My Number One’s of the 60’s – Part 4 1967

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Me in the back garden of RAF Valley married quarters, in between reading Enid Blyton books, watching The Monkees, Dr Who and Batman, singing along to pop songs with the weekly lyrics printed in Weekend magazine, or buying stamps for my new collection. Cool – is not I was.

 

1967

BERNADETTE – The Four Tops (1 week)

The first chart-topper for the great Four Tops isn’t Reach Out I’ll Be There, which peaked at 2 so far, it’s this Holland-Dozier-Holland soundalike follow-up. I’d been aware of the original but it never registered, whereas this was a follow-up to a 1971 chart-topper for the lads, in Motown re-issued form which re-charted in the UK. Levi Stubbs has one of the most passionate vocals in pop, and in this song he’s practically desperate with angst and histrionic emoting, beggin’ for Bernadette. My grandma gave me 50p when she visited us from Liverpool (RAF Swinderby, spring 1972) and I spent it on this oldie, my first ever back-catalogue purchase. I still prefer it to Reach Out, cos, to me, this is the definitive sound of Reach Out and that one is the facsimile follow-up. Hey ho, it’s still awesome. The Tops, by 1967, already had a string of great singles such as Baby I Need Your Loving and I Can’t Help Myself, and more was to come. My single though, didn’t last very long. It was on the front of the singles record rack and got melted by a too-close electric fire a few months later. Any needle trying to stay in the grooves failed miserably and quickly got thrown into the air. Heart-broken!

HI HO SILVER LINING – The Jeff Beck Group (1 week)

Another 1972 reissued 1967 chart-topper, and a party classic. Jeff spent years trying to live this track down, being a serious guitar-hero and rocker and all, but as far as happy stomping singalongs go this one is joyous. It’s not so much in vogue anymore, sadly, but it was once upon a time as obligatory as a YMCA, say, is these days. As far as Jeff Beck goes, it was to be 40 years before he got another decent-sized hit in my charts! (A lovely cover of Lilac Wine with Imelda May on vocals) though he’d also charted big with Donovan (Barabajagal) in 1969 and Rod Stewart (I’ve Been Drinking) in 1972. The co-songwriter Scott English popped up again in 1971 with his own hit, Brandy, and almost topped my chart. A bland cover version of it came along in 1975, Brandy changed to Mandy – yes Barry Manilow! I’ll stick with the original. Producer of Hi Ho, Mickie Most, had already achieved immortality with The Animals’ House Of The Rising Sun, and topped my charts with hits from Herman’s Hermits and Donovan with more to come…

I’M A BELIEVER – The Monkees (4 weeks)

Third chart-topper for the Monkees (though first in 1974, chronologically, as I bought hits compilations and got seriously back into them), this Neil Diamond song was a world chart-topper and deservedly. It’s pop perfection, headed by Micky’s under-rated vocals, he was a great singer. The session-musicians were still in force at this time, and they do a cracking job, beautifully polished, frantic and instrumentally hook-filled. Neil Diamond’s original was good and it announced his arrival as a great songwriter, but this version is the definitive, despite inetersting covers overt the years, from such as Robert Wyatt and EMF and Reeves & Mortimer, or it’s use in movies such as Shrek as a singalong cover version by Smashmouth. Producer Jeff Berry had more polished pop ahead, and I’m A Believer topped my charts again in 1980 for 3 weeks, to total 4 on top.

THE SINGLE GIRL – Sandy Posey (1 week)

This became a fave of mine in Singapore in 1970, when my dad bought a reel-to-reel tape recorder (and which I purloined within a year or so). It was second-hand and came with a used 4-track tape. This song was already on the tape, and it’s gentle tuneful charm hooked into my brain and has stayed there since. Not what you call a pop classic, really, but it’s still sounds pretty, and was good enough to re-chart in the UK in 1975, at which point I finally bought it and topped my chart with it. Sandy Posey never really followed it up sadly, even with two bites of chart-action. By 1975 women lyrically were being a bit more demanding, as opposed to appearing to be mistrusting wallflowers in waiting, so maybe that’s why, but it’s a great melody and Sandy does a good country-flavoured job.

PENNY LANE/STRAWBERRY FIELDS FOREVER – The Beatles (4 weeks)

Famously the classic Beatles single held off the top of the UK charts by Engelbert Humperdinck, their first failure to top in 4 years, it would have been a guaranteed Number 1 in John charts in 1967, as we’d just moved from Liverpool, where the Fabs were iconic, to RAF Valley and I was mad on Penny Lane, and it’s glorious Macca melody. Paul’s commercial nostalgic ode to hometown Liverpool was matched by John’s more avante-grade and experimental Liverpudlian acid trip, Strawberry Fields. The difference in the media exposure of the 2 was marked in 1967 – I didn’t get to hear Strawberry Fields till later when I bought the Blue double album, as perfect an album as you’re likely to hear (xmas 1975, shortly followed by the 1976 Beatles reissued singles campaign, when this was topped my charts as it made the UK Top 40 again, and it topped again in 1987 for the same reason. The Beatles were officially no longer just pop stars, they were Artists with a capital A, and Sgt Pepper was about to drop…

HELLO GOODBYE – The Beatles (4 weeks)

The Beatles ended 1967 on top of the Uk charts, and also number 2 with Magical Mystery Tour, and I was mad on yet another Paul track, this catchy kickin’ pop melody showed old Paulie was knocking out the classics at a manic pace. By now the Beatles well into doing promos, or videos as they are known these days. The fab video to this one is taken from the odd TV special Magical Mystery Tour, with Sgt Pepper colourful Summer Of Love costumes on full display. What’s not to love?! Also a 1976 chart-topper, and 1987, for the singles re-issue campaigns, and again Hello Goodbye would have a few extra weeks on top in1967/68 but it just pre-dated my charts starting up, sadly.

ALL YOU NEED IS LOVE – The Beatles (2 weeks)

The other Beatles world chart-topper was this hippie anthem. John spread the word in his music, and the word was love, and this singalong love and peace anthem was debuted on the first international live TV broadcast, with a cast of celebrity back-up singers. It was such a big tune, that it almost seemed to be a folk song from the past in just a few years, probably helped by the snatch of The Marseilleuse at the start. It’s a great record, a great philosophy, and as a 9-year-old I loved it, and still do. It also let John show that Paul wasn’t the only one who could knock-off a brilliant commercial melody when he felt like it. Topped in 1976 and 1987. This track IS the Summer Of Love track, the other biggies were merely great supporting players.

BEHIND A PAINTED SMILE – The Isley Brothers (1 week)

This 1967 Motown classic didn’t chart until 1969 in the UK, and it duly featured in my charts as it was great. By 1976, The Beatles weren’t The only ones doing a mass singles re-issue campaign – Motown were also doing box sets, but they went one better by making them Twofers. Two hits for the price of one, that is. This was on the other side of This Old Heart Of Mine, and I bought the single and realised just how epic this track is. One of the most histrionic, manic Motown gems, and perfect records they created. Passionate vocals from Ronald Isley, a brilliant drum section that never lets up, and the pace is way up the bpm’s. The song and lyric are the heart of it though, and what a heart-breaker it is. Spine-tinglingly awesome. The amazing thing is the Isleys went all credible soul in 1969, and had a long career with great records like That Lady, Harvest For The World, Summer Breeze and others, but none have yet topped the chart, even though they deserved to. Booo!

 

SOMETHING STUPID – Frank & Nancy Sinatra (1 week)

I bought this single off Gloucester indoor market’s record stall in 1974, but I’d loved it since I was a kid. Frank Sinatra was never a particular fave of mine, but Nancy was something else entirely since her Boots had walked all over me age 8. When this came out I was enjoying a rural childhood at RAF Valley on the Isle Of Anglesey, and it might be MOR, but it’s deliciously memorable with father and daughter singing sweetly together. It’s also very odd, given that the lyrics are very obviously romantic lyrics! It works though, and is much better than the Robbie Williams and Nicole Kidman version. It topped my oldies chart in early 1977 as part of the same EP that gave Nancy her first Number One for 1966. It’s still the best thing Frank Sinatra ever did, by the way. Sorry Frank fans, just never was a fan…

LOVE ON A MOUNTAIN TOP – Robert Knight (1 week)

This was already an oldie when it finally became a hit late in 1973, thanks to the Northern Soul scene based around Wigan and beyond. For a few weeks it was even cool with the lads at school, till they quickly got bored with it. I never did get bored with it, though, and the fab romping melody took this 1967 B Side all the way to the top when it formed part of a CBS twofer reissue campaign in 1977. Top of my oldies chart that is, as there were so many oldies released each week (many that I bought) I had to separate new from old or I would have needed to increase my chart to 75 – ironically just as the BBC did the following year (and me) anyway. Robert Knight was an under-rated sweet soul star for a (very) short time before obscurity beckoned.

EVERLASTING LOVE – Robert Knight (1 week)

Talking of Robert Knight…here’s the other-side of the single also topping my oldies chart 3 years on from it’s original 1974 chart-run (and reissued from it’s original UK 1968 chart entry). Much-covered, not least by the fabulous (and yet-to-chart) Love Affair UK Number One version from 1968, the song is just a great song, another one of those songs that can happily fit any any music-genre and still sound good. The Love Affair version, is essentially, though a copy-cat, better-produced version of this original, so it’s kind of unfair that Robert Knight has been forgotten by pop history, as this is a good record. I’m not convinced it’s the definitive version, mind you, but being first with something special counts for much in my book and he’s the one with the chart-topper.

