1963- June Chart

Welcome to Songs Through Time! In this blog I aim to look back at pop music history using the charts featured on BBC Radio 2’s ‘Pick of the Pops’ show each week, providing some historical context to understand how the music of the time came to be, along with its impact on the record-buying public. I’ll be choosing a personal favourite, looking at the week’s Number 1, and uncovering more obscure songs from the same year which deserve the spotlight. Each song will be broken down and I’ll be throwing in some trivia for good measure. My aim is for you to learn something new and to discover some great artists. Happy reading!

Inspired by last week’s Pick of the Pops on BBC Radio 2, let’s take another look at 1963.

June 1 1963 Top 20

20. Benny Hill- The Harvest of Love

19. The Chantays- Pipeline

18. The Springfields- Say I Won’t Be There

17. The Chiffons- He’s So Fine

16. Freddie & The Dreamers- If You Gotta Make A Fool of Somebody

15. Ned Miller- From a Jack To a King

14. Ray Charles- Take These Chains From My Heart

13. Gerry & The Pacemakers- How Do You Do It

12. Brenda Lee- Losing You

11. Frank Ifield- Nobody’s Darlin’ But Mine

10. Wink Martindale- Deck of Cards

9. Paul & Paula- Young Lovers

8. Roy Orbison- In Dreams

7. Billy Fury- When Will You Say I Love You

6. Del Shannon- Two Kinds of Teardrops

5. Andy Williams- Can’t Get Used to Losing You

4. Cliff Richard & The Shadows- Lucky Lips

3. Jet Harris & Tony Meehan- Scarlett O’Hara

2. Billy J. Kramer & The Dakotas- Do You Want to Know a Secret?

1. The Beatles- From Me To You

1963 was a year of exciting heists, scandals, and freezing weather! The winter left over from the previous year was the worst since the late ’40’s. The Great Train Robbery and Profumo affair brought Prime Minister Harold Wilson’s popularity crashing down, ending in his resignation. Against the backdrop of these tense-yet-exciting events was a tipping point in British music. The Beatles had just begun their meteoric rise to fame, with fellow Mersey bands such as Gerry And The Pacemakers following suit. While these acts trickled into this week’s Top Twenty, many others comprised of various genres; American surf-rock from The Chantays (Pipeline) and pop-folk from The Springfields (Say I Won’t Be There) are just a few! The rarer side of 1963 shows off some Mod beat from Troy Dante & The Infernos, plus some country from Kearney Williams!

My Pick of the Chart

The Chiffons- He’s So Fine

Did You Know?

This instant classic from The Chiffons was actually rejected by 10 different record companies before finally finding one to release it! It was produced by The Tokens, a doo-wop group who ran their own production company. According to Token member Jay Siegal when finding Laurie Records: “We played it, and they locked the doors and said ‘You’re not getting out of here. We want that record.’…Of course we’d already been turned down by ten companies…” The song would eventually become famous for another reason; a lawsuit against George Harrison’s ‘My Sweet Lord’ which is covered here.

This doo-wop hit is simple but effective, with that iconic backing vocal, “Do-lang-do-lang…)! A simple bassline, drums, and some twinkling piano from Carole King (the Carole King that is) are all that is needed to back The Chiffons as their lead and backing vocals carry the track beyond its humble production. It’s a great example of early 60’s song lengths, which were often dictated by radio stations who would refuse long singles; this clocks in at less than two minutes- a short but sweet piece of doo-wop. Lyrically, ‘He’s So Fine’ is a song about the narrator’s infatuation for a man. She describes him in detail, vowing to herself that she is going to be with him despite being unsure how this will happen. She states that she’d do anything to be with him; this need to impress out of sheer infatuation represents teenage love and longing as a whole and resonates beyond the early ’60’s. It’s no surprise that this short, catchy hit would go on to be ranked the 5th best song of 1963 by Billboard!

“(Do-lang, do-lang, do-lang)
(Do-lang, do-lang)

He’s so fine (Do-lang-do-lang-do-lang)
Wish he were mine (Do-lang-do-lang-do-lang)
That handsome boy overthere (Do-lang-do-lang-do-lang)
The one with the wavy hair (Do-lang-do-lang-do-lang)
I don’t know how I’m gonna do it (Do-lang-do-lang-do-lang)
But I’m gonna make him mine (Do-lang-do-lang-do-lang)
He’s the envy of all the girls (Do-lang-do-lang-do-lang)
It’s just a matter of time (Do-lang-do-lang)

He’s a soft [Spoken] guy (Do-lang-do-lang-do-lang)
Also seems kinda shy (Do-lang-do-lang-do-lang)
Makes me wonder if I (Do-lang-do-lang-do-lang)
Should even give him a try (Do-lang-do-lang-do-lang)
But then I know he can’t shy (Do-lang-do-lang-do-lang)
He can’t shy away forever (Do-lang-do-lang-do-lang)
And I’m gonna make him mine (Do-lang-do-lang-do-lang)
If it takes me forever…(Do-lang-do-lang)”

Written by Ronald Mack

The beginning of a certain Beatlemania features in this week’s Number 1!

Number 1

The Beatles- From Me To You

Did You Know?

The Fab Four’s first ever Number 1 in the UK, ‘From Me To You’ first began to be written on a coach ride to Shrewsbury as part of a tour alongside teenage singing sensation Helen Shapiro. John Lennon described writing the song with Paul McCartney: “We were writing it in a car I think, and I think the first line was mine…It was far bluesier than that when we wrote it. The notes—today you could rearrange it pretty funky…We nearly didn’t record it because we thought it was too bluesy at first, but when we’d finished it and George Martin had scored it with harmonica, it was alright.”

This week’s Number 1 marks the start of a long string of hits for The Beatles, with 1963 being the pivotal year of making it to the top. ‘From Me To You’ features the iconic Merseybeat sound pioneered by the group; an energetic beat, harmonised vocals, and a lyrical hook- singing the opening harmonica lick as suggested by The Beatles’ legendary producer George Martin. Lennon gets plenty of chances to show off the exciting burst of his harmonica, reminding record-buyers of its versatility; he gets both a riff, and some solos out of it! Interestingly, there is also a brilliant modulation featured during the song’s bridge sections; it gives off an almost melancholy sound, separating it from the more uplifting verses but still feeling like an organic extension of them. It even ends on a minor (sad) chord, extremely unusual considering most of the song is in a major (happy) key! ‘From Me To You’ promises love and devotion to the narrator’s love interest; he offers anything as he longs to show his affection for her. A very worthy first Number 1 for the Kings of the ’60’s!

“Da-da da, da-da da da da
Da-da da, da-da da da da

If there’s anything that you want, if there’s anything I can do
Just call on me and I’ll send it along with love, from me to you

I got everything that you want, like a heart that’s oh so true
Just call on me and I’ll send it along with love, from me to you

I got arms that long to hold you and keep you by my side
I got lips that long to kiss you and keep you satisfied, ooh

If there’s anything that you want, if there’s anything I can do
Just call on me and I’ll send it along with love, from me to you…”

Written by Lennon/McCartney

1963 didn’t just have great music hitting the charts- here’s this post’s rarities!

Beyond The Chart

Troy Dante & The Infernos- Tell Me

Did You Know?

Obscure beat group Troy Dante & The Infernos released a total of 3 singles in the UK, first through Decca Records and then with Fontana Records. Decca is a particularly interesting label to note; it’s history contains one big blunder and one major consolation. Believing “Guitar groups are on the way out” they turned down a recorded audition with The Beatles, The Yardbirds, and Manfred Mann! It quickly became apparent that guitar bands were not on the way out, leading them to sign The Rolling Stones, paving the way for other trendy acts such as The Moody Blues and The Zombies.

This rare single demonstrates the rising star of beat music, with an organ riff taking a lead role in place of the electric guitar. The record is upbeat and frenzied at times, with the organ’s harsh sound, drum fills, guitar chords, and a bouncing bassline. The Infernos back a jaunty Troy Dante, who despite his delivery sings of a need to hear the girl he has expressed his love for tell him that she loves him too. However, the girl seems to be denying her love for him, choosing to pursue other men and tell them she likes them instead. The narrator continues to ask, knowing what she is doing- that or he won’t believe she doesn’t want to be with him. It’s the quintessential subject matter; love and longing, which always go down well with young record-buyers. Even the song length is perfect for the era; barely two minutes of fast-paced, energetic beat very much of its time but serving to show off what was becoming popular.

“Tell me the words that I wanna hear, they’re only three                                                                I have told them to you, why don’t you tell them to me                                                              Tell me the words that I wanna hear, they’re only three                                                                I have told you I love you so now say you love me                                                                            I know that you run around with other guys just to make a fool of me                                   And all the things that you say are lies so darling you were meant for me                                  Tell me the words that I wanna hear, they’re only three                                                         Right or wrong I belong in your arms so tell them to me                                                               I know that you run around with other guys just to make a fool of me                                   And all the things that you say are lies so darling you were meant for me                                  Tell me the words that I wanna hear, they’re only three                                                        Right or wrong I belong in your arms so tell them to me                                                       Come on tell them to me, yeah tell them to me”

Written by Dante/Askew

My next obscurity moves the spotlight from trendy beat to comfortable, old-fashioned country!

Kearney Williams- Travelin’ Man

Did You Know?

‘Travelin’ Man’ with ‘Two Worlds, One Heart’ on the B-side, was the only known release of Kearney Williams. It was a US-only single, released on Hickory Records, who were based in Nashville. Although mostly a country-specific label, releasing Williams’ music among the likes of Frank Ifield and Sue Thompson, the label gradually expanded, distributing records from artists like Donovan, The Newbeats and Neal Ford & The Fanatics.

This rare record printed in Nashville is fast-paced country-rock with some raw and brilliant electric guitar lines. Steady, simple drums and bass keep things solid as the guitar plays riffs, acts as a melodic response to Kearney Williams’ vocals, and even solos! Williams himself sings in a very low voice, sounding fairly upbeat considering the nature of the lyrics. He punctuates his verses with a satisfying ‘yyyyyyep!’ lending a quirky feel to the song. Lyrically ‘Travelin’ Man’ describes the lot of a man with no permanent home or love, having separated from his partner. He travels in loneliness and misery, never too sure of where he’ll be going each day- there’s a sense of being lost and unimportant within the lyrics. The cycle of travelling to new places with no home to go back to will always continue, and so Williams’ seems to tell the man to move on and accept this fate. The music and lyrics almost juxtapose but together they make for an interesting, electric take on the sad, woeful tales associated with country.

“I’m a travelin’ man just a rollin’ stone, these wonderin’ feet have got to roam                       Just up and down these lonely roads with a heavy heart that’s carryin’ a heavy load, yep! Just like a ship that’s lost at sea in the dark blue water of misery                                           The other half has set me free and a travelin’ man it’s made out of me, yep!  

When the sun goes down and the shadows fall the night went howl a lonesome cone           In and up at dawn be on my way Mr travelin’ man where you goin’ to be today, yep!      These lonely roads there is no end, there’s no you to pretend                                                Walk along on the wind-swept sky, cos the travelin’ man, he’s alone till he dies, yep!   

On and on travelin’ man you ain’t got no place to stay, just move on, yep! Travelin’ man…

Written by Kearney Williams (Credits Unavailable)

1963 was certainly the tipping point of popular music! At this point, Merseybeat was only punctuating the charts- but in merely a year the British Invasion would herald the new wave of brilliant English rock, starting with The Beatles! They would go on to conquer America, with the likes of The Rolling Stones, The Kinks, The Yardbirds and The Animals all following suit. London would soon be the cultural epicentre of the West, with fashions beginning to become more colourful and daring to match the trendy new sounds coming out of the city and beyond. Record-buyers could only dream of what was around the corner!

1969- May Chart

Welcome to Songs Through Time! In this blog I aim to look back at pop music history using the charts featured on BBC Radio 2’s ‘Pick of the Pops’ show each week, providing some historical context to understand how the music of the time came to be, along with its impact on the record-buying public. I’ll be choosing a personal favourite, looking at the week’s Number 1, and uncovering more obscure songs from the same year which deserve the spotlight. Each song will be broken down and I’ll be throwing in some trivia for good measure. My aim is for you to learn something new and to discover some great artists. Happy reading!

Inspired by last week’s Pick of the Pops on BBC Radio 2, let’s take another look at 1969.

May 25 1969 Top 20

20. Jackie Wilson- (Your Love Keeps Lifting Me) Higher and Higher

19. Smokey Robinson- The Tracks of My Tears

18. Glen Campbell- Galveston

17. Jr Walker & The All Stars- (I’m a) Road Runner

16. Diana Ross & The Supremes- I’m Living in Shame

15. Booker T & The MG’s- Time is Tight

14. Des O’Connor- Dick a Dum Dum

13. Edwin Hawkins Singers- Oh Happy Day

12. Mary Hopkin- Goodbye

11. The 5th Dimension- Aquarius (Let the Sunshine In)

10. Clodagh Rodgers- Come Back and Shake Me

9. Tom Jones- Love Me Tonight

8. Manfred Mann- Ragamuffin Man

7. Simon & Garfunkel- The Boxer

6. The Isley Brothers- Behind A Painted Smile

5. Frank Sinatra- My Way

4. Herman’s Hermits- My Sentimental Friend

3. Tommy Roe- Dizzy

2. Fleetwood Mac- Man Of The World

1. The Beatles feat. Billy Preston- Get Back

This chart marks my second time I have explored the music of 1969, 4 months on from my January post! Love was very much in the air this year, with Lulu, John Lennon and Paul McCartney all marrying. The voting age was lowered from 21 to 18, colour television was introduced to BBC One and ITV, and music fans were treated to a second Isle of Wight Festival with Bob Dylan appearing! The charts this week are filled with a mixture of contemporary gospel, rock, and Motown; the Edwin Hawkins Singers (Oh Happy Day) revive an 18th century hymn in style, while Smokey Robinson (Tracks of My Tears) and Diana Ross & The Supremes (I’m Living In Shame) showcase the Motown Hit Factory’s continuing success. Meanwhile, Fleetwood Mac (Man of the World) and The Beatles’ ‘Get Back’ add a harder edge to the chart, which is filled out with bits of country (Glen Campbell), ballads (Frank Sinatra), and folk-rock (Simon & Garfunkel). The obscure side of 1969 reveals a taste for early reggae from harmony group Ethiopians, plus a private press of psychedelic pop from The News!

