top 10 (if we discount ‘Dead Ringer’) since ‘Gypsys, Tramps and Thieves’.

Strong Enough – #5 in 1999

In 1998, aged a sprightly fifty-two, Cher enjoyed her biggest ever hit with the lead-single from her twenty-second studio album. That was, of course, ‘Believe’, which I’ve named as one of my Very Best #1s. (In fact, the 1990s are by far her most succesful chart decade.)

‘Believe’s follow-up was even more disco-leaning, and even more of a gay anthem. In ‘Strong Enough’ she calls out a cheating ex: I’ve been losing sleep, And you’ve been going cheap… It certainly owes a debt to ‘I Will Survive’, especially in the string break, but it also holds its own as a great tune. Better than ‘Believe’? Probably not, but it certainly feels a lot less tired from over-exposure. And having mentioned Cher’s iconic ’70s and ’80s looks, can we take a minute to acknowledge how fantastically late-90s the video is!

Happy birthday Cher, then. Who knows, maybe she still has it in her to add to her Top 5 singles list? In 2023, her festive banger ‘DJ Play a Christmas Song’ made #18, making her the oldest female artist to have a UK Top 40 hit (with a new song), and the only solo artist – of any gender – to make the Top 40 in seven consecutive decades. Her chart history has been one of quality over quantity, and it seems there’s plenty of life in the old gal yet!

Random Runners-Up… 6th April

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Time for another trio of randomly selected (thanks to Random.org) number two hits from this date in chart history. Or, as I like to call them, our Random Runners-Up…

‘You See the Trouble With Me’, by Barry White – 2 weeks at #2, from 28th March – 10th April 1976 (behind ‘Save Your Kisses for Me’)

First up, a perfect marriage of disco and soul from the master of merging disco with soul, Barry White. In this song, the lyrics are limited, and way back in the mix, as if the most important thing here is the beat, and that’s hard to disagree with. The final minute of what is only a three and a half minute track is just grooving. Just what is the trouble with Barry? He can’t do nothing without his baby…

This was White’s fifth and final UK Top 10 hit, though he remained very much active until his death in 2003. A few years before that, ‘You See the Trouble With Me’ had been reduced to something of a novelty by dance act Black Legend… and reached to #1. They had to use a Barry White soundalike, as he refused to clear a sample, saying the remix was “cheap, and had no soul”.

‘Love Shack’, by the B-52’s – 3 weeks at #2, from 18th March – 14th April 1990 (behind ‘Dub Be Good to Me’ and ‘The Power’)

On this day in 1990 – though not a song you could possibly date just by hearing it – the B-52’s were enjoying their biggest UK chart success in an already decade-long career. Wikipedia lists ‘Love Shack’ as pop rock, dance rock, surf rock and funk rock, as well as new-wave. (The B-52’s were originally new-wave, but I don’t think you could still have called them that in 1990.) Anyway, that melange of genres pretty much sums up this devilishly catchy tune.

‘Love Shack’ was a comeback for the band, after less than stellar chart fortunes, and the death of founding member Ricky Wilson in 1985. With lyrics about partying in a rusty shed, it is exuberant, and danceable, even if I have to be honest and admit that I’ve always found it a little irritating.

‘Richard III’, by Supergrass – 1 week at #2, from 6th – 13th April 1997 (behind ‘I Believe I Can Fly’)

I will argue long and hard for Supergrass as Britpop’s fourth best band… Okay, maybe 5th, after Suede. This banging track is now long forgotten, while the similarly heavy Britpop classic that made #2 the week after (‘Song 2’) lives on and on and on.

Supergrass could blend proper rock with perfect pop melodies, and this is one of their greatest songs, in a peerless run of singles between the mid-nineties and the mid-noughties. Oh, and it features a theramin, which always sounds fun. It is not about the famously hunchbacked king, nor about the Shakespeare play on the subject. It is a placeholder title – Supergrass gave all their tracks-in-progress people’s names – though they have since drawn a connection between the dark and menacing lyrics and the much-maligned historical character. And tell me that a line like Spent too much time, Wondering why, I got an opinion… isn’t Shakespearean-level thinking for the modern age.

Hope you enjoyed this threesome of #2s… Back to the regular stuff in a couple of days!

On This Day… 20th March

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Time for another look back at some famous moments in music history, and the chart-topping hits that go along with them…

Starting with a birth and a death. March 20th 2020 saw the passing of country icon Kenny Rogers, who had managed two UK number ones in the late seventies and early eighties. Both songs were slightly out-of-kilter for the disco, punk and new-wave sounds of the time, but if listening to every single number one single has taught me anything, it’s that country and western (and reggae) are immune to popular tastes, and keep popping up time and again.

Here’s his first chart-topper, ‘Lucille’ (original post here), about a man who meets a downtrodden woman drowning her sorrows. I am a fan of a good opening line, and there have been few finer than In a bar in Toledo, Across from the depot, On a barstool she took off her ring…

Over a century before, March 20th 1917 saw the birth of Vera Lynn. A legendary name in British popular music, she began performing aged seven, released her first single in 1935 (aged eighteen), and scored her final Top 10 album in 2017 (aged one-hundred), giving her a career spanning ninety-six years! Despite this astounding longevity, Lynn only managed one UK #1: ‘My Son, My Son’ (original post here).