DEDICATED TO THE ONE I LOVE – The Mamas & The Papas (2 weeks)

The fourth Number One for the band was a 50’s pop cover, but oh my word what a cover! The harmonies and melody on this is sublime. This was an actual “I was MAD on this record” moment when we lived at RAF Valley, age 9. The softly-sung verse girl lines followed by the boys loud answering lines, and the combined powerful male-female chorus lift this up, and pretty much started my love affair with Mama Cass and the band. It had that Summer Of Love feelgood vibe going on, and I rediscovered it again on tape in 1970, before buying it on a hits album in 1974, and the Number One re-issue in 1977 in my oldies charts that I ran for a year or so. I decided to include them them as “official” charts alongside the current 1977 charts, as there were 40 or 50 tracks competing as re-issues, so it was a proper chart as such, but mostly because I couldn’t bear the thought of this record not getting an official chart-topper. This was the final topper for The Mamas And The Papas but not the last for Mama Cass and not the last for John Phillips songs.

SAN FRANSISCO (BE SURE TO WEAR SOME FLOWERS IN YOUR HAIR) – Scott McKenzie (1 week)

Talking of John Phillips songs – here’s the one he gave away to his mate Scott. Bit of a massive misjudgment there! This is the Summer Of Love anthem above all anthems, pure 1967, flower power, hippie peace and love, a youth movement to set the world to rights. At least in theory. People had other ideas, of course, about that notion. Scott McKenzie is virtually a one-hit wonder thanks to this gorgeous pop ballad. Scott’s a great singer, but really you can tell this is a Mamas & Papas record, and it could easily have been Number One number 5 and boosted their back catalogue some more had they recorded it. Hey ho, it’s still a classic and topped my chart appropriately right after the creative brains behind it, in 1977. I’d already bought it by then, circa 1974 on a previous reissue. My mum loves this too, takes her back to that summer of love…on a welsh island! John Phillips, meanwhile, outside the band had one more great solo track in him, a 1970 minor hit called Mississippi, a bit of swamprock whimsy.

LET’S GO TO SAN FRANSISCO – The Flowerpot Men (1 week)

Talking of Summer Of Love pop anthems about San Fransisco…here’s the other one. OK, it’s bandwagon jumping-time, as The Flowerpot Men were studio musicians from the UK created and written by former fab harmony pop band members The Ivy League (John Carter and Ken Lewis) and S.F. was probably more of an aspiration than an actuality, but that’s an injustice to the record which is just as good in it’s own way. Great production, great tune, great harmonies, great singer – more on Tony Burrows at a later date – but there is an actual follow-up to this record, it just didn’t chart until 1974, and the band name had changed to First Class, and they were using nostalgia for 1967 and the sixties as the basis for an even better record. This also had a ten-year anniversary chart-topper run – yes in 1977, the year of punk, I was getting all retro and hippie. 19 was just about too old to be a punk, so student hippie was the way forward for me. Happy to buy both though. The name, by the way, had more to do with flower power and pot, than the children’s Watch With Mother TV show – though they both referred to weed……

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My Number Ones Of The Sixties – Part 3 (1966)

img892RAF Changi Swimming Pool & Hospital 1969 Singapore

1966  

SWEET TALKING GUY – The Chiffons  (2 weeks)

This 60’s harmony-girl-group short-but-bitter-sweet catchy record eventually peaked at 4 in the UK in 1972, but went all the way in my charts, ironically as the lyrics warn young girls not to go all the way with those lying sweet talking guys just trying to…well you know what! A girlie teen anthem at the time, these days it’s much less well known than their other hits, the fabulous Goffin/King “One Fine Day” or the George-Harrison-tune-a-like (copyright infringing My Sweet Lord) He’s So Fine. That’s a shame as it got a fabulous harmony melody going on, but it’s appeal doesn’t have appeared so far to have passed on down the years.

I’M GONNA RUN AWAY FROM YOU – Tami Lynn (2 weeks)

A Northern Soul classic from 1971, that peaked at 4 in the UK charts (and re-issued again in 1975 when it peaked at 1 in my charts), it actually pre-dated that in the States. The northern soul circuit was big in the UK in the 70’s, based around discovering great obscure American soul records of the 60’s and finding them a new audience, especially in the centre of the scene (Wigan. No, honestly. Wigan!). Tami was a one-hit wonder, but it’s a really good singalong popsoul chugger, great tune!

GOOD VIBRATIONS – The Beach Boys (1 week)

The greatest American pop band of the 60’s, the 3 Wilson Brothers (Brian, Carl and Dennis), cousin Mike Love and Al Jardine, were a surfer-harmony-group sensation that evolved far beyond their early surfer hits into mid-period pop classics like California Girls, Help Me Rhonda, Little Saint Nick, and Barbara Ann. Creative genius Brian was really taking the competition (Phil Spector and Lennon-McCartney) seriously and trying to outdo them in the period since the Beach Boys first John-chart-topper in 1964 (Don’t Worry Baby). He managed it with this complex, amazing production (co-written with Mike Love, let’s not forget though) and song, an all-time rock classic that hit the top in the UK and the USA in late 1966. It sounded like nothing before, and the harmonies might be doo-wop-based, but were far more like a symphony than a 3 minute-pop-single! It topped my chart as reissued UK hit single to promote the chart-topping hits collection in 1976, and, well, it’s gone on to be timeless. Awesome is an appropriate word for it.

ELEANOR RIGBY – The Beatles (4 weeks)

Talking of awesome. This is not so much a Beatles record as a Paul McCartney/George Martin production/arrangement, a string section replacing rock guitars and drums, and it’s just gorgeous and sad. The lyrics are all about loneliness, death and other cheerful stuff, but it’s powerful bitter-sweet stuff, and along with Good Vibrations hit the top spot round the world in late 1966 to signpost the rapid movement of pop music into Art with a capital “A”. I was 8, I loved both sides of this double-A-side single, because 8 is a great age to love Yellow Submarine and it’s brass band noisy catchiness. By 1976 and the Beatles singles re-issue campaign, Eleanor Rigby was the track I adored. As re-issued classics proliferated and threatened to swamp my music charts to the detriment of current hits I was forced to set up an oldies chart for a year till the trend for re-issues died down, both in late 1974 and 1976/1977. Nowadays I just limit numbers of oldies in the chart. In any case this would still have hit number one in any combined chart….

GOT TO GET YOU INTO MY LIFE – The Beatles (2 weeks)

A single hit in the States in 1976, but sadly never released in the UK, this Revolver album track was used to promote the “Rock and Roll” album. That was enough for me: got to get you into my charts! Catchy, Motown-y, brassy, it’s not so surprising that Earth Wind & Fire had a UK hit version. Like Eleanor Rigby, a contributing factor towards Revolver being my favourite Beatles album, and arguably their best. With stuff like Here There & Everywhere (a country hit for Emmylou Harris), I’m Only Sleeping (90’s pop hit for Suggs), Good Day Sunshine, Taxman, And Your Bird Can Sing, and the brilliant innovative Tomorrow Never Knows, that’s a convincing argument. Any of them would have been a hit single, and many of them were – for other contemporary covers acts! Fab Fabs.

THIS OLD HEART OF MINE (IS WEAK FOR YOU) – The Isley Brothers (1 week) 

By 1966 the three brothers Isley already had a claim to rock n roll immortality, writing and recording million-seller Shout!, these days known to British ears as Lulu’s iconic UK debut hit cover, and having the first hit version of Twist And Shout, as covered definitively by the Beatles. As they were both chart-toppers as covers, then, it’s only fair the Isley’s should have their own – and it’s even better! This (Tamla) Motown classic was a US 1966 hit, and a big UK 1968 hit, the year I started my charting days (when it didn’t quite get to the top). Re-issued in 1976, it had by then became a nostalgic classic Motown frantic dance fave of mine and I bought and charted it. It’s a great Holland-Dozier-Holland song (having survived two differing hit versions by Rod Stewart, one including Ronald Isley himself), the pace never lets up and Ronald’s impassioned vocals are amazing. Their Motown days were short-lived (more to come..) but that didn’t really matter as their then-10-year career was just getting started!

THESE BOOTS ARE MADE FOR WALKIN’ – Nancy Sinatra (2 weeks)

One of the tracks on an EP re-issue from 1977 that almost made the UK charts, this 1966 worldwide chart-topper is Nancy Sinatra’s ongoing claim to fame. I loved it as a kid and as a teenager, and onwards, it’s quirky, catchy and has attitude, and signalled the start of an awesome duet partnership with songwriter/singer/producer Lee Hazelwood. Lee also guided her solo career, and chipped in to her dad’s recording career (that’ll be iconic crooner Frank, and I may well be alone in much preferring Nancy’s body of work – but I do!). As a solo act Nancy was fabulous, sweet-voiced, attractive and pure 60’s pop dollybird styled. So much so that her career struggled to continue beyond the decade, but as far as I’m concerned this much-covered song was not her only solo chart-topper….

CALIFORNIA DREAMIN’ – The Mamas & The Papas (17 weeks)

By 1977, when it grabbed two weeks at the top, the Mamas & papas had become firm classic 60’s faves of mine via a couple of budget albums I bought in 1974 which collectively made a decent Greatest Hits collection. I particularly loved Mama Cass, and the harmonies and the songs: as time passed, especially the great John Phillips songs! By 1997 this record was an acknowledged classic, so much so that it finally went UK top 10 31 years late (a big American hit, but only a minor UK hit in 1966). On the back of that it (and two other tracks on the CD) had a whopping 15 week-run at the top over the summer. The imagery is wonderful (all the leaves are brown and the sky is grey, to set up the premise) and it fitted perfectly in with the hippie-sunshine mood of the times, and Cass Elliot in the vocal mix gave it that extra oomph for the counterpoint male-female group harmonies. That’s not to take away from the lead male vocals either, which are passionate and aggressive. Sheer brilliance.