My Pick of the Chart

The 5th Dimension- Aquarius (Let the Sunshine In)

Did You Know?

‘Aquarius/Let the Sunshine In’, written for the 1967 musical ‘Hair’, was recorded by The 5th Dimension after a complete happenstance! According to American producer and engineer Bones Howe, Billy Davis Jr of the 5th Dimension left his wallet in a New York taxi- it was found and returned to him by a man who happened to be working on the production of ‘Hair’. The group were invited to watch the show and subsequently rang Howe, raving about the potential they saw in recording ‘Aquarius’.

One of 1969’s most popular and iconic songs, ‘Aquarius/Let the Sunshine In’ is a thrilling, powerful display of The 5th Dimension’s ‘Champagne Soul’; vocals showing off their experience singing Broadway, R&B, jazz, soul and even opera! They’re not the only ones on fire; the backing musicians are tight and powerful, consisting of some of the finest session musicians of popular music- The Wrecking Crew. ‘Aquarius’ opens with an almost astral backing of flutes, strings, and a repeating bass riff which slowly increases in strength with the addition of drums backing the first singer. The beauty of the verse gives way quickly to a cool chorus with all members of The 5th Dimension singing, brass instrumentation, and a more fast-paced rhythm. ‘Aquarius’ itself is astral in lyrical content, describing the harmony, peace, and light that will come with the changing of the astrological age from Pisces to Aquarius. Then things kick off into the utterly joyous ‘Let the Sunshine In’; the bass becomes funky, the vocalists repeat the coda, and the brilliant Billy Davis Jr unleashes line after line of spontaneous, passionate vocals- what a medley!

“When the moon is in the Seventh House, and Jupiter aligns with Mars
Then peace will guide the planets and love will steer the stars
This is the dawning of the age of Aquarius, age of Aquarius
Aquarius! Aquarius!

Harmony and understanding, sympathy and trust abounding
No more falsehoods or derisions, golden living dreams of visions
Mystic crystal revelation and the mind’s true liberation
Aquarius! Aquarius!

When the moon is in the Seventh House. and Jupiter aligns with Mars
Then peace will guide the planets and love will steer the stars
This is the dawning of the age of Aquarius, age of Aquarius

Let the sunshine, let the sunshine in, the sunshine in
Let the sunshine, let the sunshine in, the sunshine in
Let the sunshine, let the sunshine in, the sunshine in

Oh, let it shine, c’mon now everybody just sing along
Let the sun shine in, open up your heart and let it shine on in
When you are lonely, let it shine on…”

Written by James Rado and Gerome Ragni

It’s Number 1 time once again for the Kings of ’60’s popular music….you guessed it…

Number 1

The Beatles (feat Billy Preston)- Get Back

Did You Know?

‘Get Back’ came about as a result of spontaneous jam sessions at Twickenham studios one day in January 1969. The line ‘get back to where you once belonged’ was a rewrite of a George Harrison lyric in his song ‘Sour Milk Sea’- ‘get back to the place you should be’. ‘Sour Milk Sea’ was given to singer Jackie Lomax, who used it as his debut single that August; meanwhile ‘Get Back’ caused a slight tension in the band as, according to John Lennon, each time Paul sang the famous line, he would look at Lennon’s then-future-wife Yoko Ono!

The Fab Four are at it again, with yet another Number 1 for the chart! ‘Get Back’ demonstrates their musical maturity; this is easily one of the heaviest, singles they had released. It’s pure blues rock, backed by the electric piano of master session man Billy Preston (who’d been recruited into The Beatles in January). Not only is the genre unusually heavy for The Beatles (certainly their singles), ‘Get Back’ also features not George, but John playing those lead guitar licks! Ringo provides a restless, pounding drum beat, while Billy gets his own spontaneous solo, adding to the organic feel of the music. It’s The Beatles stripped back, with no reverse guitar solos or exotic instruments featuring here- though the lyrics remain quirky. Paul describes ‘Jo Jo’ as an ‘imaginary character, half-man and half-woman’ who is being urged to go back to his/her home country. The original lyrics were too controversial to be used- they were telling immigrants to go back to their countries, a mocking commentary on Enoch Powell’s ‘Rivers of Blood’ speech. It’s safe to say ‘Get Back’ remained a brilliant jam without the sensitive subject matter!

“Jo Jo was a man who thought he was a loner,
But he knew it wouldn’t last.
Jo Jo left his home in Tucson Arizona,
for some California grass.

Get back! Get back!
Get back to where you once belonged
Get back! Get back!
Get back to where you once belonged.                                                                                           Get back Jo Jo

Get back! Get back!
Get back to where you once belonged
You better go on back! Get back!
Get back to where you once belonged.                                                                                               Get back, Yeah

Sweet Loretta Modern thought she was a woman,
But she was another man.
All the girls around her said she had it coming
But she gets it while she can…”

Written by Lennon/McCartney

The obscurities of this post add reggae and psychedelic pop to the mix!

Beyond the Chart

Ethiopians- Satan Boy

Did You Know?

Harmony reggae group Ethiopians’ single ‘Satan Boy’ was produced by Lloyd Daley, a respected reggae producer, as well as a pioneer of studio engineering. He’s worked alongside the likes of The Creations (whose single ‘Mix Up Girl’ features on a compilation titled ‘Trojan Skinhead Reggae Box Set’), the ‘Godfather of Rocksteady’ Alton Ellis, and singer Dennis Brown, who has been cited by Bob Marley as his favourite singer!

This obscurity is Christian-influenced rocksteady, which, interestingly, would be followed up a year later with ‘Satan Gal’. ‘Satan Boy’ is set against a relaxed beat provided by some scratchy electric guitar chords with occasional melodic bursts, plus quiet drums which begin the song with a fill. ‘Satan Boy’ is sang with some subtle harmonies in and out of lines, particularly the repeated chorus line. The backing is raw and simple, but the use of off-beat guitar chords hints at the eventual rise of pure reggae. Lyrically, the song revolves around the description of a boy as being like the Devil, someone unreasonable and unapproachable, not caring for the future. The main hook is him being almost accused of being Satan himself, a nod to the roots of Ethiopians; founder Leonard Dillon was raised in a strict Seventh-day Adventist household (this refers to a form of Protestant Christianity). This rarity is a fascinating look at the early sounds which would go on to shape reggae, the sound all can picture now.

“Satan boy, you are the real Devil, you are Satan boy, you are the real Devil                        No-one cannot talk to you, no-one cannot reason with you                                                       No-one cannot talk to you, no-one cannot reason with you                                                      You are a Satan boy you are the real Devil, you are Satan boy, you are the real Devil        You see today you don’t see tomorrow, you see today you don’t see tomorrow                    You are Satan boy, you are the real Devil, you are Satan boy. you are the real Devil           No-one cannot talk to you, no-one cannot reason with you                                                      No-one cannot talk to you, no one cannot reason with you                                                      You are a Satan boy, you are the real Devil, you are Satan boy, you are the real Devil         Uh uh, you are the real Devil (Satan boy)…

Written by Lloyd Daley

My next obscurity continues the late 60’s taste for psychedelic sounds!

The News- It’s a Long Time

Did You Know?

Torquay-based trio The News were lucky enough to have this record produced by Phil Dunne, who’d worked with various artists assisting Gus Didgeon. Dunne’s name is credited on a fair selection of Elton John’s records, including ‘A Single Man’, ‘Blue Moves’ and ‘Here and There’, but his other artists include Daevid Allen, former frontman of the psychedelic outfit Gong, and singer-songwriter Ralph McTell.

This psychedelic rare record has all the hallmarks of the counterculture pop world; a swirling organ, vivid lyrical imagery, and some modulating vocals to emphasise a finished chorus. ‘It’s A Long Time’ kicks off with a great drum before the bass and swirling organ come in. Then we’re treated to melancholic, slightly hypnotic vocals backed by harmonies during the choruses; the hypnotism is ramped up with the modulating single note finishing each chorus. Lyrically, the record differs slightly from many psych-pop songs; ‘It’s A Long Time’ is almost wallowing in the lack of summer, describing the lack of sun almost as if suggesting the sun is deliberately hiding away and letting the shadow and shorter days take over. The trees are withered with autumn, and the narrator is left waiting and yearning for the summer. There’s a hint of optimism in the surety of blossoming trees once the sun does come back, but the imagery sung about is set in the future rather than a celebration of the present. An interesting look at psychedelic pop in an era where it was beginning to fade out of popularity.

“It’s a long time since the summer, butterflies on shining wings                                           Often started through the winter, seeping silver coming spring                                               Solar sun hides its rays away, then comes the shadow of the shortened day 

Memories lie, autumn leaves dry, falling on my dreaming eyes                                                 Pots of sun and pouring surfs wash with one blue-grey winter shine                                   Solar sun hides its rays away, then comes the shadow of the shortened day 

So I wait here contemplating while I steal the breath of here                                                       Trees now gone girl to sure blossom when the sun will reappear                                             Solar sun hides its rays away, then comes the shadow of the shortened day…”

Written by The News (Credits Unavailable)

As demonstrated both in this post and in my January one, 1969 was a colourful year bringing the best of the hippie movement and psychedelic underground to a close (at least on the surface). The Beatles, who’d paved the way for musical directions for most of the decade, would disband by the time of the new decade. Harder, straight-laced rock was beginning to become more fashionable than the technological excesses used on psychedelia. And teeny-boppers would soon have more artists to scream for, as men dressed more outrageously feminine than ever before and launched a new form of rock and roll- glam rock! Meanwhile the LP would be on the rise with the psychedelic becoming the progressive- progressive rock that is. The gauntlet would soon be thrown.

 

 

1973- May Chart

Welcome to Songs Through Time! In this blog I aim to look back at pop music history using the charts featured on BBC Radio 2’s ‘Pick of the Pops’ show each week, providing some historical context to understand how the music of the time came to be, along with its impact on the record-buying public. I’ll be choosing a personal favourite, looking at the week’s Number 1, and uncovering more obscure songs from the same year which deserve the spotlight. Each song will be broken down and I’ll be throwing in some trivia for good measure. My aim is for you to learn something new and to discover some great artists. Happy reading!

Inspired by last week’s Pick of the Pops on BBC Radio 2, let’s take a look at 1973.

May 18 1973 Top 20

20. Little Jimmy Osmond- Tweedlee Dee

19. David Cassidy- I Am a Clown/Some Kind of a Summer

18. Detroit Spinners- Could it Be I’m Falling in Love

17. Chicory Tip- Good Grief Christina

16. Judge Dread- Big Eight

15. Nazareth- Broken Down Angel

14. Medicine Head- One & One is One

13. Anne Marie David- Wonderful Dream

12. Geordie- All Because of You

11. Paul McCartney & Wings- My Love

10. Alice Cooper- No More Mr Nice Guy

9. Eumir Deodato- Also Sprach Zarathustra

8. Hot Chocolate- Brother Louie

7. Roger Daltrey- Giving it All Away

6. David Bowie- Drive-in Saturday

5. Perry Como- And I Love You So

4. Gary Glitter- Hello! Hello! I’m Back Again

3. Tony Orlando & Dawn- Tie a Yellow Ribbon Round the Ole Oak Tree

2. The Sweet- Hellraiser

1. Wizzard- See My Baby Jive

1973 was a year of misery against a backdrop of amazing and varied music. London endured multiple IRA bombs, while the coal miners’ strikes brought about the ‘Three-Day Week’ in which electricity usage was severely restricted in an attempt to curb inflation. Yet against this backdrop, Pink Floyd released its most defining album, ‘Dark Side of the Moon’ and teenyboppers had, for the first time in years, many pin-up stars to hang on their walls whose singles were selling rapidly. This week’s chart reflects this, with the likes of David Cassidy (‘I Am A Clown) and The Sweet (Hellraiser). Glam rock, which ruled Top of the Pops at this time, is represented by Gary Glitter, Alice Cooper and David Bowie, while smooth R&B and soul gets a look in, from Detroit Spinners (‘Could it Be I’m Falling in Love’) and Hot Chocolate (‘Brother Louis’). The obscure side of 1973 reveals a calmer side to music, with some gentle folk from ex-Kingston Trio member John Stewart, and an intriguing duet from stars Petula Clark and Sacha Distel!

My Pick of the Chart

Nazareth- Broken Down Angel

Did You Know?

Nazareth took their name from a lyric in The Band’s song ‘The Weight’– ‘I pulled into Nazareth/was feelin’ about half past dead’. The song was playing on the sound system in a bar the band were discussing their name in, as they were originally known as The Shadettes (formed in 1961)! Nazareth is an area of Pennsylvania, though the band themselves formed in Dunfermline, Scotland.

This rock classic is cool enough musically, but the lyrics are truly heartfelt, a story of depression and losing a previous lust for life. ‘Broken Down Angel’ is a hard rock classic; Dan McCafferty’s vocals are piercing and tough, harmonies back the choruses, the band set-up is traditional and hard-hitting, and we get a great guitar solo which the other instruments quieten down to accommodate. The song is a sad reflection of how a woman used to be, and now is, following a break-up or loss of the one she loved. She goes from being a bright, cheerful person who could lighten the mood of others to someone who can’t see the world as anything but grey and broken. The image of a broken-down angel is evocative and powerful; it’s imagery that sticks, an easy image to relate to our own lives. To explore the harshest and darkest of consequences of losing a loved one, however it happens, is a brave move which paid off for Nazareth; it would go on to reach as high as Number 9 in the Top Twenty!

