Toppermost of the Poppermost - UK Number Ones : part 2 - The 1960s

[daf]

Feel like this one ought to have a "Laughing Version".

Closest I could find : "Mildly Chuckling Version" (1975) 

[Ballad of Ballard Berkley]

We've hit the exact point where Elvis started to detest the shite he was given to sing in his increasingly bland and silly films. Pity him.

Feel like this one ought to have a "Laughing Version".

And now I feel like a monster for saying that, as this casually tossed off - stop it - live version was performed for his seven-year-old daughter in the audience. It was presumably one of her faves.

[daf]

At this point we might like to compare the new version of Blue Suede Shoes recorded for the GI Blues movie in 1960 with the original from the debut album four years earlier :

Blue Suede Shoes (GI Blues - 1960)
Blue Suede Shoes (Original - 1956)

Of course, neither can hold a candle to our old friend Eilert Pilarm - Absolute Legend!

[Satchmo Distel]

Or Carl Perkins?

[daf]

Oops, yes - good point.

I phrased that rather poorly, didn't I - I didn't mean to imply that the 1956 Elvis version was the original version of the song, just Elvis' original version (which I think knocks seven shades of spots off the 1960 re-make)

Apologies to Carl Perkins - and to make up for it, here is THE original version : Blue Suede Shoes (Carl Perkins 1956)

[EOLAN]

Pedantry alert: surely we know where Brooklyn, Jerusalem and Edinburgh are located?

In fairness, I instantly think of London when Greenwich Village was mentioned. And that wasn't specified. Still; despite the seriousness of events behind it; I couldn't help but snigger at the line "The French army are revolting (in Algeria)". Quite revolting indeed.

[daf]

Here we go with the first of our exciting bonus NME Chart Number Ones!!

You know their aim is true, its . . .

115b. (NME 112.)  The Allisons - Are You Sure?



From : 7 - 13 April 1961 (1)
        + 21 - 27 April 1961 (1)
Weeks : 2
Flip side : There's One Thing More
bonus : Eurovision performance

The Allisons are one of the best-loved of all Britain's Eurovision Song Contest entries despite never having won the event; they finished second in the 1961 competition. Originally a duo of Brian Alford and John White, the roots of the Allisons sprang from the remains of a southwest London youth club band called The Shadows (no relation to the Cliff combo).

Originally performing as the Shadows Brothers, the pair were popular enough to appear on the television talent show Television Discoveries in 1958, but White quit in early 1959, and Alford attempted a solo career. By late summer 1959, however, he had teamed up with Colin Day and they took the new name - changing their own surnames accordingly.

By 1960, the Allisons were performing at the legendary Bread Basket coffee bar, and later that year a demo tape of Alford's own compositions reached the ears of Fontana Records, which promptly entered one of the songs, "Are You Sure," for the U.K.'s Eurovision heats. Held just a month after the Allisons turned professional, the song was a runaway triumph at the regional contest, and remains one of the most deserving also-rans in the entire history of Eurovision.

The song was released as a single on the Fontana label, and climbed to number 1 on the UK NME pop chart for two separate weeks during the 6 week reign of Elvis Presley's 'Wooden Heart'. However, in the retroactively "official" Record Retailer chart, the song spent six weeks at number 2.

Also a Top 11 hit in Germany, "Are You Sure" went on to sell over one million records, and earning a gold disc - so stick THAT in your pipe and smoke it, Tim Rice, Mike Read & Paul Gambaccini!

Despite the success, follow-ups "Words", "What a Mess" and "Lessons in Love" barely scratched the Top 40. Two more singles followed in 1962 'Sweet And Lovely' and 'I'll Cross My Fingers', but by the mid-'60s, the duo had split.

Alford continued as a songwriter, but he and Day teamed up for short tours to keep the 'Allisons' name alive. Additionally, in the 1970s and 1980s Alford was joined by other "brothers" — Mike "Allison" and Tony "Allison".

One final single backing Emil Ford - featuring a cover of "What Do You Want To Make Those Eyes At Me For" - was released in 1981. And by the 1990s, Day and Alford regularly reunited to perform on the oldies circuit.

The Allisons' final public performance was at the "Tales From The Woods" British Rock'n'Roll Heritage Show #8 at The Borderline Club in London, 2012.

'Bob Allison' (Colin Day) died on 25 November 2013, aged 72, after a long illness.