LAST TRAIN TO CLARKSVILLE – The Monkees (3 weeks)

I loved The Monkees at age 9. I loved the funny TV show, I collected the bubblegum cards, I loved the hit singles, I loved the songs they had on the show, and I loved all four actor/singers/musicians (delete as appropriate). They weren’t supposed to be credible pop stars, but they became just that, two of them writing hit songs for a start. Mike Nesmith was already a musician songwriter, Peter Tork jobbing musician, Micky Dolenz and Davy Jones, the two former-child actors had the great pop singing voices and acting skills. Add in the best pop songwriters of the time, great production and it’s not so surprising that the manufactured pop group had arrived with a bang. 45 years on and the records still sound fresh and exciting. Clarksville was a Boyce & Hart song that became irresistible with Mickey on lead, some great guitar hooks (albeit session) and a manic tempo and frenzied finale. A new Fab Four for my generation, and the perfect original boyband. This would have obviously hit my top spot in 1967, but had to wait for one of the periodic chart re-issues, this one 1980 as part of an EP.

YOU KEEP ME HANGIN’ ON – The Supremes (3 weeks)

The Supremes 8th US number one, and my 4th (as a late 80’s re-issue, and then again in the 00’s), this Holland-Dozier-Holland need-to-break-up masterpiece was also a decent worldwide cover hit for Kim Wilde in the 80’s, but this remains the best version. Chock-a-block with angst and emotion, beautifully constructed and very danceable too into the bargain, both The Supremes and HDH were really on a creative roll by this time. In between their last topper, a run of good singles had popped up (including I Hear A Symphony, My World Is Empty Without You, and the much-covered You Can’t Hurry Love – hello Phil Collins) all of them well-known to me from a Greatest Hits album that our next door neighbours loaned us in Singapore 1970. So good, I recorded most of the tracks onto my dad’s newly-purchased reel-to-reel tape recorder. The sound quality might not have been great, and mono, but it meant that my pocket money started to go towards tapes so I could get copies of all my MANY favourite records to play over and over and over…
They said home-taping is killing music. It didn’t of course, 12-year-olds don’t have disposable income, and they weren’t lost sales at all, they were DELAYED sales: I ended up buying everything I ever taped and wanted good copies of. Record companies should note in these days of downloading (illegal and legal) that singles sales are the highest they have ever been now that we aren’t forced to buy an album for one track.

THE SUN AIN’T GONNA SHINE ANYMORE – The Walker Brothers (5 weeks)

What can I say about this record…? It. Is. Awesome!! A Four Seasons song (so already quality) covered by the three-unrelated-Walkers’ for a second number one. Always bigger in the UK than their home-USA, it has to be said it’s Scott Walker’s vocals and the dramatic, epic-string arrangement that convert this into timeless greatness. If I’m feeling low I put this on and, well, cry bucketloads in a sort of cathartic way. I liked it in the 60’s, loved it in the 70’s and 80’s, adored it in the 90’s, and worshipped it in the 00’s, it just improves with age. Topped my chart in the early 90’s and early 00’s, and pretty much the last great Walker Brothers record (bar No Regrets in 1976), their short career left an impact though, not least from a certain Scott…

MONDAY MONDAY – The Mamas & The Papas (15 weeks)

The 15 week run flatters this great pop record somewhat – it was combined with California Dreamin’ and Dream A Little Dream for the chart run in 1997 – but it would have grabbed a week or two at the top anyway. The hit follow-up to California Dreamin’ had the same great harmonies, song and male/female vocals set up in their debut classic. Not as well known these days, in the 60’s in the UK this was the bigger hit, and it still sounds great. John Phillips was such a good songwriter he rather oddly gave away the all-time Summer Of Love flower-power anthem to Scott Walker: more on that later, and more on the other singles from The Mamas & The Papas that did and didn’t top my charts. Mostly did…

GOD ONLY KNOWS – The Beach Boys (4 weeks)

The Beach Boys finest, most sublime, most sophisticated, most touching and just plain old mostest record. Third chart-topper, it’s criminal it failed to do that in the real world, as it has consistently been rated in the various “Greatest Record Of All-Time” polls since. Carl Wilson’s gorgeous vocals, Brian Wilson’s gorgeous melody, and the gorgeous arrangement are all underpinned by the lyrics and the sentiment which resounds strongly nearly 50 years later: this was my niece’s “first dance” moment after her wedding 2 years ago. It’s an utterly timeless classic, and no-one has ever successfully covered it, not because the song can’t take cover versions, more because it’s difficult to sing and sing convincingly. Did I mention it’s perfect? If it fails to move the listener (and I say this in a non-judgmental “we all like different music, each to his own” frame of mind) said-listener must have a heart of pure concrete. So there, yah boo sucks smile.gif

SUNNY AFTERNOON – The Kinks (2 Weeks)

A complete change of direction from previous hits, this Ray Davies song is wistful (in a slight breezy blues fashion), sunshine-brimming, and poetic lyrics painting1966 British life (albeit some political tax comments). It’s one I liked as an 8-year-old but grew to love as I got older, largely thanks to the melody and the vocal performance, very quirkily British, and loveable. The previous single Dedicated Follower Of fashion was one I probably liked more at the time, but it hasn’t aged quite as well as this, their second Number One which peaked in the early 21st Century in my charts – but not the last time they would top though…

SLOOP JOHN B – The Beach Boys (1 week)

A traditional sailing chanty rather than a contemporary new classic. Ish. It still sounds like a Brian Wilson song, and a track off the all-time classic Pet Sounds album. While it’s not quite up to the awesomeness of some of the other tracks it almost hit the top of the UK charts – and topped mine in the 2000’s. It has what you might expect, in harmony, production and vocal, for the great band pumping at their peak, and a fourth Number One. In a way, though, it’s the end of their hot creative period…

EBB TIBE – The Righteous Brothers (1 week)

The third and final of their classic Phil Spector-produced chart-toppers, saw an early-50’s standard covered yet again in the definitive version. Even the over-rated Sinatra was over-shadowed by this moody, powerful vocal production, complete with harbour sounds. It took 30 years to top my chart, but I didn’t really hear it until the 90’s on American oldies radio, and it still sounded great to me. Bobby Hatfield sadly died a few years back, but Bill Medley is still touring and keeping the flag flying, as much for his post-Righteous hits like I’ve Had The Time Of My Life from 1987 as for the 60’s hits.

I SAW HER AGAIN – The Mamas & The Papas (1 week)

3rd Chart-topper, this time with a John Phillips/Denny Doherty co-write (they hardly ever wrote together) following the Fleetwood Mac-type fling Denny had with Michelle Phillips, wife of John and the only surviving member of the band. She left the band for a while and they wrote this typically-layered-harmony polished pop gem which charted in the UK and US. It’s not as well known as some of their other classics, but it’s a great pop song anyway, urgent, a bit manic and the melody is just delicious. Along with The Beatles and Beach Boys and Spector, the band was advancing pop into a sophisticated production/art.

PAINT IT, BLACK – The Rolling Stones (1 week)

The second Stones Number One in My-chart world, in the interim they’d had 19th Nervous Breakdown, a great rock track, and shown they were developing well as songwriters with Marianne Faithful’s angelic version of As Tears Go By. This one, though, may well be their best moment, moody, ominous and beautifully-produced, the eastern-flavoured instrumentation hints they had been more than a little impressed by the Beatles albums in 1966. Keeping up with Joneses and doing it with style. Being used in movies since has helped it rechart on several occasions, quite probably becoming their most popular classic track in recent years (it was clearly Satisfaction in the 70’s and 80’s), quite deservedly though.

ELUSIVE BUTTERFLY – Val Doonican (1 week)

The affable laid-back Val was a TV staple back in the 60’s with his Irish charm and likeable singing voice. More of a throwback to Perry Como than contemporary pop, he was nonetheless popular with young kids for his Irish comedy novelty songs and older music fans for his ballads. From early favourites like Walk Tall through to 1971’s Morning, Val popped up in the charts regularly, but this was far and away his best record. A cover of Bob Lind’s American hit, a great record in it’s own right but one which has yet to chart in mine (I’m looking for a reason!), Val’s was the more famous UK version at the time and his tones suited this gorgeous melody and lovely strings arrangement perfectly. A childhood fave that still sounds great, this charted on the back of a Greatest Hits package a few years ago.

RIVER DEEP MOUNTAIN HIGH – Ike & Tina Turner (1 week)

The record that famously caused Phil Spector to retire from record production in a strop, as American radio stations incredibly failed to play it, reducing it to minor hit status. A massive UK hit though, and a bona-fide rock classic, ambitious, epic and passionate singing from Tina. The pedigree all-round is impeccable, from songwriters Ellie Greenwich and Jeff Barry, the Spector wall-of-sound and Ike & Tina’s r’n’b background. It catapulted them to world fame, an eventual movie based on Tina’s autobiography and a long solo career. Not their last number one in my chart, either, and this also charted following a hits compilation that made the UK chart, having initially failed to top my chart in 1969 when it was re-issued and a hit all over again. It improves with age!