I won’t claim to particularly enjoy this very old-fashioned record, but Dame Vera doesn’t half sing the life out of it. And you can really make out what she’s singing, something my dear departed Gran was very particular about. Plus, I think it prominently features a clarinet, something not many other #1s have. I also did a Remembering post on Lynn, when she died in 2020.

Meanwhile, on this day in 1991, Michael Jackson signed what was the biggest record contract in history, with Sony. Both the advance, and his share of future record profits, were beyond anything seen before. You can see why the execs went out their way to keep hold of Jackson, given that his previous LPs, ‘Thriller’ and ‘Bad’, had been two of the highest sellers of all time. But you can also argue that this was the start of Jackson’s slow slide into creative inertia and over-indulgence, as little of his nineties output can rival that of his eighties hits. Still, here’s ‘Black and White’ the first single from the first album to be released under the new contract, ‘Dangerous’ (original post here).

March 20th 1969 was also the day on which John Lennon married Yoko Ono at the British Consulate in Gibraltar (near Spain), before heading to the Amsterdam Hilton and talking in their beds for a week… Of course, these are not my own words, and so why don’t we let ‘The Ballad of John and Yoko’ tell the full story. This seemed for a long, long time to have been the Beatles’ final number one (though it famously only features John and Paul), until ‘Now and Then’ in 2023 (original post here).

Lastly, on this day in 1977, T. Rex played their final British concert at the Locarno in Portsmouth. Their final ever live appearance would come a couple of months later in Stockholm, and three months after that Marc Bolan would die in a car crash. Neatly bookmarking T. Rex’s career, though, is the fact that ‘Hot Love’ was two weeks into a six-week residence on top of the charts on this day in 1971 (see original post here). Whether or not it was indeed the first glam rock #1 is up for debate. What is not up for debate is the song’s audacity (half of it is just nanananas), or its brilliance.

That one goes out to all those who are faster than most and who live on the coast… Regular posting resumes in a few days!

959. ‘Are You Ready for Love’, by Elton John

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Another chart-topping remix, in a summer full of them…

Are You Ready for Love, by Elton John (his 6th of ten #1s)

1 week, 31st August – 7th September 2003

Although, I think calling this a remix is generous. It’s more of a remaster, a sharpening of the mix, cleaning the tapes, that sort of thing. Even though it has been ‘remixed’, you’d be hard pressed to tell the difference between the 2003 chart-topping version and the 1977 original.

Which is a good thing. This is a slice of late seventies disco, almost unknown and unearthed, crashing incongruously to the top of the charts twenty-five years too late. All the flourishes that we remember from the golden age of disco are present and correct: a frisky beat, a natty bassline, swooshing strings… It begs the question why this didn’t do better than reaching #42 at the time.

John had recorded it in ’77, but released it in 1979 on an E.P. of songs recorded with legendary soul producer Thom Bell, during a period in which he and Bernie Taupin were not working together. The Spinners recorded a version, and also guested on a special mix of the song with Elton.

Fast-forward to 2003, and a remixed version of the song was being used to advertise Sky Sports’ coverage of the coming football season. Demand built up and, hey presto, Elton had his sixth chart-topper. It was also his third, and final, completely solo number one (though Ashley Beedle, the DJ who remixed it, might argue with that).

This great but slightly random #1 adds to the sense of 2003 as being the year for great but slightly random #1s… From Russian lesbians, to disco remixes from adverts for Lynx deodorant (and Sky Sports), to Bollywood covers of ‘Spirit in the Sky’ and proper heavy, emo rock, there’s a feeling of falling sales allowing the charts to breathe, and indulge in something more fun, rather than being an endless week-by-week parade of the biggest names in pop.

It also adds to the sense of Elton John’s later career being marked by slightly strange hits, such as this. It follows on sharply from his duet with Blue a few months earlier, the first time he had ever had two chart-toppers within a year. Stranger number ones are to come for Elton, before very long…

And B-Sides… T. Rex

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For our latest B-Sides feature, let us return to the glory days of glam. Of platform shoes. Of sequins. Of Noddy Holder’s sideburns and Ziggy Stardust. And most gloriously of all: T-rextasy.

Marc Bolan and co. enjoyed four all-time classic chart-toppers in 1971 and ’72 (okay, three all-timers, and one which is still pretty great). They were also very generous with their B-sides, giving fans two extra songs per number one.

I’ll restrict myself to choosing one B-side from each single, and linking to the other. Starting with…

‘Woodland Rock’, B-side to ‘Hot Love’

If there was a track to sum up the band in the moment of their transition from Tyrannosaurus Rex to plain old T. Rex, from ethereal hippyness and lyrics about magical moons to crunching glam guitars, it might be ‘Woodland Rock’. It’s based around a derivative rock ‘n’ roll riff (borrowing liberally from ‘Jailhouse Rock’), but with snatches and loops played in reverse, and an opening verse about a man dancing like a gypsy – so he must be where its at – and houses up trees.