“She used to be someone you could depend on
To brighten up your coldest winter day
But the one she leaned upon
Let her down, now has moved on
And morning brings another empty day
Now she’s only a broken down angel
She’s only a bird that’s broke her wing
She’s only someone, someone who’s gone wrong
She’s only a child that’s lost her way

She used to be a girl of simple pleasures
A breath of spring to chase your blues away
But now she bears a cross, for a love that she has lost
No sunshine in her life just clouds of grey
Now she’s only a broken down angel
She’s only a bird that’s broke her wing
She’s only someone, someone who’s gone wrong
She’s only a child that’s lost her way
She’s only a broken down angel
She’s only a bird that’s broke her wing
She’s only someone, someone who’s gone wrong…”

Written by Dan McCafferty, Darrel Sweet, Pete Agnew and Manny Charlton

This week’s Number 1 straddles the pop and rock worlds with a glam classic!

Number 1

Wizzard- See My Baby Jive

Did You Know?

‘See My Baby Jive’ was Wizzard frontman Roy Wood’s homage to Phil Spector! He says: “At the beginning of Wizzard, the line-up was two cellists, two drummers, two saxophone players, plus guitar, bass and keyboards. What else can you do with that line-up but create a Phil Spector sound?” Although best known for their Christmas single ‘I Wish it Could Be Christmas Everyday’, manager and promoter Don Arden preferred ‘See My Baby Jive’, describing it as “miles better”.

This fun, joyous single from Wizzard is a celebration of the wall of sound popularised by the legendary yet notorious producer Phil Spector. ‘See My Baby Jive’ makes the most of Wizzard’s large and varied line-up, with saxophones, backing vocals, clarinets, strings, and of course the standard drums and bass. The production could easily have come from Spector’s catalogue; everything is ratcheted up to the max, Roy Wood’s very own wall of sound! The full sound makes for an exciting record- combined with Wizzard’s colourful look, it’s the perfect piece of flamboyant glam rock for teenybopper record buyers at the time. The Spector influence doesn’t stop at the music either- the lyrics of ‘See My Baby Jive’ references The Crystals 1963 hit, ‘Da Doo Ron Ron’ which he produced. It’s a celebration of good music and dance, with the power and thrill of hearing tenor horns and saxophones from a favourite song, and the jubilant jiving of the narrator’s girl attracting the attention of passers-by. It sums up the glam rock era in many ways; a song harking back to the older records of the ’60’s, lyrics celebrating the joys of music and dance, and the bold, garish look to go with it!

“Look out! look out! your Momma will shout, you might as well go home
She said my bed gets into your hair so give me back my comb
But you
You make things that get along
Turn out so wrong
Doo ron, doo ron you’d better rock on
The band might play our song

See my baby jive See my baby jive
She hangs onto me and she really goes
Whoa (whoa) whoa
See my baby jive Such a lazy jive
Well every one you meet coming down the street
Just to see my baby jive

That tenor horn is turning me on He’s dropped down to his knees
Oh boy that sax is calling me back This dog ain’t got no fleas
But you
You dance all the guys up town
Into the ground
Doo ron, doo ron You gotta rock on
Your Daddy ain’t coming home..”

Written by Roy Wood

Onto a softer, quieter side of 1973- here comes my obscurities for this post!

Beyond the Chart

John Stewart- Chilly Winds

Did You Know?

John Stewart contributed a major song to the popular music of the ’60’s- The Monkees’ hit ‘Daydream Believer’! He’d composed the song while still in the Kingston Trio, who had emerged from the San Francisco folk movement in 1957. Stewart replaced Dave Guard in 1961, and the Trio continued their respectable levels of success with a total of seven albums between 1961 and 1963 reaching the Billboard Top 10!

This beautiful folk single captures the whimsical search for true love, leaving behind a broken one. ‘Chilly Winds’ is backed by a simple arrangement but with a fair share of mostly acoustic instruments; acoustic guitar, drums, bass, harmonica and a steel guitar to accompany John Stewart’s calm vocals. The steel guitar gets its own few bars of a solo, showcasing its smooth sound found so often in country music. The music in general seems to hark back to earlier times, conjuring up images of old America helped along by some of the imagery of the lyrics. ‘Chilly Winds’ is about leaving an old, troubled life behind in search of happiness and love in a warmer climate. The quest for a more fulfilled life has always endured in popular music of all kinds; take the baroque-influenced ‘Silke’ for example (covered in my 1966 post). The air of wanderlust, hope, and farewell makes this a single that still resonates today- even to escape the cold weather!

“I’m going where them chilly winds don’t blow                                                                               Going to find the true love that is where I want to go                                                                       Out where them chilly winds don’t blow                                                                                      Leaving in the springtime, won’t be back till fall                                                                        And if I can forget you, I might not come back at all                                                                  Out where them chilly winds don’t blow

Wish I was a hiddler on a westbound train, I’d shine my light on cool Colorado rain         Out where them chilly winds don’t blow,                                                                                       I’m going where them chilly winds don’t blow                                                                         Going to find the true love that is where I want to go                                                                       Out where them chilly winds don’t blow                                                                                      Sing you a song, sing it soft enough, sing it for you baby and then I’ll have to go                  I’m going where them chilly winds don’t blow                                                                             Going to find a true love that is where I want to go…”

Written by John Stewart

My next obscurity comes from two recognisable faces!

Petula Clark & Sacha Distel- Taking it On

Did You Know?

Petula Clark and Sacha Distel first worked together in 1960, when the ‘first lady of the British Invasion’ embarked on a tour of France and Belgium. Clark and Distel share a French connection of sorts; Clark had a string of hits singing in French; ‘A Fool Such As I’, ‘Sailor’ and ‘Ya Ya Twist’ being a few, while Distel was born and raised in Paris, rising to fame in 1958 with his single, a Brigitte Bardot homage aptly titled ‘Brigitte’.

This rare B-side to ‘Lead Me On’ is a stunning single, calm and as reassuring as the message within the lyrics. Backing the two brilliant, famous singers in their own right are various instruments bringing out the gentle, and more powerful moments of ‘Taking It On’; soft piano, plucked guitar chords, strings, bass, some cool electric guitar noodling, and drums which come in during the bigger moments of the song. Both Clark and Distel get to show off their very different vocals; Clark with the clear voice of a global entertainer voice, and Distel with his deep, affected French voice. ‘Taking it On’ is a positive song about a couple who are determined to make their lives better, to help each-other through difficult times by providing comfort and guidance. It’s suggested their lives aren’t currently great, but their response is to strive to brighten them; a response of positive action. It’s a beautifully-written song courtesy of ‘Sugar Me’ singer-songwriter Lynsey De Paul, and another great duet between two successful singers.

“Taking it on, making it good again                                                                                       Turning the darkness to a brighter shade of daylight blue                                                           Taking it back making it great again                                                                                     Turning our lives into the sort of place I want to be with you                                                   And even when your sun ain’t shining I’ll be there right alongside you                                    You can call me anytime, I’ll be there right alongside you                                                       Always there to comfort and guide you        

We’ll take it on, we’ll make it good again                                                                             Turning our darkness to a brighter shade of daylight blue                                                        We’ll take it back, we’ll make it great again                                                                          Turning our lives into the sort of place I want to be with you…”        

Written by Lynsey De Paul

1973 was without a doubt a year for everyone- at least in terms of music! The serious record-buyer opted for The Old Grey Whistle Test, Pink Floyd LPs, and the latest progressive rock concert. Lovers of the 45 could indulge in the latest, craziest glam rockers on Top of the Pops, or the more sentimental singles from the likes of Tony Orlando and Dawn. It was a year full of icons, yet both glam and prog would eventually burn themselves out, leaving a void for record-buyers which would eventually be filled by a new-found love of dance, and a need for simpler rock- punk!

Through Time- Music in Aboriginal Australia

Welcome to the intermediary post of the blog! Here I’ll be exploring the importance and styles of music in differing time periods and their meaning in past cultures; everyone from the Romans and Greeks to the Celts and Medieval Europeans.

This month I will be exploring the Indigenous music of Australia, which along with Aboriginal culture and ceremony, has lasted over 40,000 years, possibly making it the oldest culture in the world! As such, there won’t be a definitive timeline of the instrumentation and genres, but rather a look at how intertwined they were with Aboriginal societies, still serving as an essential part of their cultural maintenance. Aboriginal people, their culture and their languages varied across Australia, split into many geographical groups including the Koori (New South Wales, Victoria), Nunga (South Australia) and Palawah (Tasmania) but to name a few.

Aboriginal Instruments and Roles

 

 

 

 

 

 

Perhaps the most iconic image of Aboriginal music is that of an indigenous male Australian, wearing traditional body paint, playing the didgeridoo. There is still debate as to the age of the instrument, but it is at least 1500 years old, originally from Northern Australia. Rock paintings from Kakadu in the North suggest at least a millennium of playing the instrument. It served originally to accompany singing and dancing in ceremonies, and for personal enjoyment. Today, surviving indigenous Australians continue to use it for ceremony, accompanied by a pair of clapsticks which are struck together to provide a rhythm. These also provided a beat during Aboriginal chanting. Other Indigenous instruments include the gum leaf, which features at the beginning of the ‘Skippy’ TV theme (click here) and the Bull Roarer, effectively a musical spinning top spun around on a length of rope for use in rituals and to herd prey from the bush.

Didgeridoo Example Performance- Kangaroo Dance

This amazing video showcases the potential of the Didgeridoo to provide an extra layer or mimicry and character to Aboriginal dancing. In this video, the performer mimics a Kangaroo with great accuracy- from his sudden face movements while chewing grass to his abrupt looking up as if hearing something. It’s a great example of how in sync Indigenous people are to their natural surroundings, with a culture that has had them study and worship the land for thousands of years. The vocals uttered are aggressive and on edge but the didgeridoo, backed also by clap sticks, adds all the more tension to the dance. Its sounds increase in variation as the tension of the dancing and vocals grow, creating a deep, unearthly texture timed with the fast clap sticks. Its hypnotic quality definitely justifies its common description as a ‘drone pipe’!

Aboriginal Religion and Genres

Aboriginal music has its own unique genres, with songs being used to tell stories of epic journeys (Bunggul), to purify the belongings of a deceased person through themes of death and regeneration (Wangga), and even to identify landmarks for navigation (Yuri or Songlines). Songlines particularly reflect the Aboriginal religious belief in the Dreamtime, the creation of the world.

An Aboriginal representation of The Dreamtime, the Aboriginal Creation Law believed to have brought all life, habitat and order to the Earth.

According to The Dreamtime, when the Earth was being created, it was little more than an empty void. The creation ancestors, supernatural beings, emerged from the earth and sky and began to travel across the land, forming landscapes, living beings, and societal laws in the process. Each Aboriginal tribe has its own beliefs in what form the Ancestors took and what happened to them after the Dreamtime, but most believe they still exist in some form on the Earth, as elements of nature or as watchers in the sky. Along with music, the Dreamtime is represented in Aboriginal art, colourful and incredibly beautiful.

Songlines

Songlines often inspired paintings, showing landmarks and directions of the routes believed to have been taken by the Creators. Songline routes often criss-crossed with others, creating a significant cultural and geographical history of the many Indigenous clans who lived in various parts of Australia.

Often known as a ‘dreaming track’ because of its strong ties to The Dreamtime, songlines are believed to reveal the routes taken by the Creators of the world. Along with traditional songlines, these paths are shown through paintings, poetry, stories and dances. It is possible for some to navigate across the land by remembering and using the words of a dreaming track, which describe the locations of landmarks and natural phenomena that can be easily recognised. As a result, different parts of Australia had their own unique clan songs, dependant on the terrain and natural makeup of their area. They are traditionally passed on from ancestor to descendant, ensuring an entire clan’s history and culture is preserved. As such, Indigenous Australian clans, with the exchanging of songlines, could gain a vast knowledge of the landscape beyond their borders.

Songline Example: Gujingga

This fascinating example of a songline comes from one of 13 clans from the Wardaman clan estates; the Yubulyawan clan. Using a pair of clapsticks for rhythmic backing, the songline is chanted in a mesmerising drone, as the clan member Yidumduma explains each line. The songline describes a Creator, who rests and then moves, creating rivers as he goes. His movements spark bigger songlines as he crosses more land, creating songlines for many more tribes until much of the continent is mapped out. The Kangaroo people are referenced, people who stamp their feet and dance when discovering and naming a new place. According to Yidumduma: “We’ll be singing all these songs for about a month… In this big area, you’ll be zig-zagging and naming all the different plants and soils, earth and trees and springs, all sorts from the sand, the gravel, to everything that could name it…”

“Rainbow is resting, curled up sleeping
Rainbow now moves, making the rivers                                                                                     Rainbow now moves, making the rivers

He was travelling and he kept going
and the sound of the boomerang
was coming in…from all different angles.

Dancing all lined up, clapping with the boomerang  
That’s all the sound was coming in now when they were singing,
with the dance that was coming in with all the Kangaroo People…”

Songline Story and Example: The Rainbow Serpent (Music at 4:17)

This example provides a brief explanation on the story of the Rainbow Serpent, who went by many different names depending on the tribe- Goorialla, Galeru, Wagyl and Wonambi are just a few examples. The story in this video goes that before the Rainbow Serpent came, the Earth was flat. It appeared out of the sky, pregnant with all that would be created once it gave birth. However, there are many varying stories of the Serpent, making Aboriginal religion standout as one in which there is not a fixed creation story. The Songline in this video is performed using the traditional instruments- the didgeridoo, clapsticks, and chanting. Gumaroy’s chanting is aggressive, with some impressive high-pitched cries and intense vibrato. His mentor sings a different take on the story, less aggressive and more consistent in the dynamics of his voice. The video as a whole is perfect for explaining and hearing different tribal interpretations of the Dreamtime- there are certainly a lot!

Aboriginal music is an entrancing mix of ancient, and futuristic, with the other-worldly drone of the didgeridoo and the use of chanting and basic forms of timekeeping. Surely one of the world’s oldest surviving cultures, its variations geographically, religiously, and culturally make for some interesting art created from it. They showcase using music for things you would never usually consider- marking locations, purifying the deceased, and keeping individual clan culture alive.