TOMORROW NEVER KNOWS – The Beatles (1 week)

Never a single, this closing album track on Revolver was used on the BBC’s classic radio series 25 Years Of Rock as the signal for the changing of the times as 1966 drew to a close and opened up mind-expanding hippie music into popular culture. It’s high time it was a hit single, it’s ahead of the game on so many levels, the insistent eastern-flavoured repetitive rhythm, borrowed to great effect in the 90’s by The Chemical Brothers Setting Sun dance track, and many modern dance tracks use the same sort of repetition. The John Lennon track used tape loops and experimental-production techniques to get the new sounds, and helped open up pop to new rules: that there are no rules! Classic! Charted on the back of the remixed recharted Revolver album package.

PAPERBACK WRITER/RAIN – The Beatles (2 weeks)

Paperback Writer was probably the forgotten Beatles single until it got used as the theme tune to Read All About It, a TV review programme of the early 70’s, after which it became the 2nd-highest charting of the re-issued Beatles singles in 1976. An incessant riff-based and harmonies, and two minutes of romping Macca delight, but the B side Rain was just as good, a hippie-trippie rock anthem that really should have featured on Revolver, not tucked away on a B Side. Just goes to show that The Beatles B Sides were better than most bands A sides. We’re well into double figures now for Beatles toppers, and these two tracks finally topped in the 21st century.
BUS STOP – The Hollies (3 weeks)

This is a great song, probably The Hollies best single. Written by teenage songwriter Graham Gouldman (later of 10CC) it has great “meeting at the bus stop and turning into love” lyric and a wonderful tune, mature stuff for a pop single. Graham went on to write other fab 60’s hits for other acts, not to mention his co-written classics in 10CC (still touring), and The Hollies got a welcome boost to their already substantial back catalogue – with another 8 years to go! We forget these days how consistent they were. This was, however, the last to top my charts while Graham Nash was still highly visible on harmonies with Allan Clarke, three years on and he’d moved on to Crosby Stills & Nash, and delights like Marrakesh Express, among many.

 

(I’M NOT YOUR) STEPPIN’ STONE – The Monkees (1 week)

Not a Monkees original, but this B Side to I’m A Believer was pure 60’s garage rock, and a punk influence. The Sex Pistols had a cartoon version hit with it, but the Monkees version is the one that spits venom. Not so much catchy pop, as credible powerful rock, Micky’s vocals bark out passion and vitriol, so not so surprising it wasn’t a single (being as the singles were aimed at kids) but it also shows just how good the B Sides and album tracks of a supposed manufactured band really were. How you get there don’t matter, it’s what’s in the grooves that counts, and the grooves are pure gold.

My Number Ones: The Sixties Part 2 (1965)

1965 

Continuing my chronological list of pre-chart Number Ones (for the years they originally were released or hits, not the years they actually peaked after the event). At last a certain band start to appear regularly, better late than never…

YESTERDAY – The Beatles (1 week)

The first Beatles oldie to hit Number One was appropriately this, the most recorded song of the twentieth century. Paul McCartney’s deceptively simple wistful ode to lost love struck a chord with everyone. Everyone except the record company, who didn’t release it as a UK single until 1976. It’s unthinkable these days that a standard, and famous song, wouldn’t be allowed to chart in it’s own right, but the Fabs were so prolific and creative by 1965 that they could give away songs to other acts, stick out at least one album a year, and have hit singles not on the albums. Like many Beatles album tracks, others had the hit versions, but none of the millions of covers of Yesterday have bettered this. It came to Macca in a dream. We should all have dreams like that….!

WE CAN WORK IT OUT/ DAY TRIPPER – The Beatles (1 week)

A twentieth anniversary re-issue took this to the top of my chart, the oldest actual original Beatles single to do it (and their 4th to this point). Yes, Hard Days Night and Help have yet to do it, even though I went to the cinema when the films were new and have great childhood memories: I Feel Fine hasn’t either, even though I loved that record in 1976 when I bought it as an oldie, and nor has Ticket To Ride, a wonderful single complete with all that romping in the snow in the movie Help. Happily, this double A side has: two great tracks for the price of one, the optimistic and melodic Paul We Can Work It Out given an edge by John’s “life can be very short” interjections, and the rockier naughty Day Tripper. It’s about “big” teasers because they couldn’t use the real word on a pop single then. Nowadays it’s obligatory on rap breaks in pop songs.

IT’S NOT UNUSUAL – Tom Jones (1 week)

The song that launched a 50-year career. Tom has drifted in an out of fashion over the decades, and changed styles as is called for to get back in the game: he remains a bit of a singing legend with that manly belter of a voice and a great back catalogue and the old Welsh down-to-earth charm. I can barely recall a time when there wasn’t a Tom Jones releasing records, so much a part of the music scene that he’s been referenced in song himself (The Ballad Of Tom Jones). This catchy song remains his signature theme, and hit the charts all over again in 1987, when it peaked in my charts. Since then, well it’s been in The Simpsons, Friends, Mars Attacks and Edward Scissorhands. Can’t be bad then…! As always, had I been charting back in the day my childhood faves (etc), What’s New Pussycat and Green Green Grass Of Home would be listed as toppers for 1965 and 1966 too…

STOP! IN THE NAME OF LOVE – The Supremes (1 week)

Third Number One from The Supremes, thanks to a reissued and charting 1989 single in the UK. Holland-Dozier-Holland were getting increasingly sophisticated in their songs and production as they went along, and most of the best were American Number Ones, well on their way to a dozen in total cementing their position as the biggest girl group of all-time. Later acts may have sold more albums, or had more hits, but none had the extended run of huge singles (and albums) to that extent, from 1964 through to 1972, and beyond with Diana Ross. This is a great pop single,  constructed beautifully, and the melody and lyrics work well together on that perennial theme: heartbreak. What’s not to love!

UNCHAINED MELODY – The Righteous Brothers (1 week)

One of the most famous songs of the last 70 years, a chart-topper in many decades for many acts, but this remains the definitive version by far. Phil Spector was trying to produce male singers at this time and settled on the great vocal talents of Bobby Hatfield (tenor) and Bill Medley (bass) as the showcase. Out of step from his main productions of the time, this was almost a throwback to the 50’s and really a solo Bobby Hatfield record rather than a duo. Regardless, he gives a fabulous performance and was eventually rewarded with a trans-Atlantic chart-topping mega-hit – in 1990! Thanks to “Ghost” and it’s potters wheel scene, of course. I suggest ignoring all of the other million-selling versions and stick with this one, they just sound wishy-washy in comparison. Sorry!

YOU’VE LOST THAT LOVING FEELING – The Righteous Brothers (3 weeks)

Talking of Phil Spector and The Righteous Brothers, and Ghost… The 1990 hit of Unchained Melody led to this being re-issued as a follow-up in 1990, and a hit all over again. Not that it hadn’t already been a hit re-issue, it charted in my charts first in 1969, and 1975, and 1988, and then for the fourth decade in a row in 1990, where it peaked and stayed in my charts for several years. I can’t speak highly enough of the perfection of this single, Phil Spector’s perfect moment, with the greatest vocal duo performance of all-time, bar none. It is sublime, the way it builds, Bill Medley’s building low-tones dominating the song until the absolutely epic grand finale, when Bobby Hatfield chimes in screaming at the top of his range to take it to another level. Probably the most purely angst-ridden emotional record ever made, kudos to regular 60’s Brill Building songwriting team Barry Mann and Cynthia Weil, and Spector, of course, despite his attempts in recent years to blacken his legacy. For my part, I liked the record as a child of the 60’s, grew up with it in the 70’s liking it more, realising in the 80’s that it really was a great record, and by the 90’s it was becoming obvious it was one of the greatest records of all-time. I maintain that opinion, and call as first witness it’s status as the most-played record of all-time on American radio (over 8 million plays). Secondly, I nominate it’s perennial appearance in “Best 100” lists over the last 45 years. Case proven m’lud?

MY GIRL – The Temptations (1 week)

90’s movies made quite a few classic oldies big hits, such as the 1991 movie of the same name that took this to number 2 in the UK in 1992, and 1 in my charts (catching up with the USA where it topped in 1965). Smokey Robinson wrote it,  David Ruffin sang lead – my favourite Temptations singer, but they were all great – and this charming soul ballad kicked off a long career of soul, dance and funk hit singles for the band, that included greats like Just My Imagination, Papa Was A Rolling Stone, Ball Of Confusion, Can’t Get Next To You, Get Ready and even Supremes duets like I’m Gonna Make You Love Me. Band members went solo (Eddie Kendrick’s Keep On Trucking, David Ruffin’s fab Walk Away From Love) but the hits and quality kept on coming, with sporadic hits over the decades, even though four of the original five have now passed away. Their classic period was written/produced by Norman Whitfield at Motown, I saw them live in the 80’s, and rate them highly – but this is their only chart-topper. Boo!