"Are You Sure?" was written by John Allison and Bob Allison, and represented the United Kingdom at the Eurovision Song Contest 1961.

The song was performed 15th on the night of the contest, held on 18 March 1961, following Luxembourg's Jean-Claude Pascal with "Nous les amoureux" (the eventual winner), and preceding Italy's Betty Curtis with "Al di là".

The song received 24 points, coming second in a field of 16, the third consecutive second place Eurovision finish for the UK, following "Looking High High High" (1960) by Bryan Johnson, and "Sing, Little Birdie" performed by Pearl Carr & Teddy Johnson in 1959.

The lyrics are memorable for a possibly unique example of the bizarre grammatical error "Comes tomorrow, you won't want me".

Other Versions include : Ricky Sanna (1961)  /  The Chicks (1969)  /  John Allison (2008)  /  Mike Boswell (2008)  /  Danny McEvoy (2011)  /  Simon & Dudley Lucas (2015)  /  Steve Reynolds & Dave Monk (2017)  /  Jagdish Rao (2019)  /   

[DrGreggles]

Here we go with the first of our exciting bonus NME Chart Number Ones *

You know their aim is true, its . . .

NME 112.  The Allisons - Are You Sure?

Can failed Eurovision entries be entered in it again?
'Are You Sure?' shits on anything the UK have entered post Gina G.

[Satchmo Distel]

He goes by the name John Alford, not Brian, according to this

https://www.sundaypost.com/in10/john-alford-of-the-allisons-tells-the-remarkable-story-of-the-uks-smash-hit-eurovision-entry-that-knocked-elvis-off-no-1/

Not related AFAIK to the Grange Hill actor of the same name.

[purlieu]

They look about 12.

How long does the NME and official chart discrepancy go on? I'm concerned that this doubling of the post-rock & roll pre-Beatles period is going to send me insane.

[Satchmo Distel]

It will only add a net of three pre-Beatles records. There are six more NME-only #1s from here to Please Please Me but there would be another three regular #1s between the latter and From Me To You.

Even with these add-ons, there are still fewer #1s per year than in the 90s. The NME is also, I think, the more accurate chart up to 1969 and Mike Read et al only picked RR cos it's a longer chart AFAIK.

We get a longer thread, more facts, more links, and some absolute bangers, so what's not to like?

[daf]

How long does the NME and official chart discrepancy go on?

Officially up to 1969 . . . but the NME chart actually continued till 1988 . . so I'm taking the opportunity to include all the 'Phantom' NME Number ones up to the very end - because most of they are, frankly, PURE SOLID GOLD!!!!

[daf]

He goes by the name John Alford, not Brian, according to this

Hang on let me dig around . . . This page has some info : http://www.45-rpm.org.uk/dira/allisons.htm

John Allison - Real Name: Brian Henry John Alford   /   Bob Allison - Real Name: Bernard Colin Day

In January 1959 John White decided to quit, and Brian Alford carried on as a soloist until August when he began a new partnership with Colin Day- somebody he sang with in the church choir. At this point the act was renamed "The Allisons". They each adopted a new name - Brian became John Allison and Colin became Bob Allison.

So, have I got this straight? . . .

There were TWO Johns in the original group ('The Shadow Brothers'), but Alford was calling himself 'Brian' at that point.

Then, after John White left, Brian Alford formed 'The Allisons', and decided to use his middle name -  'John' - while new member, Colin (Bernard Colin Day) called himself 'Bob'.

. . . That sort of thing could confuse a stupid person!

I've missed the editing window on the original post, but I've clarified the original paragraph a bit down here :
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 

Originally performing as the Shadows Brothers, the pair were popular enough to appear on the television talent show Television Discoveries in 1958, but John White quit in early 1959, and Brian Alford attempted a solo career. By late summer 1959, however, Alford had teamed up with Colin Day to form 'The Allisons', and took on new names : Brian Alford became 'John Allison', and Colin Day became 'Bob Allison'.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

[purlieu]

what's not to like?

My own impatience!

As you were.

[machotrouts]

I guess this might be better than 'Wooden Heart'. Not exactly a Sex Pistols-sized gap in the official chart canon.

Think this might be the first time not a single one of the "Other Versions include :" songs is available on Spotify. This must be real punk off-the-grid shit. Grimy underground pirate covers of 'Are You Sure?' sweeping dank illegal raves across the nation

[daf]

Bom-ba-ba-bom, D-dang-da-da-dang, Da-dingy-dong-ding, it's . . .