1977- May Chart

Welcome to Songs Through Time! In this blog I aim to look back at pop music history using the charts featured on BBC Radio 2’s ‘Pick of the Pops’ show each week, providing some historical context to understand how the music of the time came to be, along with its impact on the record-buying public. I’ll be choosing a personal favourite, looking at the week’s Number 1, and uncovering more obscure songs from the same year which deserve the spotlight. Each song will be broken down and I’ll be throwing in some trivia for good measure. My aim is for you to learn something new and to discover some great artists. Happy reading!

Inspired by last week’s Pick of the Pops on BBC Radio 2, let’s take a look at 1977.

May 11 1977 Top 20

20. Berni Flint- I Don’t Want to Put a Hold on You

19. Rose Royce- I Wanna Get Next to You

18. Andrew Gold- Lonely Boy

17. Leo Sayer- How Much Love

16. Kenny Rogers- Lucille

15. Piero Umiliani- Mah-Na Mah-Na

14. Peter Gabriel- Solsbury Hill

13. Billy Ocean- Red Light Spells Danger

12. ABBA- Knowing Me, Knowing You

11. Barbra Streisand- Evergreen (Love Theme from ‘A Star is Born’)

10. Elkie Brooks- Pearl’s a Singer

9. 10cc- Good Morning Judge

8. Eagles- Hotel California

7. The Dead End Kids- Have I The Right

6. Van McCoy- The Shuffle

5. Tavares- Whodunit

4. Joe Tex- Ain’t Gonna Bump No More

3. Stevie Wonder- Sir Duke

2. Rod Stewart- First Cut is the Deepest/I Don’t Want To Talk About It

1. Deniece Williams- Free

1977 will forever be remembered as a year of all-out punk. The infamous Sex Pistols made headlines following their sacking from EMI records and subsequent signing at Virgin Records- from this came their controversial album ‘Never Mind the Bollucks’. Against this backdrop of new, anarchic image came the tragic deaths of Elvis Presley and Marc Bolan. The charts of the time reflect anything but punk, however. Pop and disco rule the Top Twenty with the likes of Rose Royce (‘I Wanna Get Next to You’), ABBA (‘Knowing Me, Knowing You’) and Leo Sayer (‘How Much Love’). R&B tops them all, flanked by icons Rod Stewart and Stevie Wonder! The rarer side of 1977 carries a powerful message from married couple Bernd and Freya Wippich, along with some punk from Jet Bronx & the Forbidden!

My Pick of the Chart

Andrew Gold- Lonely Boy

Did You Know?

‘Lonely Boy’ has always been thought of as an autobiographical song, despite Andrew Gold’s insistence it is not. The song mentions the birth of first the lonely boy in 1951 (Gold’s own birthday) and then the birth of a sister in 1953 (Gold’s sister Martha’s birthday). There’s even a mention of leaving home in 1969, the same year Bryndle, a folk-rock outfit he was a part of, was formed.

This nostalgic, melancholy song is easily one of Andrew Gold’s most well-known songs. ‘Lonely Boy’ is about family traditions, sibling resentment, and childhood. A boy is born and brought up by his parents, only to find his parents’ love and attention is no longer on him- they’ve had another child, and the sister is now the object of their affections. He feels lied to, hurt, and overwhelmingly lonely. He leaves home hoping to regain that love and attention, while his sister grows up, marries, and has a son, repeating the values taught to her by her parents. The music brings chills down the spine; it begins first with piano, minimal drums, and some cowbell to back Gold’s vocals. Things build up with guitars, a drum fill, and then a big, melancholic chorus backed by digital orchestration- the choruses strike hard. A big riff of drums, and piano are followed by a great guitar solo from Waddy Wachtel. The long break is almost a musical time skip like the next set of lyrics, which describe the sister as an adult. Gold’s final line of the song is raised to hard-hitting sights before the song is drawn to a close. A relatable classic for many.

“He was born on a summer day, 1951
And with a slap of a hand he landed as an only son
His mother and father said what a lovely boy
We’ll teach him what we learned, ah yes, just what we learned
We’ll dress him up warmly and we’ll send him to school
It’ll teach him how to fight to be nobody’s fool

Oh, oh what a lonely boy
Oh what a lonely boy
Oh what a lonely boy

In the summer of ’53 his mother brought him a sister
And she told him we must attend to her needs, she’s so much younger than you
Well he ran down the hall and he cried
Oh how could his parents have lied
When they said he was an only son
He thought he was the only one…”

Written by Andrew Gold

This week’s Number 1 is a relaxing piece of R&B!

Number 1

Deniece Williams- Free

Did You Know?

Winner of 4 Grammy awards, Deniece Williams has leant her soulful vocals to many other artists, most notably Stevie Wonder! She worked as a backup singer for him in the early ’70’s, with her backing vocals featuring on Wonder’s albums: ‘Talking Book’, ‘Fufillingness’ First Finale’, and ‘Songs in the Key of Life’. Her vocals also appear on albums by Roberta Flack, Minnie Riperton, and Syreeta Wright.

This week’s Number 1 is refreshingly smooth, relaxing, and utterly entrancing. Sang with Williams’ stunningly soft vocals, ‘Free’ is partly controversial in its message; it appears to be about leading a man on while secretly preferring the life and freedoms of being a single woman. She enjoys his company and love for a while but is conscious of how little time she’s prepared to commit- her independence and sense of self come first. The man, meanwhile, is unaware, believing he’s found a long-term partner. The smooth, weightless vocals almost suggest the whispering in his ear, leading him on. Williams is backed by calm, smooth soul, beginning with cascades of twinkling notes, but by the chorus a band of drums, bass, backing vocals and electric guitar join in. There are hints of brass too, all contributing to the catchy, addictive beat that grounds the ethereal singing. The guitar gets its own melodic solo too, with a small break afterwards for the backing vocalists to gain the spotlight. Ultimately though, it’s Deneice Williams’ angelic vocals that steal the song and make ‘Free’ a great soul record and worthy Number 1!

“Whispering in his ear, my magic potion for love
Telling him I’m sincere, and that there’s nothing too good for us

And I just got to be me, free, free

Whispering in his ear, my magic potion for love
Telling him I’m sincere and that there’s nothing too good for us

But I want to be free, free, free
And I just got to be me, yeah, me, me

Teasing hands on his mind, give our night such mystery
Happiness all the time, oh and how that night pleases me

But I want to be free, free, free
And I just got to be me, yeah, me, me

I just got to be me, me, me

Feeling you close to me, makes all my senses smile
Let’s not waste ecstasy ‘Cause I’ll only be here for a while…”                                           

Written by Deniece Williams, Hank Redd, Nathan Watts and Susaye Greene

The obscure side of 1977 has its fair share of power- both in lyric and in sound!

Beyond the Chart

Bernd & Freya Wippich- Sympathy

Did You Know?

Bernd Wippich was a multi-instrumentalist, playing guitar, saxophone and drums as well as singing. He was a member of the moderately successful German band Randy Pie who’s career lasted 5 years. His wife Freya is an Austrian singer and actress, releasing her own records as a standalone artist as well as joining her husband, who she married in 1973, for duo releases.

This powerful duet is a more serious single, with a clear message. ‘Sympathy’ is the Wippich couple’s urging of listeners to think about those from poorer parts of the world, who don’t have ready access to food, shelter, and seemingly, love. It’s a message which still resonates today, as one side of the world is rich and peaceful at the expense of the other- the couple ask simply for the listener’s thoughts, for them to be grateful for what they have. Freya’s vocals are soft, gentle, while Bernd sings with drama and power- both hammer home the need for sympathy with multiple choruses. They’re backed by full orchestration, pounding drums, and even some electric guitar during tense moments. Things start off quiet, before building up when Bernd comes in- the dynamics both grow and shrink, providing power to the Wippich’s, but also giving them space. The musicians get some space of their own, playing the vocal melody before things quieten for a final time, letting Freya and Bernd sing out their message. A powerful rarity.

“Now when you climb into your bed tonight, and when you lock and bolt your door             Just think of those out in the cold and dark because there’s not enough love to go ’round

Now half the world hurts the other half and half the world has all the food                        And half the world lies down in climbing stars                                                                           Cos there’s not enough love to go ’round, no there’s not enough love to go ’round

And sympathy is what we need my friend, and sympathy is what we need                                  And sympathy is what we need my friend. cos there’s not enough love to go ’round

And sympathy is what we need my friend, and sympathy is what we need                            Sympathy is what we need my friend, cos there’s not enough love to go ’round                         No there’s not enough love to go ’round…”

Written by Rare Bird

This B-side explores the main genre of its day- punk!

Jet Bronx & the Forbidden- I Can’t Stand it

Did You Know?

Punk band Jet Bronx & The Forbidden managed to score a Top 50 UK hit with the A-side to ‘Can’t Stand It’- ‘Ain’t Doin’ Nothin”! One of the main band members in their line-up- who have been performing as recently as 2014- was and is none other than former MasterChef host Loyd Grossman! He has performed under the name Jet Bronx & The New Forbidden.

This rare B-side helps to reveal the increasing influence of punk after looking at a chart that doesn’t represent it; simple and sparse instrumentation, vocals not aiming for perfection, and a repeating chorus that doesn’t take long to stick in your head. ‘I Can’t Stand It’ is an extremely catchy record, with a cool, smooth bassline, light drums with their share of fills, and of course the raw power of the electric guitar! The lyrics are fairly traditional for most music falling remotely under the ‘rock’ category- the narrator is driven almost to the point of weakness by his attraction to a woman, wanting to escape as he’s conscious of how his madness is making him act. The vocals are almost spoken, with them as a whole serving as a fine example of the way punk is usually sung; with no frills, fills, or attempts to cover up any natural inflection. The song is a sweet two-and -a-half minutes long, harking back to the simpler days of rock n’ roll revived by the punk movement- the perfect thrill of a flipped record!

“I can’t stand it, I can’t stand, can’t stand what you up look up to me                                           I can’t stand it, I can’t stand the way it makes me weak in the knees                                        I’m gonna hop in my car, put my foot on the floor, trying to forget your face                             I used to be cool, but now I act like a fool, I’ve gotta get out of this place cos                              I can’t stand it, I can’t, I can’t, I can’t, I cant stand it anymore

I can’t stand it, I can’t, I can’t stand it, I can’t stand, I can’t stand when you look up to me      I can’t stand it, can’t stand the way it makes me weak at the knees

I’m gonna hop in my car, put my foot on the floor, trying to forget your face                            I used to be cool, but now I act like a fool, I’ve gotta get out of this place                 

I can’t stand it, I can’t stand it, your love’s too strong for me                                                    I’m not the man that I used to be, I can’t stand it, I can’t I can’t I can’t I can’t stand it anymore…”                          

Written by Loyd Grossman

1977 was certainly a year for a new young generation! The old guard of rock and pop musicians were increasingly ignored by the media, except to be ridiculed. However, the likes of punk owed much to musicians like Led Zeppelin and David Bowie. Soon the movement would phase out into New Wave music, introducing new cultural sounds and looks to kick off the 1980’s. Within 4 years MTV would launch- and suddenly the music industry would become a multi-media business…

1965- May Chart

Welcome to Songs Through Time! In this blog I aim to look back at pop music history using the charts featured on BBC Radio 2’s ‘Pick of the Pops’ show each week, providing some historical context to understand how the music of the time came to be, along with its impact on the record-buying public. I’ll be choosing a personal favourite, looking at the week’s Number 1, and uncovering more obscure songs from the same year which deserve the spotlight. Each song will be broken down and I’ll be throwing in some trivia for good measure. My aim is for you to learn something new and to discover some great artists. Happy reading!

Inspired by last week’s Pick of the Pops on BBC Radio 2, let’s take a look at 1965.

May 4 1965 Top 20

20. Francoise Hardy- All Over the World

19. The Rolling Stones- The Last Time

18. The Yardbirds- For Your Love

17. Bob Dylan- Subterranean Homesick Blues

16. Bob Dylan- The Times They Are a-Changin’

15. Jackie Trent- Where Are You Now My Love

14. Herman’s Hermits- Wonderful World

13. Unit 4+2- Concrete & Clay

12. The Supremes- Stop! In the Name of Love

11. Manfred Mann- Oh No Not My Baby

10. Dave Berry- Little Things

9. Donovan- Catch The Wind

8. The Animals- Bring it on Home to Me

7. Cliff Richard- The Minute You’re Gone

6. The Barron Knights- Pop Go The Workers

5. Peter & Gordon- True Love Ways

4. The Seekers- A World of Our Own

3. Them- Here Comes the Night

2. Roger Miller- King of the Road

1. The Beatles- Ticket to Ride

1965 was a year of cultural and social change in Britain. Mary Quaint began to sell miniskirts, the word ‘f*ck’ was spoken for the first time on television, and the first episode of children’s show Thunderbirds was released! An age of extended liberty had come, with the abolition of NHS prescription charges and the replacing of the death penalty with life sentencing. Musically The Beatles were riding high both in the charts and on the silver screen, with the release of their second movie ‘Help!’ in July, and the success of its name-sake single. The wave of British Invasion bands triumphed in this chart, from the Animals (Bring it On Home to Me) and The Rolling Stones (The Last Time) to newer bands like the hip and trendy Yardbirds (For Your Love) and Them (Here Comes the Night). The rest of the chart has hints of Motown (The Supremes) folk (Bob Dylan) and the eternally successful Cliff Richard. The obscure side of 1965 adds to this variety, with The Chosen Few, featuring future-founder-of-Lindisfarne Alan Hull, and a frenzied single from Christian beat band The Envoys!

My Pick of the Chart

Bob Dylan- The Times They Are a-Changin’

Did You Know?