I GOT YOU BABE – Sonny And Cher (1 week)

Everyone knows this one. They just do. It’s been in movies (most memorably Groundhog Day, which helped push this chartbound in 1993, when it belatedly hit number one in my charts, 28 years later than it would have been guaranteed to top – I loved this as a child). It’s been covered by UB40 and Chrissie Hynde, Cher has become a timeless diva icon of many a classic pop hit, but this remains the most universal megahit. Sonny Bono wrote it, while a hit songwriter, and had a go with his young wife as a duo. Cher’s deep tones, and Sonny’s growling made an effective combination, but back-peddling to the time, they were really the first beatnick/hippy dressers to hit the big-time, and the married-couple image helped make it family-friendly. In the same way that older generations complain about young-people’s habit of tripping themselves up with trousers hanging below the behind, they in turn were complained about for hanging long hair and outlandishly colourful clothes. Short hair and drab was the norm. Sonny & Cher brightened it all up and kicked off a long career as solo stars, and for a few years as duo. Sadly their other 60’s hits are largely forgotten – The Beat Goes On, Alfie, All I Really Want To Do, Laugh At Me, and best of all the wonderful Little Man, which has a great toon and percussion, and needs rediscovering…

EIGHT DAYS A WEEK – The Beatles (1 week)

The first Beatles song to top my chart in the new century (2000), and strictly-speaking is a 1964 album track off Beatles For Sale, but it topped the US charts in 1965, so here it is, the Fabs 5th chart-topper. It’s a fairly good Beatles track of the time, not quite up to the standard of the actual singles from 1964 or 1965, but it’s a fun singalong track that keeps things ticking over until the jump in quality of album tracks coming up in 1965 (that’ll be Help! then…). Why did it chart in 2000? It was the only uncharted track on the Beatles album “1” so it qualified to make my charts. “1”, is of course, the world’s biggest-selling album of the 21st Century. Yes, that’s right. Not Adele. The biggest-selling album is by the greatest act of the 20th century, and who hadn’t existed for 30 years by then…

ALMOST THERE – Andy Williams (1 week)

This is not his most famous hit, but it’s the engaging crooner’s best one. Andy Williams started having hits in the 50’s and by the 60’s was a variety TV staple, his show introduced The Osmonds to the world, and the Cookie Bear to the delight of kids like me. Always likeable and entertaining, Andy also had one of the great crooner voices, almost effortless in effect, but subtle in appeal. Andy was always popular in the UK, though his tracks prior to this one tended to be bigger US hits, from hereon they were much bigger in the UK. Can’t Get Used To Losing You was his first great record, and Moon River his most famous, but Almost There has a gorgeous melody. Sentimental and beautifully constructed, and hit my top spot in 2001.

(I CAN’T GET NO) SATISFACTION – The Rolling Stones (1 week)

The great Beatles vs Stones rivalry is comprehensively weighted in favour of the fabs in my eyes, but Mick n Keef had their great moments too. I liked the early hits, but this was the first thing they did that I loved. That riff. That swagger. That frustration. That toon. It’s a rock classic of course, and signalled the serious start of Jagger/Richards as a songwriting rock force. Bubblerock (aka Jonathan King) did a whimsical version that if nothing else showed the song worked outside of a rock setting, but no version will ever be superior to this recording, it has attitude even today. A number one hit everywhere in 1965, it had to wait until 2001 in my charts, but it got there in the end!

I’M ALIVE – The Hollies (1 week)

The Hollies were very popular in the UK in the 60’s, but are largely unknown to generations not around then, which is a shame as they had a great run of pop singles for 10 years. Lead singers Alan Clarke and Graham Nash (later of Crosby Stills and…) led the Hollies harmonies specialty, and they had a knack for getting hold of good songs. Not writing their own hits for the most part, I suppose, was the main drawback, but they still sound good to me. This was their first really good chart-topper, not an all-time pop classic maybe, but decent enough catchy harmony guitar pop, and nothing wrong with that. Hit my top spot in 2002.

HOMEWARD BOUND – Simon & Garfunkel (2 weeks)

The most popular of American folk-rock acts as the 60’s passed into 1970, it’s not hard to see why: Paul Simon songs, and his harmonies with angelically-voiced Art Garfunkel. They managed to be a source of songs for others, have hit singles yet be essentially an album act, not to mention write the soundtrack to a blockbuster movie, The Graduate. Early great songs like The Sounds Of Silence, America, Mrs Robinson and Hazy Shade Of Winter typified poetic intelligent lyrics mixed with great melody and harmony in a folk-rock setting. Their Greatest Hits collections have charted constantly over 40 years, and that gave the excuse for this gem to peak in 2002. Written of all places on a grim British railway station platform, it’s melancholic sweet sense of longing is beautifully touching.

MAKE IT EASY ON YOURSELF – The Walker Brothers (3 weeks)

Burt Bacharach/Hal David and three non-related American singers who were much bigger in the UK with this and subsequent records. Yes, this is yet another of those Dionne Warwick songs that someone else had the big hit with. Poor Dionne. To be fair, both versions are great, but Scott Walker’s manly vocals give it another dimension. That voice. That string section. That melody. Those heartbreaking break-up lyrics. It’’s just wonderful all round really! This was part of a double-A-sided topper in 2003 – and the other side was even better!

SOME OF YOUR LOVIN’ – Dusty Springfield (3 weeks)

Dusty really set the bar high with this cover of a Carole King ballad. The greatest 60‘s female melody-maker sung by the greatest British female singer. Dusty had started the ball rolling with great album tracks and singles such as Wishin’ And Hoping in the period since her previous Number One, and was very much a staple of British TV by this time, albeit making the hits in the States too. Her gift was interpretation of songs, she had a passion for music that came out in the way she painstakingly constructed the vocals, and her voice is to me unbeatable: soulful, honey-covered and emotional. This gentle, passionate version of the song is the definitive and it’s one to bring tears to the eyes it’s such a perfect and affecting recording. Really!

YOU’VE GOT TO HIDE YOUR LOVE AWAY – The Beatles (2 weeks)

Never an official single, this “Help!” movie and album track is the Fabs 6th chart-topper in age-terms (but like the next two were 21st Century Number Ones in my charts). It’s a great John Lennon angst-ballad, all confused emotions, and has been said to be a reference to the gay private life of manager-friend Brian Epstein at a time when it wasn’t socially acceptable. Whatever, it’s an example of John’s tender ballad side (Paul is usually accused of creating those, and not given credit for the edgier tracks which John is expected to have been behind). As for me, I saw “Help!” at the cinema when I was 7 going on 8, and I loved it, and I loved the songs in it – such as this one and its great melody and sad sentiment. In 1976 I was re-acquainted with many earlier classic Beatles singles and album tracks when I got the Beatles 1962-66 Red album for Christmas. Just. Brilliant.

I NEED YOU – The Beatles (1 week)

If there was ever both a simultaneously lucky and unlucky songwriter/pop star it’s George Harrison. On the one hand he had the good fortune to learn the craft of songwriting by watching and working with two now-legends in Paul McCartney and John Lennon – and on the other hand, how could anyone compete with them, 2 together in one band?! The chances that a 3rd great songwriter would emerge from the same band must be fairly small….! It happened, though. This is the first indication that George had an ear for a tune, and again from “Help!”. Obviously not rated as one of the great Beatles tracks, but it’s engaging and catchy and I like it!

NORWEGIAN WOOD (THIS BIRD HAS FLOWN) – The Beatles (1 week)

In these music industry days where albums are milked for tracks over a period of years, it’s unthinkable that someone could be so prolific that Singles (and B sides) weren’t necessarily on albums, and that tracks so obviously potential singles were left on albums. It’s even more unthinkable that they would release not one album a year but two (AND do a movie!). “Rubber Soul” is a classic album and it was released bare months after “Help!” and yet it showed a massive leap in sophistication of song, sound and quality. New instruments were being used in pop music by the group, and pop grew along with the Beatles. The times they were-a-changing. This is a marvellous ballad, one of many on the album, such as the UK chart-topper (In an inferior cover version which I nonetheless loved in 1965) Michelle, or gorgeous Girl, the engaging You Won’t See Me, and the sombre In My Life. The Beatles as a creative as well as a commercial phenomenon were well under way…

John’s Chronological List Of Personal Chart Number One’s…1959 to Now: Part 1 The Sixties

OK, I’m old but not THAT old – I wasn’t making charts in 1959! I did my first one in 1968, became regular in 1971 and went comprehensive in 1975 (Top 50) and 1978 (Top 75). Along the way old records made the UK British Singles charts (and so became eligible for mine), or more recently (like the real download charts) album tracks and oldies can also chart (providing they make the various album or archive charts on the Official Charts Company site and haven’t charted before). The net effect is…lots of oldies have got to my Number One over the years, but I don’t like listing them in the year they peaked if they came out years before in the real world. So, I’ve listed by year of original release or chart entry in the real world, all that’s different is I list them within each year in the order they first charted and with total weeks at the top in brackets.

Phew! Hope that’s clear, and here’s the Year By Year list of tracks I loved more than any other tracks for at least one week, with musings, facts, trivia attached to avoid it being just a dull list. I hope!

1959:

Incredibly, after 44 years of charting, only one track pre-dating the 60’s has ever made it to my Number One. No Elvis, no Cliff, no Buddy Holly, no Nat King Cole! That was back in 1972, when it made the British charts again, and kick-started a second career for the artist, newly-relocated to the UK…

OH CAROL – Neil Sedaka (1 week)

This is a fifties pop gem written by one consistently great classically-trained pop songwriter about his crush on the greatest female pop songwriter of the era (and probably of all-time), Carole King. Brill Building jobbing song-writers, and popstars, I was 14 when I noticed this one, while 50’s rock’n’roll was getting a second-wind during the glamrock era. These days it sounds sweetly period-piece, like most of Neil Sedaka’s hits of that time, but it’s arguably the Seventies that produced his best work, and incredibly, gems like Laughter In The Rain, Bad Blood and The Immigrant didn’t quite make it to the top of my charts despite links to heroes like 10CC, Elton John and John Lennon! Ah well, at least two of them got to the Top in the States! I saw Neil Sedaka in concert around 2008, still in fine voice, and thoroughly charming. What a lovely man and there can’t be many fifties acts still touring in 2012!

1960:

And into the sixties, more of a fifties vibe still going on, so not only the odd few entries till things started kicking off in 1964 (or more tellingly, perhaps, from when I first became obsessed by pop music, Dr Who and comics age 6, so I have memories attached to the songs of the period that aren‘t there for these earlier ones).