‘Hot Love’s other B-side was ‘The King of the Mountain Cometh’, and that’s even more old-school Tyrannosaurus Rex, if that’s your thing.

‘Raw Ramp’, B-side to ‘Get It On’

Lady you think you’re a champ, But girl you’re nothing but a raw ramp… Me neither, but I don’t think it’s meant to be complimentary. Bolan really was the King of nonsense lyrics that somehow, in some not too distant dimension, work. And then a second later he’s singing Oooh I’m crazy about your breasts. I love the way this track grows from the standard Tyrannosaurus Rex hippy drumbeat, to a full on glam rock out by the end. In fact, the last minute and a half of ‘Raw Ramp’ are a jam known as ‘Electric Boogie’, which sounds like an outtake from the ‘Get It On’ sessions.

The other B-side here was a one-minute long, wistful ballad called ‘There Was a Time’, which is over before it’s even started.

‘Baby Strange’, B-side to ‘Telegram Sam’

The one B-side that is better than the single? Not that ‘Telegram Sam’ isn’t fun, but it isn’t in the same league as T. Rex’s three other #1s. Interestingly, this is a variant on the same riff from TS, and the chorus is soaring. And who can resist a song that comes in with a One and a two and a bibbety, bobbity boo boo yeah...? Not I. ‘Baby Strange’ featured on ‘The Slider’ album, which is T. Rex’s masterpiece, and the one to listen to if you want an introduction to the group at the height of their powers.

The other B-side was the stomping ‘Cadilac’, in which Bolan indulges in one of his main tropes: comparing women to cars.

‘Thunderwing’, B-side to ‘Metal Guru’

If ‘The Slider’ LP was peak T. Rex, then the album’s second single was the apotheosis of the T. Rex glam sound. ‘Metal Guru’ is a two-minute long, glorious moment. And one of my Very Best Number Ones. I’ve heard it described as one long chorus, but I’d say it’s more one long bridge, a tune that soars towards a chorus that never arrives. But it doesn’t matter.

Anyway, enough of the A-side. That’s not what we’re here for. One of the B-sides was ‘Thunderwing’, in which Bolan again gets horny for his car. My little baby she’s a tippy-toed vamp rider, She moves like the sun in the dawn… It’s another glam stomper, with a great groove to it, if a little repetitive. The other B-side was ‘Lady’, a gentler, trippier nod to the Tyrannosaurus Rex days.

T. Rex’s star shone oh so brightly, but fairly briefly. By 1974 they were struggling for hits, and by 1976 Bolan was struggling with addiction. By 1977, he had cleaned up, was recording again and had just been given his own TOTP-style music show, when he and his girlfriend, soul singer Gloria Jones, crashed their car in south London. Bolan died instantly. Jones was seriously injured. I also did a T. Rex Top 10 countdown of their best non-charttoppers, so head on over there if you want more T-rextasy in your life. And we all should, I think.

918. ‘My Sweet Lord’, by George Harrison

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In the only occasion two posthumously released records (by two different artists) have made #1 consecutively, George Harrison replaces Aaliyah…

My Sweet Lord, by George Harrison (his 2nd and final #1)

1 week, from 20th – 27th January 2002

It would feel odd to review the song, as I already did so five years ago: ‘My Sweet Lord’ having spent five weeks at #1 in 1971. So, I’d rather direct you towards my original post, despite the fact that I was a bit harsh on it. I claimed it ‘doesn’t really go anywhere’ and, while I get what I meant, I now realise that that is entirely the point of the song. It’s a euphoric chant, a mantra, an incantation. It is a beautiful song, despite my complete irreligiosity. In my book, it is by far the best solo-Beatle number one.

Harrison had died from cancer in November 2001, and thus ‘My Sweet Lord’ was given a rerelease. It means that the line I really wanna see you Lord, But it takes so long, My Lord… now hits differently, assuming that it originally referred to a religious awakening. But it is a fitting, and obvious tribute.

And it is the fact that it was a deliberate release, as a tribute, that means I’m featuring this as the 918th number one single, and not a belated return for the 296th. Like ‘Bohemian Rhapsody’ before it, again rereleased following the death of its creator, ‘My Sweet Lord’ becomes only the second song to return to #1 in a rerelease (though BoRap was paired with ‘These Are the Days of Our Lives’).

This is something that needs clarifying as we move further into the 21st century. Soon there will be a series of Elvis rereleases making the top of the charts, and again they’ll be treated as ‘new’ number ones. However, when ‘Three Lions’, and then two Christmas perennials, return to number one later in the century they will not be gifted such special status as they are simply a case of the original hit returning to the charts. In fact, the streaming era has basically killed off the idea of the rerelease, as (almost) everything is now on permanent release via your streaming platform of choice.

Hope that makes sense. Anyway, let’s just enjoy this classic re-appearing at number one, completely out of place in the early ‘00s soundscape. It is also worth noting this fact: ‘My Sweet Lord’ remains one of only two truly solo UK #1s that any of the four Beatles enjoyed during their lifetimes!