‘The Times They Are a-Changin’ had many influences, explained by Bob Dylan himself: “This was definitely a song with a purpose. It was influenced of course by the Irish and Scottish ballads…’Come All Ye Bold Highway Men’, ‘Come All Ye Tender Hearted Maidens’. I wanted to write a big song, with short concise verses that piled up on each other in a hypnotic way. The civil rights movement and the folk music movement were pretty close for a while and allied together at that time.” It was also inspired by The Carter Family song ‘The Wayworn Traveller’ which Dylan covered; he rewrote it, and eventually it morphed into this classic song.

An anthem for the troubled and disillusioned youth of the time, ‘The Times They Are a-Changing’ is a song of historical and cultural significance, reflecting the days of the Civil Rights Movement and just before the movement of young people became known as hippies. Dylan’s folk hero status comes through in the traditional, sparse instrumentation backing his words; simple guitar chords, harmonica fills, and of course his vocals (never famed but which effectively fulfil the role of speaking poet). Lyrically, Dylan sings of change, of a need to shake off the restraints of an unhelpful Government and to grow- all of which resonate today and are a sure sign of the timeless quality of its themes. Being performed since 1963, the song took on a new resonance following the assassination of American President John F. Kennedy; audiences would applaud after it had finished being played- to them, it was the perfect protest song for the time. The urging of others to accept change was crucial for the acceptance of rights for the black community, and for the establishment to allow the young to voice its own messages and socio-political opinions.

“Come gather ’round people wherever you roam,
And admit that the waters around you have grown,
And accept it that soon you’ll be drenched to the bone
If your time to you is worth savin’, then you better start swimmin’
Or you’ll sink like a stone, for the times they are a-changin’

Come writers and critics who prophesize with your pen
And keep your eyes wide, the chance won’t come again,
And don’t speak too soon for the wheel’s still in spin
And there’s no tellin’ who that it’s namin’
For the loser now will be later to win
For the times they are a-changin’

Come senators, congressmen, please heed the call
Don’t stand in the doorway, don’t block the hall,
For he that’ gets hurt will be he who has stalled,
There’s a battle outside and it’s ragin’…”

Written by Bob Dylan

While Bob Dylan offered social commentary, The Fab Four continued to rule the Number 1 spot with their irresistible music!

Number 1

The Beatles- Ticket to Ride

Did You Know?

‘Ticket to Ride’ has been interpreted in many ways- some raunchier than others! Paul McCartney said the phrase referred to “a British railway ticket to the town of Ryde on the Isle of Wight” which is fairly tame. However, whether as a joke or not, John Lennon had an entirely different idea of a ticket to ride; prostitutes working the streets of Hamburg (where The Beatles played in their early career) carried a ‘ticket to ride’, a clean bill of health issued to allow them to continue! McCartney was conscious of the potential double-meaning, but ultimately the song is about a girl riding out to leave the narrator.

The Beatles’ 7th consecutive Number 1 in the UK, ‘Ticket to Ride’ is a song more emotionally charged and heavier than much of their earlier material. Alongside ‘Help!’ more gritty and negative feelings are openly sang about in John Lennon’s sharp, raw vocals: sadness, anger, and the sense of failed expectation from the girl who won’t do right by him. Avoiding the controversial interpretations of the title, ‘Ticket to Ride’ is generally about a girl leaving her boyfriend, going on a train and riding out of his life, after feeling trapped and unhappy about being with him. Musically, there are some interesting and telling hints of psychedelia and the influence of the East; the guitar stays on one chord for whole verses without change, almost like Indian Raga music (famously containing a drone, a sustained note that doesn’t change). The unpredictability of later psychedelic music is implied when the whole song speeds up at the end, Ringo Starr’s drums abandoning from that classic, jagged beat to a double-time beat accompanied by some frenetic electric guitar. Another Beatles classic!

“I think I’m gonna be sad, I think it’s today, yeah
The girl that’s driving me mad is going away

She’s got a ticket to ride
She’s got a ticket to ride
She’s got a ticket to ride
But she don’t care

She said that living with me is bringing her down, yeah
For she would never be free when I was around

She’s got a ticket to ride
She’s got a ticket to ride
She’s got a ticket to ride
But she don’t care

I don’t know why she’s riding so high
She ought to think twice, she ought to do right by me
Before she gets to saying goodbye
She ought to think twice, she ought to do right by me…”

Written by Lennon-McCartney

While household names like The Beatles and Bob Dylan ruled this Top Twenty, this rare single put the name Alan Hull out there!

Beyond the Chart

The Chosen Few- So Much to Look Forward to

Did You Know?

The Chosen Few’s origins lay in two Newcastle bands- The Unknowns and the Cresters. The band had links to the likes of The Animals through their keyboardist, Mickey Gallagher, who’d filled in for Alan Price upon him leaving the band. They were chosen to publicise Hohner’s organs, but ultimately the band failed to become a success, and Alan Hull left, to go onto founding the folk-based group Lindisfarne. The band re-united in the 1980’s however, and you can watch their interview and performance here!

This rare single borne out of the British Invasion is a love song backed by a jaunty bassline, jangling guitar riff, off-beat organ, and a rhythm not unlike bossa nova! This light-hearted sound backs the vocals, as the vocalist sings about coming back home to his girlfriend. He sings about his daydreaming, his looking forward to their reunion, while dealing with his impatience and increasing need to go home. Musically, the sound captured on the record is part pop, part Shadows in its bright guitar tone, and part bossa nova, all speeding up into standard rhythm and blues during the choruses. The bass really takes centre stage, with an almost haunting riff that begins the song and continues amidst the layers of instrumentation that join in. The singing is whimsical and relaxed for the most part, backed by harmonies during choruses (a common ’60’s technique used by everyone from The Beatles to The Hollies). ‘So Much to Look Forward To’ is an optimistic, pleasant single with its own interesting sound- a very good reason to appreciate the harder-to-find music appearing on YouTube!

“I’m coming home to you, someday there’ll be a meeting just for two                                      Oh, your tender arms are waiting, I’m tired of hesitating for you                                              I’ve so much to look forward to

Sweet loving arms, tender loving fingertips, I set the shine when I kiss your loving lips       Your wind that sweeps up sea, please carry, carry me above the blues,                                      I’ve so much to look forward to

So much to look forward to, it’s a crying shame                                                                               I sit and think of you and call your name, yes I’ll be home

I know the way I feel, I know my love is real                                                                                    Oh, a wind that sweeps up sea, please carry, carry me above the blue                                    I’ve so much to look forward to

So much to look forward to it’s a crying shame                                                                                 I sit and think of you, and call your name, yes I’ll be home.”

Written by Alan Hull

My next obscurity showcases the more religious side of 60’s music!

The Envoys- Door

Did You Know?

The Envoys formed from a group of Sunday School pupils as a novelty band for a party, but by 1963 the group were performing at church-based rallies, coffee-bars, prisons and beat clubs! Their sound, along with that of other Christian beat bands such as The Word-Bringers, The Joystrings and The Heralds, has been christened ‘Jesus Rock’; combining Christian messages with high-energy electric beat music.

This obscurity is an intriguing combination of the popular 60’s beat sound, and the strong Christian views not usually associated with it. ‘Door’ is The Envoys’ message for people to open their hearts and therefore get to see Jesus and have his blessings. Christ to them means more than the superficial side of life, with him lasting for eternity while everything else fades and grows stale over time. Musically, the sound is startlingly raw and electric; the song begins with a short burst of electric guitar, distorting and stopping until the main beat comes in. The beat is standard rhythm and blues, with call-and-response vocals, a repeating guitar riff, and the bass and drums keeping up a beat that stops and starts. Things speed up during the choruses, before more drum fills and stops lead back into the verses. As the message gets more pressing, with the assertion to choose Christ over the ‘fix’ of regular life, things quieten to allow it to come through before another urgent chorus and then ‘Door’ ends completely. It offers an interesting look at how religious bands adapted the popular music of the time to spread their messages and offer more spiritual songs. Hopefully the lyrics below are correct, sung with a thicker accent than usual for this time!

“There is a door, and it’s made of wood, a little open and short like a good door should        Right now it’s closed and the latch is tied so no-one can pass to the other side                       No when a stranger knocks and the man inside can let him in, or run away and hide         cos the only way through is by that door

You have a door, the door to your heart and the choice is yours right from the start                For Jesus said in his holy book behold I stand at the door I knock                                           And if any man hears and opens the door, I will give him life forevermore but first our boy has got to open that door

Now it’s plain to see that life is fun and folk get around many things I don’t                              But comes a time when the fix gets stale and the so-called fun begins to look a bit pale            But Christ means so much more you see for life until eternity, there’s no other way, you’ve Got to open that door, you’ve got to open that door, you’ve got to open that door.”

Written by The Envoys (Credits Unavailable)

1965 was certainly a year for the beat groups, with the likes of The Rolling Stones and the Yardbirds sealing the love for rhythm and blues. But soon the 60’s would be swinging- and the Kings of the British Invasion would begin to explore more experimental music under the influence of drugs, a freer approach to recording equipment, and new underground clubs to cater for eager young music fans. Within a year The Beatles would release ‘Revolver’ with its out-there songs, and The Pink Floyd, Soft Machine, and The Jimi Hendrix Experience would bring a powerfully different sound to their records and live performances. Music was about to explode!

1983- April Chart

Welcome to Songs Through Time! In this blog I aim to look back at pop music history using the charts featured on BBC Radio 2’s ‘Pick of the Pops’ show each week, providing some historical context to understand how the music of the time came to be, along with its impact on the record-buying public. I’ll be choosing a personal favourite, looking at the week’s Number 1, and uncovering more obscure songs from the same year which deserve the spotlight. Each song will be broken down and I’ll be throwing in some trivia for good measure. My aim is for you to learn something new and to discover some great artists. Happy reading!

Inspired by last week’s Pick of the Pops on BBC Radio 2, let’s take a look at 1983.

April 27 1983 Top 20

20. Phil Fearon & Galaxy- Dancing Tight

19. JoBoxers- Boxer Beat

18. Twisted Sister- I Am (I’m Me)

17. The Kids from Fame- Friday Night Live

16. Kajagoogoo- Ooh to be Ah

15. Tracie- The House that Jack Built

14. Heaven 17- Temptation

13. New Order- Blue Monday

12. Toto- Rosanna

11. Iron Maiden- Flight of Icarus

10. Tracy Ullman- Break Away

9. Thompson Twins- We Are Detective

8. Cliff Richard- True Love Ways

7. Eurythmics- Love is a Stranger

6. David Bowie- Let’s Dance

5. Culture Club- Church of the Poisoned Mind

4. The Human League- (Keep Feeling) Fascination

3. Michael Jackson- Beat It

2. F.R David- Words

1. Spandau Ballet- True

1983 was a year of natural phenomena and new forms of entertainment for Brits. We experienced red rain from the Sahara, discovered the clean and powerful sound of the compact disc, and had a new TV game show to enjoy, in the form of Blockbusters! Yet political unrest was in the air, culminating in two IRA bombings, one of which occurred on Christmas Day. This week’s charts reflect the many genres available to record buyers, offering escapism in many forms; glam and heavy metal from Twisted Sister (I Am) and Iron Maiden (Flight of Icarus) kept guitar-lovers happy, while the pop world grew as trends for digitally created music increased; a host of electronica and synth-pop from New Order (Blue Monday), Human League (Fascination) and Eurythmics (Love is a Stranger) fills this Top Twenty. The obscure side of 1983 reveals both a heavier, and a more collaborative side of song-writing; New Wave British Heavy Metal from Shywolf, and a brilliant duet between New York singer Kenny Rankin, and hit-maker Laura Nyro!

My Pick of the Chart

Toto- Rosanna

Did You Know?

Written by Toto’s co-founder David Paich, it was initially believed the ‘Rosanna’ in the song was referencing the girlfriend of keyboardist Steve Porcaro; Rosanna Arquette! The band played along with this notion, along with Arquette herself, but in the end Paich quashed these rumours: “Rosanna’ was about a high school love, one of my first loves, but I just tagged another Rosanna’s name on there because she was going at the time with Steve Porcaro, my best friend. He had just met her and was looking to title a song with her name, and it just fit perfectly for that song right there. So it’s got her name on it, but it’s really about another high school sweetheart, which is how songs happen sometimes.”

This soft-rock classic is a song of wistful memory, yearning, and the heartbreak of having a partner leave you. Described by Toto band members as ‘the ultimate Toto song’, it’s easy to see why it’s so highly rated; a shuffle drum beat, soft piano, calm vocals, and a swirling synth and electric guitar solo in the middle of the song are barely scratching the surface of all the sound crammed into ‘Rosanna’. Confusingly, the story of Rosanna is split across three members of Toto; David Paich who wrote it, Steve Porcaro who dated the namesake, and Steve Lukather and Bobby Kimball who tackle one key of the song each! After the beauty of the beginning turns into a tense and exciting burst of passion, we get a multitude of keyboard solos, heightening the song to its sizzling electric guitar solo- a proper jam! Things quieten to listen to the soft double vocals before things refocus on that solid drum-beat and piano riff, repeating for a long while. The ear-worm is soon replaced with an apparently impromptu jam, with soaring electric guitar, honky-tonk piano, and some saxophone! A brilliant, shining Top Twenty entry.

“All I want to do when I wake up in the morning is see your eyes
Rosanna, Rosanna
Never thought that a girl like you could ever care for me, Rosanna

All I want to do in the middle of the evening is hold you tight
Rosanna, Rosanna
I didn’t know you were looking for more than I could ever be

Not quite a year since she went away, Rosanna
Now she’s gone and I have to say

Meet you all the way, meet you all the way
Meet you all the way, meet you all the way, Rosanna, yeah
Meet you all the way, meet you all the way
Meet you all the way, meet you all the way, Rosanna, yeah

I can see your face still shining through the window on the other side
Rosanna, Rosanna
I didn’t know that a girl like you could make me feel so sad, Rosanna…”

Written by David Paich

This week’s Number 1 band certainly got the memo on how to write the perfect love song!

Number 1

Spandau Ballet- True

Did You Know?