APACHE – The Shadows (1 week)

Most-successful instrumental band of all-time, Cliff’s backing band ruled in the early 60’s. They were always on TV with their suits and synchronised guitar-movements, had a string of number ones, and were inspirational to many guitar-wannabees. Boys could like the Shads where girls tended to prefer Cliff. As The Drifters, they backed Cliff on his early “first proper British rock’n’roll” hits and carried on hitting into the 80’s. Apache was a cover, I think, but what a great romping early guitar anthem, even if it had to wait until 2005, 45 years to reach my Number One after it had already done it in the UK!

AT LAST – Etta James (2 weeks)

Etta James has become pretty well-known over the last few years, after decades of critical success, but not much commercial success since the early 60’s give or take the odd advert-related re-issue. A soul great, this song over the last 3 or 4 years has popped in and out the charts after use on reality singing shows like the X Factor, and finally made the Top 40 after her death in early 2012. It had already been a big hit in my charts but that was enough to give it the extra push to hit the top, I downloaded it, loved it, and it now holds the record for longest gap between release and hitting number one in my charts: almost 52 years! Or at least it did until 2013….

COME RAIN OR COME SHINE – Ray Charles (1 week)

2013, a TV advert, and a record I’d never heard before hits my Number One, to become the oldest recording to top my chart at 53 years from release to peak. Ray Charles’ 2nd topper chronologically, and with a sophisticated strings-heavy blues-style version of a 1946 movie song (musical St Louis Woman). Taken from the modestly-titled The Genius Of Ray Charles (well, he was, so it’s OK) 1959 album, it was a minor US Hot 100 hit in 1960 and 1968, but somehow I’d managed to avoid hearing it (that I recall) till that advert gave it a modern boost. Sultry, sophisticated, and what a great Charles vocal performance, it’s sublime, and high time it made the UK charts! Gorgeous.

THEME FROM A SUMMER PLACE – Percy Faith (1 week)

Percy was an orchestra leader born in the early 20th century. Around 100 years later this gorgeous instrumental was used as a Butlins TV ad in the UK and re-introduced it to older music fans old enough to remember it being everywhere growing up. Theme tune to a now-forgotten movie, the strings-based melody remains memorable and delightful, and the ad gave me an excuse to chart it at long last in 2014, and take the record (54 years) for longest-gap from release to top of my charts. So good, even Jasper in The Simpsons sings it and adds his own lyrics: “Theme From A Suuummer Place theme from a summer place”. And so on. Fabulous.


1961:

STAND BY ME – Ben E. King (1 week)

Singer with The Drifters during their greatest period of success, and classic tracks, Ben stepped out solo for this all-time great. Not initially a huge UK success (cover versions diminished it) the Stand By Me film got it widely-known in 1987, and it finally reached Number One in the UK charts and mine. Despite other great solo hits like Spanish Harlem, this remains his main claim to fame, and what a great vocal performance. Others have come close (and some have made my Number One with it! See 1975 when it comes) but not surpassed the original. Still think of the movie now though!

(MARIE’S THE NAME) HIS LATEST FLAME – Elvis Presley (2 weeks)

Logic dictates that with all the regular Elvis chart reissues over the years, and bearing that Elvis was huge fixture in everybody’s life in the 60’s and 70’s and a family favourite, that the King Of Rock’n’roll would have hit the top at least once with rock classics like That’s Alright Mama, Heartbreak Hotel or Jailhouse Rock, or one of his early pop biggies like Wooden Heart. He hasn’t yet though, this is the earliest one to do it: a romping catchy pop ditty, often looked down on by purists, but it’s a great pop song so boo hoo to you! It may be purely that his 60’s stuff was familiar to me growing up and his 50’s stuff wasn’t till I got a bit older, but we had Elvis singles and albums in the house, and we saw his movies like Fun In Acapulco and Speedway on TV and at the cinema, they were of the time, but the music spots sometimes had stuff to commend them… This track had 2 runs at the top, first in 2000, then in 2005 again, for one week each time.

SURRENDER – Elvis Presley (1 week)

Elvis’ Second Number One is another from his purple pop patch, an upbeat almost-Italian-flavoured belter, and like the last one Number One during the 2005 “one re-issue a week” campaign for Elvis Number Ones, after a previous Top 10 appearance in 2001. I actually had a vinyl picture cover re-issue of this I bought in 1977, so it was more of a 70’s nostalgia trip than 60’s. While these may not be Elvis’ greatest vocal moments (they came later), or influential (like his Sun Records and early RCA stuff), or interesting (as, say, Blue Moon was), hey I still say they are great pop toons…J

RUNNIN’ SCARED – Roy Orbison (1 week)

The Big ‘O’ for me is the greatest male vocalist of all-time, another huge family favourite as I was growing up, and his songs…well no-one could turn out quite a heart-wrenching dramatically-building ballad like Roy. Seemingly tragic in real-life, his songs seemed to hint at the dramas ahead. This was his early classic, after a few years of Elvis-styled rock’n’roll flavoured stuff, this defined his appeal and sound. In life we all like different types of music, we all have our favourites, but if these leave you unmoved, well you need to sit and listen to them until the judgement faux pas is blindingly clear! Hit my Number One in 2006.
1962 

OK, it’s 1962, and The Last Year Before The Beatles changed everything, worldwide. Stars that were having hits, suddenly found they were yesterdays news, and British music was to conquer the world for the next few years. So, tail-end of an era and still a few records managed to hit my Number One:

NUT ROCKER – B. Bumble & The Stingers (4 weeks)

Novelty records. Usually that’s a dirty word, but in the 60’s there were plenty of good, and even amusing, examples of the genre. As a kiddie I loved them all, from A Windmill in Old Amsterdam to Right Said Fred. This one was semi-serious, and one I was introduced to in spring 1972 when it seemed positively ancient but made the UK Top 20 all over again, soooo catchy. What is it? It’s a 1962 UK Number One manic instrumental rock’n’roll version of The Nutcracker Suite. When the music teacher invited us to have one end of term “play your favourite singles” lesson, I brought this one in, cos it was sort of classical, but it turned out not so cool to the other kids who brought in stuff like Chicory Tip “Son Of My Father”. Hey ho, it’s a rocking bit of fun, and has been revived, against all the odds, by Radio One in 2012, for “It’s Friday and I’m Going Home” slot. Hey, waddya know, I was 40 years ahead of my time!

THE LOCOMOTION – Little Eva (1 week)

Another kiddie favourite from 1962, another Top 20 re-issued hit in 1972, and the first of many classic pop songs from Goffin & King songwriters. Who? That’ll be husband & wife pop hit machine Gerry Goffin and Carole King. Carole wrote the melodies, the same Carole who Neil Sedaka wrote Oh Carol for (see 1959), and the same one who had a UK hit with It Might As Well Rain Until September, a truly fab pop song that almost made the Top 30 again in 1972 – a certain Number One if it had done so, in my chart! Carole King had a stunning 10 years of songs, including this one, sung by her teenage babysitter. Yes, true! Little Eva became a pop star for a while, The Locomotion became regularly covered (and hits for the likes of Grand Funk Railroad – awful – in the States, and Kylie everywhere). Love Kylie, but her twee version isn’t a patch on the fun party railroad train dancing original.

I CAN’T STOP LOVING YOU – Ray Charles (1 week)

A blind Soul/blues singer covers a country & western classic ballad from the then late Hank Williams (I think) and delivers a strings-laden classic. Ray Charles was a great singer, and carried on having hits throughout his life, but he crossed genre boundaries and had a UK Number One with this gorgeous lament. Sadly, some of his other greats like Georgia On My Mind and Hit The Road Jack never qualified for my charts. At least not yet, they would be chart-toppers for sure. This one was on a charting hits album package, which meant I could chart one track off it. I chose the best one in 2001.

WONDERFUL LAND – The Shadows (3 weeks)

The Shads second chart-topper, chronologically, but the first to chart as best track on their charting hits package in 2004. A theme is already starting to emerge: I love songs with sweeping strings, and this has one of the best examples on an instrumental (second only, perhaps, to Theme From A Summer Place). The melody is just magic, Hank Marvin’s twanging guitar lead is restrained, and in 50 years I have never ever stopped being moved by this beautiful record. Loved it at 5, loved it at 25, love it at nearly 55. The Shadows had loads more hits, many of them fun, one of them even a catchy Eurovision vocal pop hit, Let Me Be The One in 1975, but they never bettered this big UK seller and Number One.

1963 

BE MY BABY – The Ronettes (1 week)

In 1966 we got our first record player, dad was back from Aden and we lived in a Liverpool slum flat at a time when Liverpool had been ruling the world, pop-wise. A batch of singles dad bought would easily have had weeks at my number one, had I been compiling charts then, including The Beatles I Want To Hold Your Hand and Can’t Buy Me Love, The Tornadoes Telstar, and above all this pop gem, Phil Spectors greatest girlgroup moment (fittingly with his wife in it). Long before he was a convicted murderer, Phil S was an immaculate pop producer of perfect pop confections like this. The Wall Of Sound became famous, Brian Wilson rated this the greatest pop record ever made and became inspired to do the same for The Beach Boys, and it’s certainly up there with his greatest records too. The beat, the song, the singing, it’s pop perfection. More famous these days from Dirty Dancing, to me it’s still a golden 1960’s pop memory, and one week at number one during a crowded 1974 chart full of golden oldies doesn’t do it justice. 10 weeks is more like it!

UP ON THE ROOF  – The Drifters (1 week)

One of the early great black vocal groups, of what sort of merged into what became known as soul music, the Drifters had an ever-changing line-up of singers from the fifties to the present day. A Sugababes template, if you like. Their greatest era had Ben E King on lead vocal for goodies like Save The Last Dance For Me, and after his solo career took off (see Stand By Me) with Johnny Moore for goodies like At The Club, Saturday Night At The Movies and a pop chart career that stretched into the late 70’s. This is their greatest moment though, what a fabulous song, and another Goffin/King triumph. Even UK cover versions at the time which hogged the chart action, and subsequent ditties like Robson-Jerome (who at least got the song a deserved Number One chart position at long last), can’t dim this glorious definitive version which hit the top in 2003.

(YOU’RE THE) DEVIL IN DISGUISE – Elvis Presley (1 week)

Elvis’ 3rd Number One in my chart, and like the other two, thanks to the reissue singles campaign which resulted in Elvis getting more returns to the top spot (I still maintain he has 18 Number Ones, the last 3 were just returns to the top spot, albeit via reissues on cd single). Anyway, another romping pop gem from The King with a great tempo change for the gentle melodic “angel” segments building to the fast chorus belting out the title. Had I been compiling charts in 1966 there would have been two more (Crying In The Chapel, a gospel monster hit) and a very minor hit from 1968 from the film “Speedway” You’re Time Hasn’t Come Yet Baby – both of which I loved as a child. Speedway is Elvis’ best cheesy film because it has Nancy Sinatra in it, doing her own Groovy song (well, Lee Hazelwood’s).

IN DREAMS – Roy Orbison (1 week)

One week at the top doesn’t do this epic building ballad justice – it became one of my 80’s retro favourites, although Roy’s hits album was always on the turntable in our house when we were younger. This chart run though had to wait for a 21st Century Greatest Hits UK album chart entry to qualify to make my chart in 2008, belatedly. This is another perfect record, Roy’s brilliant vocal performance, the epic power-finale, and the journey from mellow towards that final note. What a fab Orbison song, what a singer. Brilliant.

 TWIST AND SHOUT – The Beatles (1 week)

At last, The Fabs feature. My all-time favourite band, and the greatest pop act of all-time. There is no point arguing they ain’t, because no other act has any real substantial critical, creative, influential AND commercial basis to make a convincing alternative case. I daresay people will love other acts of their time more, and many may have the same or greater commercial success over the course of a long career (though none have come close to the intensity of success of those 7 years), but the Beatles did it all and did it first, and continue to remain relevant 50 years on. They only ever did one cover version which turned out to be the definitive version, and this is it: The Isley Brothers hit given a Liverpool frantic beat, and John Lennon’s manic vocals were so over the top that his voice packed in after trying for this take. A great party record to this day, this 2009 Number One in my chart would have charted in the UK in 1963 had EP’s qualified for the singles chart, but in any case it finally entered when The Beatles were released onto itunes and this turned out to be one of the four Beatles oldies to hit the download era charts. Not that The Beatles needed others songs, from this point on they had their own increasingly sophisticated songs to draw on.

YOU’LL NEVER WALK ALONE – Gerry & The Pacemakers (1 week)

A modern UK anthem, thanks largely these days to football club supporters and charity events, but originally this Liverpudlian-band cover from the musical “Carousel” was a huge pop hit in 1963. Gerry Marsden, still going strong, and his band were the first to manage 3 debut Number Number Ones in the UK charts, but this is the claim to fame, the definitive version guaranteed to give you shivers down the spine. Ferry Cross The Mersey and Don’t Let The Sun Catch You Crying were fine, Gerry’s very likeable, but this track is still charting well into the 21st Century, including the year it hit No.1 2010 and a chart entry again in 2012!

E O MUITE ARUKO (SUKIYAKI) – Kyu Sakamoto (1 week)

A famous debut for world music atop the US charts in 1963 and a big hit in the UK, the Japanese-language MOR-strings-based jolly pop-song had a famous melody, even if no-one knew what the words meant. It didn’t matter. Kyu had a great singing voice, full of conviction and emotion, and the tune was classic. It still pops up in pop culture, such as Malcolm In The Middle TV sitcom, but it’s influence is more important as the first real non-European-language international hit. I like to think it was the birth of world music. Kyu sadly never followed it up, and died tragically as one of the passengers on the world’s biggest single airliner crash in Japan in 1985.

1964  

LEADER OF THE PACK – The Shangri-Las (2 weeks)

We move into the period when I was getting into pop music now. We lived in Chesham, Buckinghamshire, and journeyed on the Tube into London sometimes, when it was Swinging! Oddly, this wasn’t one I knew – this became a big British hit in 1972, and I loved it then, for it’s first week at the top, and then again in 1976, when it made the UK Top 10 yet again. The ultimate consummate motorcycle tragedy record, the production is Spector-esque in stature (Shadow Morton) and the vocals superb – you believe every aching note is sincere! Great song, great use of sound effects in pop, and bonafide classic that never hit the top anywhere, I think. Scandalous! They had other great emotional pop hits in the States, but this is the one everyone knows.

BABY LOVE – The Supremes (1 week)

Everyone knew this song in the 60’s, and it’s still well known even today. This was the song that launched The Supremes to pop stardom, and Diana Ross to international success. Why? It’s so catchy! Simple enough melody and lyrics, fairly laid-back uptempo Motown dance pop, and nowhere near their best record, but it’s fun. There were many more to come, but the first single “Where Did Our Love Go” got to the top as a cover in 1972, and this one did it for the original in 1974, when it was re-issued and hit the UK charts again. This was the first time a record I knew first time round made my charts 2nd time round. The floodgates had opened!

YOU’RE MY WORLD – Cilla Black (3 weeks)

Cilla was a 60’s British pop icon who got her break because she knew The Beatles in Liverpool’s Cavern club. Long before she became a loveable TV family favourite, and in the process inadvertently gave her 60’s run of hits a bad press, she was a loveable young pop princess with an unusual nasal upper register belting out choruses and alternating with gentle lower register sweet verses. I was 6 when this came out and I loved it, an English-language version of an Italian dramatic ballad, Cilla did good. A UK Number One, (and it would have been a few weeks topping my chart had I been doing them then) it finally got its 3 weeks at the top in John’s 2003 charts following an album chart entry for her hits package. This remains a brilliant, heartfelt performance and arrangement and it is still great fun to singalong to after a pint in a pub (that would be Centre Stage bar in Gran Canaria thenJ)

SHOUT – Lulu & The Luvvers (1 week)

Another 60’s pop princess who often has had an unfair critical reception, Lulu was still a schoolgirl when she covered this Isley Brothers goodie and turned it into a classic, definitive version (at least in the UK). Such a powerful, and soulful voice seemed out of place for a youngster. To this day a party staple, “Shout” was a hit all over again in 1986 (when it peaked in my chart for one week at the top), by which time Lulu had already had a varied, chameleon-like career, on numerous record labels. Annoyingly none of the style changes managed to bag her a solo UK Number One, but I loved her follow-up Mickie Most-produced 60’s pop hits like Neil Diamond’s The Boat That I Row, and Me The Peaceful Heart, even if these days hardly anyone remembers them!

MOVE OVER DARLING – Doris Day (1 week)

Until Doris made the Top 10 UK album chart with a new album in 2011, breaking all sorts of records for oldest act to chart, gap between new material and the like, it almost seemed as though this was her last chart gasp after a career stretching back to the 40’s, and including greats such as the “Calamity Jane” soundtrack gems “Secret Love”, “Black Hills Of Dakota” and “The Deadwood Stage”. A voice like honey, Doris was also a wonderful light comedienne, and featured in a long run of romantic comedies, including this favourite of mine. The theme song was a hit, and a hit again in 1987 when it hit my top spot. Always under-appreciated, a classic vocalist, and a loveable personality on film, and in real-life dedicated to good causes, what’s not to admire!

DOWNTOWN – Petula Clark (3 weeks)

Like Doris, a film and vocal veteran dating back to the 40’s (as a British child star) Pet really got into her stride in the 60’s starting with a run of great Tony Hatch songs. This is the classic, a hit all over again in remix form in 1988 (when it got two weeks topping my chart) and then again in 1999 (for another week), but the original version remains the best, a joyous melodic ode to the excited draw of the Big City. The template was a good one, and subsequent goodies like Don’t Sleep In The Subway and The Other Man’s Grass were nearly as delicious, while her 1967 UK Number One, written by Charlie Chaplin (yes, honest!) This Is My Song was a lovely harkback to older-style ballads, and would have probably been near my top spot given the opportunity in 1967. Sadly her chart/pop career never really moved past 1971, but she continued to delight on stage after the films also dried up.

YOU REALLY GOT ME – The Kinks (1 week)

The Kinks are a British institution of the 60’s and (to a lesser extent) subsequent decades. Ray Davies is widely regarded as an influence on later pop movements such as Britpop and punk (Jam, Pretenders, Blur etc) and is a great songwriter. This UK number one was not just a breakthrough for the band, it’s regarded as a singles chart breakthrough as a sort of template for heavy rock with a punky mood, with it’s hypnotic insistent manic riffs, and soaring vocals. It’s a fab song, a timeless poprock gem, and happily is still fairly well-known and referenced. It certainly doesn’t sound almost 50 years old, and subsequent hits following on from it, such as All Day And All Of The Night, sound pretty good too. Then The Kinks changed style…of which more to follow:) This got to my Number One for a week as part of an EP in 1997.

GOLDFINGER – Shirley Bassey (1 week)

Bond. James Bond… Shaken, not stirred. No, Mr Bond, I expect you to die!