‘True’, written by Spandau Ballet’s principal songwriter Gary Kemp, was partly inspired by a crush he had on Altered Images’ singer Clare Grogan! According to Kemp: “I was infatuated with Clare Grogan. I met her on Top of the Pops and, at one point, travelled up to Scotland to have tea with her and her mum and dad. Although my feelings were unrequited and the relationship was platonic, it was enough to trigger a song.”

This utterly smooth love song is Spandau Ballet’s homage to classic soul singers. ‘True’ takes you on a journey using the smooth, soft, yet powerful vocals of Tony Hadley as he sings of his struggles to write a love song expressing his true feelings without sounding foolish. With lines taken from the Vladimir Nabokov novel ‘Lolita’, the lyrics are somewhat quirky, with the description of sea-side arms, a thrill in your head and a pill on your tongue; but ultimately ‘True’ is a love letter not only to the woman in question but to the world of great soul singers like Al Green and Marvin Gaye, who gets a mention. This is set against a backdrop of grounded, catchy drums, an iconic yet simple guitar riff, and synthesised chords, a staple of the 80’s sound. In the middle section we get a gorgeous saxophone solo from Steve Norman, the ultimate instrument for a love song! This moment of heightened excitement and tension is brought out with the help of a key change, raising the whole song to heavenly heights before Hadley’s vocals return reaching a moment of pure intensity before things smooth out again to the ad-libbed choruses, a sweet fade-out to a beautiful Number 1.

“So true funny how it seems
Always in time, but never in line for dreams
Head over heels when toe to toe
This is the sound of my soul,
This is the sound
I bought a ticket to the world,
But now I’ve come back again
Why do I find it hard to write the next line
Oh I want the truth to be said

Huh huh huh hu-uh huh
I know this much is true
Huh huh huh hu-uh huh
I know this much is true

With a thrill in my head and a pill on my tongue
Dissolve the nerves that have just begun
Listening to Marvin (all night long)
This is the sound of my soul,
This is the sound…”

Written by Gary Kemp

The obscurities of 1983 tell a story of their own, with a rare Heavy Metal single from Derbyshire band Shywolf, and a gentle duet from songwriters Kenny Rankin and Laura Nyro!

Beyond the Chart

Shywolf- Lucretia

Did You Know?

Hailing from Heanor, Derbyshire, Shywolf’s history goes back to the late ’70’s, when they were known as Spoonfull. They’d released one single, ‘Troubled Times’ on Pye records before breaking up. They were soon reunited in 1980 however, featuring on a compilation titled ‘Brum Beat Live At The Barrel Organ’. Before long, their name was changed to Blitz, before finally settling on the name Shywolf in 1982!

This rare piece of British heavy metal is a rainstorm of electric guitar, piercing vocals, and thundering bass and drums, echoing the likes of Black Sabbath and Budgie, the latter of which Shywolf supported in 1981! Lyrically, it’s hard at times to hear what’s being sung over the relentless, roaring electricity of the music, but much of it echoes traditional rock sentiments; a powerful and enchanting woman, fantasy and space themes, and death. Lucretia is a strong, evil and dangerous figure, enough to seemingly damage the universe itself and overpower any man. Shywolf warn of the inevitable death that will come to the listener if they don’t run. It’s backed by the classic band line-up, with rip-roaring power chords, drum fills, an unrelenting bass-line, and vocals which roar in places and hover over a word in others. It really tears open near the end as he almost screams before a guitar solo joins in, raising the tension all the more! The chorus continues to skyrocket before at last a quick drum fill and a satisfying ‘ow!’ finish things abruptly. An electrifying rarity!

“Clad the night is bringing down a rainstorm                                                                                  Had a way look up to the sky                                                                                                               The universe falling from beneath you                                                                                      Lucretia the goddess going mad

She got the kiss of a miner who wants any man                                                                      Going sleeping in the mountains  

Power queen taken from the evil I said make a run going back and there                              Mystify like the flashing mad men Lucretia the cattle’s gonna buy

She got the power of a tiger make a strong man die                                                                    Got the touch of a chown

Crevia, every night                                                                                                                        Green stir, gotta something sky                                                                                                           I know you’re gonna die…”

Written by Shywolf (Credits Unavailable)

This obscurity swaps an electric ride of heavy metal for a softer, more delicate ballad!

Kenny Rankin & Laura Nyro- Polonaise

Did You Know?

Kenny Rankin and Laura Nyo were both considerably accomplished singers and songwriters in their own right. Rankin developed a considerable popularity during the ’70’s, with albums that made the Top 100 in the US’ Billboard Album Chart. Rankin’s song-writing credit can be found on the Georgie Fame hit ‘Peaceful’ in 1969. Nyo, meanwhile, wrote a string of hits for multiple artists, as well as having her own commercial successes in the late ’60’s; American vocal group The Fifth Dimension benefitted from a multitude of her songs, including ‘Blowing Away’, ‘Wedding Bell Blues’, ‘Stoned Soul Panic’ and ‘Sweet Blindness’!

This stunning rare single is a showcase of the unearthly beauty of a slow duet. A mix of smooth synths, light drums and electric guitar, plus a melodic bassline back first Kenny Rankin, then Laura Nyo as her beautiful and high vocals come in. They start off singing separately, showing off their own vocal styles and emotion, but the real stand-out is when the two sing together. They harmonise and sing differing lines over each-other in a real show of unity and mutual understanding as singers. Clear in both their voices, they sing about a woman who brings happiness and understanding to the world with her dancing and her smiles. Polonaise is actually a dance; similar to a Polka in rhythm, it is of Polish origin and the traditional first dance at a Polish prom. Here though, it is a physical person who has captivated Rankin and who sees her as a person who heals the suffering of the world with simple, graceful actions. There’s a heavenly glow about the whole song, from the twinkling synth melodies to the jazz-like quality of some of Rankin’s singing and of course Nyo’s angelic vocal cords; a rarity deserving much more.

“Polonaise danced a thousand years ago                                                                                     And the feeling in the air would sparkle and glow                                                                         And you’d ask me how I know this today

Polonaise has come round to stay                                                                                                       Oh baby don’t you know oh they never go back, they never go back again                              Oh polonaise oh they never go back, they never go back again                                        Polonaise

Polonaise knows the mystery of the night                                                                                      When she sees the world is hungry she feeds it with a smile                                                     And she knows my secrets though I’d never say

Polonaise has gone round to stay                                                                                                        Oh baby don’t you know I may never go back, they never go back again                                  Oh polonaise I may never go back, they never go back again                                         Polonaise 

Though I spend my life I’ll try to find                                                                                                   All the wonder of her beauty though it’s only in my mind                                                        There is nothing lost and nothing left to say…”

Written by Jan Nigro

1983 seemed to have it all- music for the dancers, the headbangers, and those who enjoyed the slow beauty of a ballad. Yet this was also a year of legacy, for David Bowie would now escape the trappings of being an industry veteran with his move to dance-based rock, and Michael Jackson would rocket into music history as a huge musical and cultural figure with the iconic dance moves of Thriller. Soon there would be more genres splitting the charts than ever before; New Wave, synth-pop, hair metal, and even a resurgence in soul and funk thanks to Phil Collins! The pick n’ mix decade was just beginning…

 

1990- April Chart

Welcome to Songs Through Time! In this blog I aim to look back at pop music history using the charts featured on BBC Radio 2’s ‘Pick of the Pops’ show each week, providing some historical context to understand how the music of the time came to be, along with its impact on the record-buying public. I’ll be choosing a personal favourite, looking at the week’s Number 1, and uncovering more obscure songs from the same year which deserve the spotlight. Each song will be broken down and I’ll be throwing in some trivia for good measure. My aim is for you to learn something new and to discover some great artists. Happy reading!

Inspired by last week’s Pick of the Pops on BBC Radio 2, let’s take a look at 1990.

April 20 1990 Top 20

20. Adamski feat. Seal- Killer

19. Queen Latifah & De La Soul- Mama Gave Birth to the Soul Children

18. Blues Brothers- Everybody Needs Somebody To Love

17. Janet Jackson- Escapade

16. Erasure- Blue Savannah

15. David A. Stewart feat. Candy Dulfer- Lily Was Here

14. Technotronic feat MC Eric- This Beat is Technotronic

13. Candy Flip- Strawberry Fields Forever

12. Family Stand- Ghetto Heaven

11. They Might Be Giants- Birdhouse in Your Soul

10. The B-52s- Love Shack

9. Jason Donovan- Hang on to Your Love

8. Heart- All I Wanna Do is Make Love to You

7. Bizz Nizz- Don’t Miss the Party Line

6. Happy Mondays- Step On

5. Paula Abdul & The Wild Pair- Opposites Attract

4. UB40- Kingston Town

3. Snap!- The Power

2. Alannah Myles- Black Velvet

1. Madonna- Vogue

1990 marked the start of an exciting new decade, with new technology and medias to enjoy. Brits were introduced to Radio 5, sitcom Keeping Up Appearances, and even Mr Bean! However, this was a year of environmental tragedy, first with the Burn’s Day storm, which whipped up fatal hurricane-force winds in England and Wales, and then with an earthquake in Shropshire. The music of the time showcased new trends; House music became popular, as shown in this week’s chart through Technotronic (This Beat is Technotronic) and Adamski with Seal (Killer), pop took on its Queen with Madonna’s ‘Vogue’ hitting the Number 1 spot, while a host of reggae (UB40) Eurodance (Snap!) and power ballads (Alannah Myles’ ‘Black Velvet’) filled the Top Twenty. The obscure side of 1990 reveals a musical underground continuing to champion the electric guitar and to let synthesisers lead the action, with heavy metal band Frostwood, and Mod Revivalists The Times!

My Pick of the Chart

They Might Be Giants- Birdhouse in Your Soul

Did You Know?

They Might Be Giants performed under the name El Grupo De Rock and Roll (Spanish for ‘The Rock and Roll Band’) during their first ever concert, after finding out the majority of their audience in the Central Park Sandinista Rally spoke Spanish. They then named themselves They Might Be Giants after a 1971 comedy mystery film, the name of which had been taken but soon discarded by a ventriloquist friend of the band. Thanks to YouTube, you can watch the namesake movie in full here!

This quirky Top Twenty single has possibly some of the most unique lyrics to be found in a chart hit! ‘Birdhouse in Your Soul’ is sung from the perspective of a child’s nightlight, shaped like a blue canary and kept in the child’s room as almost a protective guardian. The canary light thinks of itself as a friend watching over the child seemingly forever- the Longines Symphonette is name-dropped as an example of infinity. It’s a strange reference; the Symphonette were a society from the 1960’s and ’70’s who released seemingly endless digital re-recordings of various classical music on multiple albums. Even Greek mythology gets a mention, with the nightlight comparing itself to its ‘ancestry’; the lighthouse used by Jason and the Argonauts to navigate the Argo ship on their quest for the Golden Fleece. There’s a hint of envy and inferiority complex in the lyrics as the nightlight is convinced it would never have been powerful enough to stop the Argo being shipwrecked. Musically, traditional instruments like the violin, drums and keys merge with the programming used on the record, and the calm drone of the vocals. It’s a wacky and fun record, and likely the best tribute a nightlight can hope for!

“I’m your only friend
I’m not your only friend
But I’m a little glowing friend
But really I’m not actually your friend
But I am

Blue canary in the outlet by the light switch
Who watches over you
Make a little birdhouse in your soul
Not to put too fine a point on it
Say I’m the only bee in your bonnet
Make a little birdhouse in your soul

I have a secret to tell
From my electrical well
It’s a simple message and I’m leaving out the whistles and bells
So the room must listen to me
Filibuster vigilantly
My name is blue canary one note spelled l-I-t-e
My story’s infinite
Like the Longines Symphonette it doesn’t rest…”

Written by John Flansburgh and John Linnell

This week’s Number 1 is the jewel in the crown of the Queen of Pop!

Number 1

Madonna- Vogue

Did You Know?

Of all the Hollywood stars namechecked in ‘Vogue’ a fair few were owed royalties for their images being used in the set dressing of Madonna’s Super Bowl Halftime performance in 2012! However most of the legends had long since passed away; only ‘To Have and Have Not’ star Lauren Bacall was alive at the time, receiving a payment of over $3000.

This classic piece of house pop is promoted by an elegant music video, a celebration of Hollywood class. Madonna’s stylish song is named for the vogue dance moves popular in house music, which involve elaborate hand movements and frequent stopping in order to strike a pose. Icons including Ginger Rogers and Katharine Hepburn all get a mention, but the songs overall message is that anybody, regardless of race, gender and class, should be able to dance their cares and heartache away. ‘Vogue’ makes this pretty easy, with its throbbing beat and salsa strings and horns. Reflecting the increasing influence of hip-hop music at the time, ‘Vogue’ even has a rap section for good measure! Madonna sings coolly, backed with other female singers, clear in her voice and singing style. She doesn’t miss a beat and listeners don’t miss a lyric as she reels off a grand total of 16 ‘golden era’ celebrities. It’s a straight-up dance song, perfect for the clubs of the time, and giving house and rap music styles a big boost. It created a step up for the musical underground, capturing its hedonism and sound against a video and lyrical backdrop of black-and-white elegance. A defining Number 1 for the Queen of Pop!

“Strike a pose
Strike a pose
(Vogue, vogue, vogue)
(Vogue, vogue, vogue)

Look around, everywhere you turn is heartache
It’s everywhere that you go (look around)
You try everything you can to escape
The pain of life that you know (life that you know)
When all else fails and you long to be
Something better than you are today
I know a place where you can get away
It’s called a dance floor, and here’s what it’s for, so

Come on, vogue
Let your body move to the music (move to the music)
Hey, hey, hey
Come on, vogue
Let your body go with the flow (go with the flow)
You know you can do it…”

Written by Madonna and Shep Pettibone

This year’s obscurities reveal the heavy metal bands continuing the 80’s trend, and a synthesised celebration of all things Mancunian!

Beyond the Chart

Frostwood- Take Me Away (1st Track on The Lost EP)

Did You Know?

This extremely rare track recorded in Kentucky, USA, was by a 4-piece band who suffered heart-breaking tragedy years after this release. According to the step-son of drummer John Wallis, Frostwood’s bassist Greg West committed suicide a mere few years back, after being charged for possession of drugs. Most of the band still reside in Kentucky, with one of their guitarists, Greg Burnette, currently in a band called Eight Ball.

Available only as a double cassette tape, this rare piece of New Heavy Metal is unabashed heavy rock, with the twin electric guitars, tight rhythm section, and of course a lead guitar solo to boot! Its sound harks back to the riff-based rock which by this era had started to be criticised for its over-the-top approach during the 80’s. Lyrically, I had to decipher the lyrics myself (hopefully all are correct). ‘Take Me Away’ is about the desire for escapism following a hard break-up that can’t yet be fully accepted even after a long time apart. It is also hinted that the ex has started another relationship, triggering an even bigger desperation to get away. It’s sang calmly until this point, with only a hint of tension in the chorus, which sounds more aggressive than desperate. Ultimately though, the emphasis is on the short and sweet chorus sung by the whole band, and the many instrumental breaks letting the lead guitar in particular let rip! It all ends very abruptly, to a few beats and then one last strike of a chord and drum. For an unreleased demo, it’s a strong piece of head-banging heavy metal, hinting that the movement was still as strong as ever!

“When I first met you, I didn’t know what I should do                                                                     I tried to prevent you, never believed that we’re through                                                             But you were going, oh no!                                                                                                               When it was something you’d seen in my eyes                                                                                  Like the living without you if I were willing to try

Take me away, little by little                                                                                                             Take me away, take me away                                                                                                        Take me away

It’s been such a long time now                                                                                                           And I’ve tried to take it away                                                                                                           Then it’ll be all right for me, then I’ve got nothing to say                                                      Another day some of sorrow, so much of you I can’t stand                                                        You get me to lose control                                                                                                                 Now you start all over again

Take me away, little by little                                                                                                             Take me away, take me away                                                                                                           Take me away…”

From long haired Heavy Metal to the Mod Revival, my next obscurity is up!

The Times- Manchester

Did You Know?

Londoners The Times go back as far as 1978, using various names- O’Level, The Television Personalities and Teenage Filmstars! The band released their first single in 1981 on the newly-created record label, Whaam! records, courtesy of band members Edward Ball and Daniel Treacy. Despite their long career, only Ball remains as an original member of The Times, with its line-up constantly changing.

This nostalgic song by The Times describes the city of Manchester in all its grit and glory, from its full dance halls to the intimidating figures trawling the bars and guarding the clubs. Channel 4 and former English footballer Rodney Marsh get a mention, all part of the city so familiar to many. While the nightlife and all its dodgy figures thrive, the rest of the Suburbs watch television; an amusing but very true image! There’s almost a poetic hint in the detailed descriptions, similar to Mod Revival inspirations The Kinks and The Who. Musically, the song begins with a calm, almost drone of a voice, backed by piano chords and a sparse beat with operatic female vocals coming in. After the strike of a bell, things pick up with the addition of harmony singers, bass and even strings! Then we get the driving force behind the song; a repetitive synthesised 4/4 beat. The lead vocal is soon joined by both male and female singers during the next choruses, plus a gong for each new chorus; the feel is of a togetherness, almost like a football chant. ‘Manchester’ is a celebration of life in all its rough glory, backed by the full and varied instrumentation possible at the time.

“Manchester, Manchester, England                                                                                                     Manchester, I’ll always love you

Buildings of gray on a liquid sky
Turns the day into night
The bars are filling with fighting Irish
Smug young married couples dressing down for the weekend

Pert shop-girls and typists tip-tapping
Into blaring dance halls
Hard-faced villains dressing up for the drinking clubs
While Suburbia sits watching television

Bouncers in tuxedos with butterflies round their necks
“Love” tattooed on the right hand and “Hate” on the left
Stone Roses just like angels, Heaven is this noise
Fancied by the shop-girls admired by the sweatshop boys

So we’re sitting in the snug bar waiting for Jase the Ace
Hooky’s by the jukebox doing his splendid to entertain
Look at Tony Wilson live on Channel 4
Vote for Rodney Marsh ’cause Best’s on sale again…”

Written by The Times (Credits Unavailable)

1990 sure showed off a variety of music! After the hedonism of the ’80s, many of the music here looks inward, to the inspirations from the past and the realities of daily life. The technology of the previous decade was now commonplace; synthesisers, guitar pedals, and digital instruments. Yet the music was to become simpler as the over-the-top approach to music became out of touch with regular listeners. Grunge music, an invention of the mid-80’s, was soon to become widespread, with Nirvana at the helm. Boy and girl bands would soon form and explode, giving young teenagers pretty singers to admire and hang up on their walls. Be it rock or pop, music was going to take another drastic turn…

1967- April Chart

Welcome to Songs Through Time! In this blog I aim to look back at pop music history using the charts featured on BBC Radio 2’s ‘Pick of the Pops’ show each week, providing some historical context to understand how the music of the time came to be, along with its impact on the record-buying public. I’ll be choosing a personal favourite, looking at the week’s Number 1, and uncovering more obscure songs from the same year which deserve the spotlight. Each song will be broken down and I’ll be throwing in some trivia for good measure. My aim is for you to learn something new and to discover some great artists. Happy reading!

Inspired by last week’s Pick of the Pops on BBC Radio 2, let’s take a look at 1967.

April 13 1967 Top 20

20. Eddie Floyd- Knock on Wood

19. The Turtles- Happy Together

18. Petula Clark- This is My Song

17. Val Doonican- Memories Are Made of This

16. Dave Dee, Dozy, Breaky, Mick & Titch- Touch Me, Touch Me

15. Georgie Fame- Because I Love You

14. The Seekers- Georgy Girl

13. Four Tops- Bernadette

12. The Beatles- Penny Lane/Strawberry Fields Forever

11. The Jimi Hendrix Experience- Purple Haze

10. Vince Hill- Edelweiss

9. Cliff Richard- It’s All Over

8. Whistling Jack Smith- I Was Kaiser Bill’s Batman

7. Alan Price Set- Simon Smith & The Amazing Dancing Bear

6. Manfred Mann- Ha! Ha! Said the Clown

5. Harry Secombe- This is My Song

4. The Monkees- A Little Bit Me, A Little Bit You

3. Sandie Shaw- Puppet on a String

2. Engelbert Humperdinck- Release Me

1. Frank & Nancy Sinatra- Something Stupid

1967 was a colourful year for Brits, with the flourishing of out-there fashion, music and clubs, epitomised by the mystery thriller film ‘Blowup’ released in the UK. Sandie Shaw’s ‘Puppet on a String’ (incidentally in this chart) won the Eurovision Song Contest, while The Rolling Stones attracted scandal with their charges of illegal drug possession! The year was tinged with sadness and tragedy however, with the death of The Beatles’ beloved manager Brian Epstein in August and ‘Gone with the Wind’s iconic actress Vivien Leigh. The music of the time is a melting pot of soul, revolutionary rock, and some of the old guard; the Four Tops keep Motown in the charts with ‘Bernadette’, The Jimi Hendrix Experience bring searing electric guitar into the mix with ‘Purple Haze’, while family-friendly acts like Engelbert Humperdinck enjoy a run of the top three. The obscurities of the time however reveal both secret pioneers of future music, and the traditional, with pre-punk band John’s Children and some down-to-earth country from Buddy Cagle!

My Pick of the Chart

The Jimi Hendrix Experience- Purple Haze

Did You Know?

Despite the trippiness of this second Jimi Hendrix Experience single, the guitar master himself always denied ‘Purple Haze’ had anything to do with drugs! Still, it would have been considered dangerous to his career to mention drugs to the press. Instead, Hendrix explained that he’d experienced a dream where he was trapped in a literal haze under the sea and saved only by his faith in Jesus (originally the lyrics, ‘purple haze/Jesus saves’ were going to be included in the release). The making of ‘Purple Haze’ can be found here.

A rip-roaring phenomenon, ‘Purple Haze’ is a clear demonstration of the power of the electric guitar to rip through everything else and bring a powerful blaze to a record. It’s a classic, from its instantly-recognisable E riff to its stops and starts, not to mention both blistering solos from the legend himself! Mitch Mitchell (drums) and Noel Reading (bass guitar) bring up the rear perfectly, keeping the pace of the music and filling the space with cool fills while never overpowering Hendrix’s cool vocals. Beyond the trio are sound effects demonstrating the rise of experimental technology in recording studios; along with the standard reverb (echo) on the track, there features a choir of the three of them chanting ‘purple haze’! They can barely be heard on the track, but the link in the Did You Know features a listen to just that section, and it’s strange but amusing. The lyrics are colourful and, despite their source, psychedelic; Hendrix describes images in his head, almost like a psychedelic experience; strange colour, strange behaviours, and the feeling that a spell has been placed on him. An ultimate counter-culture song, with a strong link to the late ’60’s that is still the case!

“Purple haze, all in my brain
Lately things they don’t seem the same
Actin’ funny, but I don’t know why
Excuse me while I kiss the sky

Purple haze, all around
Don’t know if I’m comin’ up or down
Am I happy or in misery?
What ever it is, that girl put a spell on me

Help me
Help me

Purple haze all in my eyes
Don’t know if it’s day or night
You got me blowin’, blowin’ my mind
Is it tomorrow, or just the end of time?…”

Written by Jimi Hendrix

This week’s Number 1 features a father-daughter collaboration straight from one of the cool, sophisticated Rat Pack!

Number 1

Frank & Nancy Sinatra- Something Stupid

Did You Know?

The original version of ‘Something Stupid’ was actually sang by a husband and wife duo! It was recorded in 1966 by folk singer Carson Parks (the younger brother of arranger and songwriter Van Dyke Parks) and his wife Gaile Foote, under the name Carson and Gaile. You can listen to their version here. As for Frank & Nancy Sinatra’s version, fans took to referring to it as the ‘Incest Song’ which Nancy has described as ‘very sweet’!

The first instance of a Number 1 father-daughter collaboration could only have gone to Ol’ Blue Eyes and his equally iconic daughter Nancy! Recorded in February 1967, ‘Something Stupid’ is a whimsical love song, capturing much of the spirit of the original (link above). It’s a beautiful song, complete with orchestration, trumpets, and a full electric backing band played by the legendary Wrecking Crew (professional session musicians). Initially the song is slightly off-putting, with a father and daughter singing about their love; however, they are really expressing that they can feel the same love and the same embarrassment when telling somebody their feelings despite the generation difference. The Sinatra’s harmonies stay together through the whole song, wonderfully connected and gentle. The lyrics describe anxious encounters, when insecurity and a worry that the person you love will move on causes you to blurt out ‘I love you’ which according to the song is a ‘stupid’ thing to say. It’s sad in that the line doesn’t appear to work; it ruins the relationship, yet the melancholy is what makes the song so relatable; presumably record buyers thought the same thing.

“I know I stand in line until you think you have the time to spend an evening with me
And if we go someplace to dance I know that there’s a chance you won’t be leaving with me  Then afterwards we drop into a quiet little place and have a drink or two
And then I go and spoil it all by saying something stupid like “I love you”    

I can see it in your eyes you still despise the same old lies you heard the night before
And though it’s just a line to you for me it’s true and never seemed so right before             I practice every day to find some clever lines to say to make the meaning come true
But then I think I’ll wait until the evening gets late and I’m alone with you                          The time is right, your perfume fills my head, the stars get red and oh the night’s so blue
And then I go and spoil it all by saying something stupid like “I love you”…”

Written by Carson Parks

One blistering jam, and one gentle love song. Yet the obscure side of 1967 reveals both a tie to acoustic tradition and a radical musical style not to become mainstream for another decade!

Beyond the Chart

John’s Children- Desdemona

Did You Know?

John’s Children went through several name changes from their formation in 1965- first as the Clockwork Onions, then The Few, and finally The Silence up until they met and signed with Yardbirds’ manager Simon Napier-Bell. That he signed them was an amazing coup- Napier-Bell described them as “positively the worst group I’d ever seen”! Incidentally, Napier-Bell was also managing fledging songwriter and future T Rex frontman Marc Bolan; he had Bolan join John’s Children in 1967, after which ‘Desdemona’ was promptly written!

This electrically-charged obscurity is every radio station’s worst nightmare! ‘Desdemona’ is about the daughter of a rich man who doesn’t understand the conventions of youth. The singer insists he can ‘play the game’ despite what can come across as an immaturity and lack of sophistication, spending time in a juke joint and dismissing a French painting from 19th century Post-Impressionist Henri de Toulouse-Lautrec. The nightmare aspect for the conservative, family-friendly mainstream media comes in the choruses; the lyric ‘lift up your skirt and fly’ (unsurprisingly) prompted an immediate ban from the BBC, ruining any chance of a major hit. The gritty guitar riff was inspired by Elvis’s’ ‘Jailhouse Rock’ yet holds none of the swing in its timing; it’s straight and dirty, the main hook of ‘Desdemona’ that with the rest of the music increases in key after every chorus.  The basic band set up and controversial lyrics are almost punk in nature, with all the electricity and rawness you’d want from electric guitar, bass and drums. There’s a unique feel in it however, with those warbling backing vocals from writer Marc Bolan. A short yet sweet piece of music in an era characterised by images of flowers and romance.

“Desdemona just because
You’re the daughter of a man
He may be rich, he’s in a ditch
He does not understand
Just how to move or rock and roll
To the conventions of the young

Desdemona, D-D-Desdemona
Desdemona, D-D-Desdemona
Desdemona, D-D-Desdemona
Lift up your skirt and fly

Just because my friend and I
Got a jute joint by the Seine
Does not mean I’m past fourteen
And cannot play the game
I’m glad I split and got a pad
On Boulevard Rue Fourteen…”

Written by Marc Bolan

My next obscurity prefers to stick to what works; acoustic story-telling with a country twang!

Buddy Cagle- Longtime Travelling

Did You Know?