Yes, James Bond hit global superstardom with this film, and Shirley Bassey became the theme diva of choice. John Barry, composer, was a great talent, and Shirley was tops for belting out a melodramatic ballad (and she still can!), put them together and you have the template for the perfect start to a Bond movie. You also have a great pop song. Amazingly, this classic was never a big hit, but it’s still well-known. Miss Bassey was big favourite of my dad, the first album we ever had in the house featured many of her 50’s hits like Kiss Me Honey Honey Kiss Me. Her rather OTT vocal style wasn’t really my cup of tea on the whole, but I still loved the Bond themes, and liked the odd hit from the 70‘s like For All We Know, carrying right on up to her most recent album, and the Pink cover of Get The Party Started. This was a chart-topper in 2000 for me, Shirley’s only one, but not John Barry’s…

I’M GONNA BE STRONG – Gene Pitney (1 week)

It’s something of an injustice that the great Gene Pitney has only this sole entry at the top, from 2001. A great song-writer, and vocalist, in the Roy Orbison dramatic ballad style, albeit with a very different singing voice. Oddly bigger in the UK than the home USA (at least after the early hits like The Man Who Shot Liberty Valance), his first UK mega-hit was the Bacharach-David goodie 24 Hours From Tulsa, which triggered several years of great singles, including Something’s Gotten Hold Of My Heart (eventually a UK No.1 with Marc Almond in 1989), and this one, his greatest moment. The song builds slowly, the aching vocal performance matching the lyrics and mood, and builds to an epic dramatic finale. Now that’s what I call passion! He did a brilliant performance of this on UK Pop show Ready Steady Go, one of my many fave 60’s TV shows as a child. Gene was beloved in our house growing up, and the late great still is. I’d like to see some contemporary singers take this song on – most of them would lose, though, they’d need the range and the guts to do it justice!

RAG DOLL – The Four Seasons (1 week)

The Four Seasons have one of the great pop back catalogues, so great that they turned their life story and songs into a fabulous musical, Jersey Boys. Long before the show they had a string of doowop-styled early 60’s hits, written mostly by talented bandmember Bob Gaudio and sung by the amazingly falsetto’d Frankie Valli. Great songs like Walk Like A Man, Let’s Hang On, The Sun Ain’t Gonna Shine Anymore, Big Girls Don’t Cry, Working My Way Back To You, The Proud One, and Bye Bye Baby were so good other acts had massive hit cover versions with them over subsequent years, as well as the long run of US hits, and less long run of UK hits. Even Frankie Valli’s solo hit Can’t Take My Eyes Off You became a much-covered standard. 50 years on, their two greatest moments from the 60’s (there was more to come in the 70’s!) remain Beggin’ (largely unknown until the Jersey Boys show turned it into the song of the show, and a modern dance anthem by Madcon), and this absolutely dreamy ballad. The harmonies, a group special, are spot on, and the melody is one to die for. This record is awesome, and unlike their other songs it’s never been successfully covered because you can’t improve on perfection. It topped my chart in 2001.

WALK ON BY – Dionne Warwick (2 weeks)

They rarely get classier than the cool Dionne Warwick, Burt Bacharach’s main 60’s voice of his equally classy, sophisticated songs. I grew up loving Burt’s many songs throughout the 60’s right from age 6 onwards. Predominantly aimed at the Easy Listening adult brigade, the timeless melodies in particular weren’t supposed to appeal to all ages – but they did, and do. Dionne had a long run of US hits with Bacharach/David songs, and as gorgeous as her smooth vocals were, she didn’t always get the British hit out of it, thanks to many hit covers by British acts. No offence to Dionne (love her versions too) but the definitive versions can often be found elsewhere (see Cilla, Dusty, Sandie, Bobbie, and one who would have had a number one if my charts had started 4 weeks earlier in 1968, Herb Alpert with the tearjerking This Guys In Love). This one though, IS the definitive version, the lyrics are perfect, the melody is perfect, the vocal is perfect, the backing is perfect. If you’ve ever been dumped by someone, put this record on. Singalong, and if you’re not bawling by the end of the record you must be made of stone. I did, in 2002, when it peaked during the summer at the top.

Dionne has continued to have a long pop career, highlights in the 60’s and 70’s like Do You Know The Way To Jose, and into the 80’s Love Power and Heartbreaker and beyond. I saw her in concert a few years back, still laid-back cool, and still recording albums in 2012.

IT’S OVER – Roy Orbison (2 weeks)

Roy’s 3rd Number One in the list, peaking in 2004, 40 years after the original release, is probably his most defining moment. There’s no more straight-forward statement of heartbreak, the end of a relationship, than It’s Over, and Roy’s brilliant performance, right up to the final title repeat of the “giving it everything” climax, is stunning. There have so far been no further 60’s Roy chart-toppers, but with songs like Only The Lonely, Cryin’, and Oh Pretty Woman – his most famous thumping singalong big hit, and one that would easily have been a number one for 6-year-old me (cos I loved it) – that may yet change. The hits dried up eventually, after tragic family losses, and changing musical tastes, but that wasn’t to be the end of his career….

DON’T WORRY BABY – The Beach Boys (2 weeks)

The main American 60‘s competitors to the Beatles, creatively and success-wise, were the Beach Boys. In the Wilson Brothers Brian, Carl & Dennis), cousin Mike Love and Al Jardino they had male harmonies like no other, and still to this day there have been no real pretenders to that crown. Starting out as surfer-pop dudes singing about girls, cars and surfing, Brian Wilson’s songwriting skills took them to another level. Early hits like I Get Around, Surfin USA, Help Me Rhonda and California Girls were great pop records, but Brian took on the challenge of the increasingly sophisticated Beatles records, and the inspiration of Phil Spector’s wall of sound, to create heavenly records, such as this gorgeous ballad. It’s touching, adult love songs for teens, and those harmonies, ooh they set the stage for more to come. This hit the top in 2004, courtesy of a summer hits compilation – which is why the Boys are well represented, they regularly chart oldies singles and albums. Quite right too!

(THERE’S) ALWAYS SOMETHING THERE TO REMIND ME – Sandie Shaw (2 weeks)

Probably the coolest of the big British 60’s female pop singers, Dusty excepted, Morrissey gave her a new lease of life in the 80’s with my Top 5 fab hits Hand In Glove, Nothing Less Than Brilliant and the Lloyd Cole goodie (Are You Ready To Be) Heartbroken, but it’s her mid-60’s career that is best-remembered, thanks to 3 UK number one hits, starting with this gem of a cover version of the Dionne Warwick/Bacharach/David track. I was 6 when this came out and I love it, and I loved Sandie, and still do. This remains the definitive version, and finally peaked at the top in 2005, 41 years late, but better late than never. As my charts started in 1968 the only one of her 60’s tracks to chart was Monsieur Dupont (at 2) which still leaves great hits like Long Live Love, Girl Don’t Come and even Eurovision winner Puppet On A String uncharted, and at least 2 of them would have hit the top in my hypothetical kiddie charts of the time.

COME SEE ABOUT ME – The Supremes (1 week)

Despite a string of American Number Ones, the huge girl group of the 60’s only had the One British chart-topper in Baby Love. Motown were firing on all cylinders by the time this one came out. Not one of their most famous hits, it has a more subtle appeal to it than their early singles, Diana Ross’ honey-sweet vocal lead, and a fabulous melody. It took Shakin’ Stevens cover of it, I kid you not, to get me to really notice the brilliant original, and turn a 2007 chart-topper into their second No.1 of 1964. I need to mention Holland-Dozier-Holland here: responsible for most of Motown’s run of great Supremes hits, that wasn’t enough: they also were the backbone of the Four Tops classic period and other assorted Motown acts. More than any other songwriters/producers I think they sum up what made Motown the lasting legacy that it is. Classic!

ALL MY LOVING – The Beatles (1 week)

2009, a down-load era Number One, but by the time this childhood album-track fave came out (The Beatles were so prolific, famous and talented that album tracks might as well have been hit singles!) the Fabs had already had several Number Ones in the UK charts (million-sellers) and invaded the States comprehensively and famously in a never-to-be equalled entire Top 5, with well over a dozen filling in the Hot 100 singles chart. In these days of charting download album tracks that might not sound impressive, but these were actual vinyl singles that you had to buy in shops! I really don’t see anyone ever duplicating the feat…Meanwhile, The Beatles were all over UK TV as I avidly watched Thank Your Lucky Stars and Jukebox Jury, and even Doctor Who. Two of the first singles we ever had in the house were I Want To Hold Your Hand and Can’t Buy Me Love (along with B side This Boy) and She Loves You was sung by all and sundry. All would have been chart-toppers for little John, but have yet to do the same for old John. This early McCartney melodic ballad has though, and along with And I Love Her, was an indication of what was to come from Macca, melody-man supremeJ

ANYONE WHO HAD A HEART – Cilla Black (1 week)

The final 1964 Topper, so far, is from 2012, and is Cilla’s second, and is also yet another Dionne Warwick/Bacaharach/David cover – you can see why she’s still bemused at all the potential chart-toppers she missed out on in the UK. To be fair to Cilla though, this is the definitive version, utterly Over The Top choruses paired with hushed verses, something she did very well on subsequent great singles like the Beatles It’s For You (written for her), Alfie (Bacharach finally recording directly with her) Step Inside Love (McCartney song for her again) and on two Top 5 hits in my  1969 charts Surround Yourself With Sorrow and Conversations. With the move into family TV loveable-personalityism though, her recording career never really sparkled outside the 60’s…Pity!