Born in North Carolina in 1936, Buddy (real name Walter) Cagle managed 6 of his 17 singles to hit the Billboard Country Charts! His released material for Imperial records consisted of 4 LPs, one of which featured its title track, ‘Longtime Travelling’. He recorded music for just over a decade, from the early 60s to the early 70s!

Released in the US as a single in July 1967, ‘Longtime Travelling’ is a catchy, pleasant song musically but lyrically covers the disassociation and disillusion with being a travelling musician. It describes a sense of not belonging, of not leaving a personal legacy as every place you go is never permanent enough to have anything but your music and the clothes on your back. It does finish with a sense of optimism at least; the final line hints at a feeling that things will improve. Musically it’s a cool, upbeat country song, with an electric riff carrying the song, accompanied by dynamic drums and backing vocals. Even some brass instrumentation appears halfway through the song to crank up the tension with those vocals! The near-end completely quietens, giving Cagle the chance to emphasise the hope he feels that his travelling days will finish. This is a country/folk song with a difference; unlike other obscure country artists I’ve covered over many posts, ‘Longtime Travelling’ is riff-centric, almost bluesy in that respect, with instrumentation unafraid to stray away from a standard country rhythm. We even get a nice, quick but of electric guitar noodling before the song finishes- a favourite thing to do at the end of a live performance!

“Been a long time travelling many a day, I left a lot of footprints lost in the clay                     And I get to thinking I don’t wanna roam, I gotta find me someplace and call it home

Come to many places I’m sorry I came, left a lot of faces lookin’ the same                               Been a long time travellin’ going nowhere, I gotta find me someplace and set me there

And in this someplace maybe I’ll see, someone who’s long-time lonely like me                     Been a long time travelling many a mile, I’ve been reading road-dust for a long while

And I got me nothing lord nothing to show, but the clothes I’m wearing and the songs I know                                                                                                                                                          But I got a feeling something is near, and my long time travelling may be in dry year”

Written by Buddy Cagle

1967 was certainly a colourful year! It was an era of innocent experimentation, the likes of which has not been seen since. Inspired by the counterculture, young artists had taken the mantle of pioneering music, unafraid to make the most of the technology and exotic instruments around them. But the hippie movement and therefore the music was already entering the mainstream, with many simply jumping on the bandwagon of what it meant to be ‘hip’. What was trendy would soon be overtaken with a more materialistic era characterised by excess- the 70’s!

 

1984- April Chart

Welcome to Songs Through Time! In this blog I aim to look back at pop music history using the charts featured on BBC Radio 2’s ‘Pick of the Pops’ show each week, providing some historical context to understand how the music of the time came to be, along with its impact on the record-buying public. I’ll be choosing a personal favourite, looking at the week’s Number 1, and uncovering more obscure songs from the same year which deserve the spotlight. Each song will be broken down and I’ll be throwing in some trivia for good measure. My aim is for you to learn something new and to discover some great artists. Happy reading!

Inspired by last weeks Pick of the Pops on BBC Radio 2, let’s take a look at 1984.

April 6 1984 Charts Top 20

20. Nena- 99 Red Balloons

19. Billy Joel- An Innocent Man

18. Chaka Khan- Ain’t Nobody

17. Kool & The Gang- Joanna/Tonight

16. Madonna- Lucky Star

15. Captain Sensible- Glad It’s All Over/Damned

14. The Special AKA- Free Nelson Mandela

13. Break Machine- Street Dance

12. UB40- Cherry Oh Baby

11. Michael Jackson- PYT

10. Sade- Your Love Is King

9. Richard Hartley/Michael Reed Orchestra- The Music of Torvill & Dean EP

8. Phil Fearon & Galaxy- What Do I Do?

7. Culture Club- It’s A Miracle

6. The Weather Girls- It’s Raining Men

5. Depeche Mode- People Are People

4. Thompson Twins- You Take Me Up

3. Bananarama- Robert De Niro’s Waiting

2. Shakin’ Stevens- A Love Worth Waiting For

1. Lionel Ritchie- Hello

1984 was a year dominated by the miner’s strikes, with clashes between the National Union of Mineworkers (on behalf of miners who were to lose their jobs due to plans to shut coal pits) and Margaret Thatcher’s Government. With it came violence outside the Houses of Parliament. a court order which ruled the strike unlawful, and even several arrests! Change was in the air, with the arrival of GCSE exams, the discovery of DNA fingerprinting, and the release in December of Band Aid’s iconic ‘Do They Know It’s Christmas’, the first collaborative charity single released. The charts of the time show musicians tackling problems beyond Britain though; Nena’s ’99 Red Balloons’ hints at the threat of Nuclear War, an ongoing concern throughout the Cold War, while The Special AKA openly protest the imprisonment of Nelson Mandela with ‘Free Nelson Mandela’. 80’s pop reigned supreme with everyone from Chaka Khan and Culture Club to girl-pop groups like Bananarama. The obscurities of the time reveal a heavier side to 1984 however, with some rip-roaring metal from Siren, plus some irresistible funk from Scheer Music!

My Pick of the Chart

Nena- 99 Red Balloons

Did You Know?

Nena’s music falls into the category of Neue Deutsche Welle, a genre of West German music consisting of post-punk and new-wave music with electronic influences. Nena herself was born in Hagen, Germany, but her nickname actually came from a family trip to Majorca, Spain (Nena is Spanish for ‘little girl’). Somewhat confusingly, Nena is not only the name of the singer herself, whose real name is Gabriele Susanne Kerner, but was also the name of her band, of which there were 5 members.

This week’s Pick of the Chart is an observation of 80’s paranoia, a fear of nuclear war that could extend to the ridiculous but ultimately end in destruction. ’99 Red Balloons’ tells the tale of two children buying balloons and releasing them, triggering the Government to think they are a warning signal of war. The failure of the balloons to appear on radar makes ministers think they are under a nuclear attack, so they send the military to identify and destroy them, declaring nuclear war. The balloons represent dreams, all of which end up destroyed except one, with the whole city around it in ruins. It’s a dark, sad song, though backed by a mixture of catchy synth, handclaps and slap bass. It’s an iconic piece of 80’s music, with three distinct parts; the quiet, atmospheric synth backing Nena’s soft voice, a funky rhythmic section with slap bass, clapping and a cool synthesised riff, and then all-out rock/pop, with the whole band working together. The roots of the song were far from political; it was written after red balloons were released during a Rolling Stones concert in West Berlin, flying over the Berlin Wall into the Soviet sector. Nevertheless, it’s an iconic piece of music history highlighting the fears of war in the 80’s.

“You and I in a little toy shop
buy a bag of balloons with the money we’ve got
Set them free at the break of dawn
‘Til one by one, they were gone
Back at base, bugs in the software
Flash the message, “Something’s out there”
Floating in the summer sky
99 red balloons go by.

99 red balloons floating in the summer sky
Panic bells, it’s red alert
There’s something here from somewhere else
The war machine springs to life
Opens up one eager eye
Focusing it on the sky
Where 99 red balloons go by…”

Written by Uwe Fahrenkrog-Peterson and Kevin McAlea (English Lyrics)

This week’s Number 1 is a far cry from the political and social issues of the time, a great and gentle love song from Lionel Ritchie!

Number 1

Lionel Ritchie- Hello

Did You Know?

‘Hello’ initially got off to a shaky start! Believing its famous first line to be corny and a throwaway line (he’d spoken it upon seeing his producer come to his house), Richie was reluctant to put a verse to it, but James Antony Carmichael insisted. According to Richie: “As he turned the corner to come into the room, I turned to him and said: ‘Hello, is it me you’re looking for?’ He said: ‘Finish that song.’ I kept saying to him, ‘You gotta be kidding me, right? I was just joking.’ He said, ‘No no, that’s incredible. Give me a verse to that.’ So I actually went in writing this song not liking the song, thinking that it was corny. ‘I mean, this is REALLY corny. This is not going to do well. Then by the time I finished the verse, I fell in love with the song again.”

This week’s Number 1 is a classic ballad showcasing the smooth vocals of ex-Commodore Lionel Richie. ‘Hello’ describes with painful accuracy the thoughts and dreams of being too shy to talk to someone you love. It was written from the point of view of a young Richie, and his first-hand experience of longing shows in the music. The soft piano, played by Richie, accompanies his soft singing along with gentle guitar chords in the classic sad key of A Minor. Drums and bass follow, bringing up the tension of the track as the chorus comes in. The line-up is completed with orchestrated strings, a great example of the difference adding classical instruments to pop songs can make- it gives off a more sophisticated and full sound, like every section of instrumentation has been filled. The classical electric guitar solo is a great addition to a soulful ballad, reminiscent of a much older form of folk and baroque music. It’s an iconic song, with the classic formula of a full band, a rise in volume and texture, and an unforgettable chorus which is now the stuff of Internet memes and teenage pop culture, 35 years on!

“I’ve been alone with you inside my mind
And in my dreams I’ve kissed your lips a thousand times
I sometimes see you pass outside my door
Hello, is it me you’re looking for?

I can see it in your eyes
I can see it in your smile
You’re all I’ve ever wanted
And my arms are open wide

‘Cause you know just what to say
And you know just what to do
And I want to tell you so much,
I love you…”

Written by Lionel Richie and Jennifer Nettles

The rarer music of 1984 reveals that the age of the electric guitar and of straight-up funk was far from over. While synthetic pop dominated the charts, musicians on the obscure side of the industry created songs that went back-to-basics to the heart of what makes music so moving and addictive.

Beyond the Chart

Siren- Terrible Swift Sword

Did You Know?

A band hailing from Tampa, Florida, Siren continue to play to this day, with its past members including thrash metal band Mekong Delta’s lead singer, Doug Lee! Sadly the bands full discography consists of only one released single and 2 albums, in a span of 4 years. However, they did recently release their own compilation, entitled ‘Up from the Depths- Early Anthology & More’, a rare achievement for a band with so few recorded releases.

The heavier side of 1984 comes through clearly in this heavy-metal number reminiscent of ’70’s riff-based metal. Siren’s ‘Terrible Swift Sword’ combines down-to-earth rock with historical drama as they describe a battle during the American Civil War of the 19th century. It condemns the battle as brutal, and a win only for the devil, with unnecessary bloodshed due to the differences between the North and South on the issue of African slavery. There’s a reference to Johnny Reb for good measure; Reb was the national personification of the Confederacy during the American Civil War, a symbol of its common soldiers. Siren call for peace between fellow Americans, pointing out the damage the battling would cause the entire country. It’s an intriguing subject to choose for a piece of heavy metal music, but in a way it fits; the storming, raging battle is symbolised by the unrelenting electric guitar chords and riff (partly followed by the bass), the pounding drums breaking out cymbals often, and the sharp vocals. It’s a unique gem, an example of how terrible events in history can be revisited through music, no matter the trend of the era it was made in.

“The battle roared that summer day
Gunfire heard for miles away
Cannon-balls were biting stone
Cold shining steel cut to the bone
When the smoke had cleared away
Johnny Reb came out to play
The Union Army lay in wait
The blade of doom would choose his fate

Terrible swift sword ?
bites flesh and screams for war
Sings loud as satan grins
as he triumphs once again

The north has built its industry
Their future in the factory
The South was close to mother earth
Plantation home a right of birth
The change in life-styles caused the split
But that was just the half of it
The thought that all men should be free
Would break the bounds of slavery…”

Written by Siren (Credits Unavailable)

My next obscurity is a polar opposite to Siren- a funky piece of Scheer Music!

Scheer Music- Falling Back in Love

Did You Know?

One of the writers of this ultra-funky track from the mixed-genre LP High Rise was Larry Graham, the former bass player of the psychedelic soul/funk band Sly and the Family Stone! He revolutionised the bass by inventing the now-standard slap-bass, turning the bass guitar into a percussive instrument for disco and funk music. The other writer of ‘Falling Back in Love’ was Beau Williams, who originally recorded under the alias Bobo Mr. Soul.

This rare, extremely catchy funk and soul song would have fit into any 80’s disco! It’s precise in its approach to rhythm, never skipping a beat and staying true to its inner groove. The lyrics describe a former bachelor fancying himself a playboy who meets a girl by chance who he falls in love with after a long time denying himself such deep, committed feelings. He gets a second chance to pursue his feelings and decides to do so, barely believing he’s trying again. The music is a tightly woven piece of funk; an unceasing beat, soulful vocals, tight bass, and a synthetic riff of sorts over the top, with some synthetic sound effects thrown in for good measure. The addictive beat doesn’t tire though, for halfway into ‘Falling Back in Love’ is an instrumental section, with the chords in the song being raised, building everything back up to a chorus sang with more urgency and passion. Sparse female vocals even appear, with the music given some breathing space to continue without the lead; you get the sense this must have been good fun to jam to as a band! This is one obscurity worthy of the 80’s dance craze.

“Here I go, falling back in love again,                                                                                                Here I go, falling back in love again                                                                                                    I told myself I would never fall back into a love affair again                                                          I had decided to be a playboy girl my need would only be a quid                                              But I had no idea I would find you here looking like a dream a net                                            But when you’re round it matter cos you’re paradise what I felt inside                                  You better believe it, oh!

Here I go, falling back in love again,                                                                                                 Here I go, falling back in love again, now listen                                                                           The way you move, I can’t take my eyes off you                                                                            The way you dance, I think you’ve got me in a trance                                                                 They say that love is better the second time around                                                               Here’s my chance to find out, honey…”

Written by Larry Graham and Beau Williams

The 80’s certainly had it all- political new wave, soulful pop, heavy metal…the list goes on. With traditional instruments and new technology at their disposal, musicians dared to dream bigger and fill their records with synthetic sounds through sequencing and electronic instruments. They could promote themselves on TV with the power of the music video; everyone from Nena to Iron Maiden! But with the pursuit of perfection came consequences for some; music was becoming over-the-top. A simpler form of music needed to return, much as punk toppled the excess of 70’s glam and progressive rock. That’s where the 1990’s came in…