116.  The Marcels - Blue Moon



From : 30 April – 13 May 1961
Weeks : 2
Flip side : Goodbye To Love

The Marcels were an American doo-wop group known for turning popular music songs into rock and roll. The group formed in 1959 in Pittsburgh, Pennsylvania and signed to Colpix Records with lead Cornelius Harp, bass Fred Johnson, Gene Bricker, Ron Mundy, and Richard Knauss. The group was named after a popular hair style of the day, the marcel wave, by Fred Johnson's younger sister Priscilla.

In 1961, their first single, 'Blue Moon', topped the chart in the US and the UK.

The Marcels' popularity in 1961 was so great that they were included in the Oscar Rudolph film 'Twist Around the Clock'. Released on December 30, 1961, with the tagline "It's Twist-eriffic! The first full-length movie about the Twist!" the film also showcased fellow artists Chubby Checker, Dion DiMucci, and Vicki Spencer.The Marcels were all included, and had speaking parts in addition to performing musical numbers, including "Merry Twist-mas", which was released as a flop single over Christmas 1961.

Two of The Marcels - Gene Bricker and Cornelius Harp -  provided backing vocals for two songs, Avalon's "Gimme Your Love Yeah Yeah Yeah" and Stevie Wonder's "(Happy Feelin') Dance And Shout" in the 1964 film 'Bikini Beach' (a millionaire sets out to prove his pet chimpanzee is as intelligent as the teenagers who hang out on the local beach where he is intending to build a retirement home - with hilarious consequences!!)

In August 1961, due to racial problems encountered while touring in the Deep South because of the group being multi-racial, Knauss and Bricker—the group's white members—left and were replaced by Allen Johnson (brother of Fred) and Walt Maddox. Mundy left soon after, leaving the group a quartet.

Following 'Blue Moon', they continued to release singles through the early 60s, including :  "Summertime"  /  "You Are My Sunshine" /  "Heartaches" (#3) /  "My Melancholy Baby" (#30)  / "Footprints In The Sand" / "Flowerpot" / "Friendly Loans"  /  "Loved Her The Whole Week Through"  / and "Teeter-Totter Love" (#2 in Australia)

In 1962, Harp and Allen Johnson left and were replaced by Richard Harris and William Herndon. There was a brief reunion of the original members in 1973. The group made several recordings in 1975 with Harp back on lead.

Original member Gene Bricker died on December 10, 1983. Allen Johnson died of cancer on September 28, 1995 at age 55. Original lead singer Cornelius "Nini" Harp died on June 4, 2013 at the age of 73. Ronald "Bingo" Mundy died of pneumonia on January 20, 2017 at the age of 76.

"Blue Moon" was written by Richard Rodgers and Lorenz Hart in 1934.

Rodgers and Hart were contracted to Metro-Goldwyn-Mayer in May 1933, and commissioned to write the songs for 'Hollywood Party', a film that was to star many of the studio's top artists. Rodgers recalled :
"One of our ideas was to include a scene in which Jean Harlow is shown as an innocent young girl saying—or rather singing—her prayers. How the sequence fitted into the movie I haven't the foggiest notion, but the purpose was to express Harlow's overwhelming ambition to become a movie star."
The scene was never shot, and the song, "Prayer (Oh Lord, make me a movie star)", was not recorded.

In its second life, the "Prayer" tune was given a new lyric and became the title song of the 1934 MGM film 'Manhatian Melodrama', which starred Clark Gable, William Powell, and Myrna Loy. Hart wrote a lyric for the song to be used as the title song (played either before or during the opening credits of the Movie)... But before "High Noon", you just didn't have too many title songs, so "Its Just That Kind of a Play" AKA 'The Manhattan Melodrama' was cut.

The studio then asked for a nightclub number for the film. Rodgers still liked the melody so Hart wrote a third lyric: "The Bad in Every Man", which was sung by Shirley Ross.

After the film was released by MGM, Jack Robbins—the head of the studio's publishing company — decided that the tune was suited to commercial release but needed more romantic lyrics and a punchier title. Hart was initially reluctant to write YET ANOTHER FRIGGING LYRIC . . . but he was eventually persuaded with a big bag of cash dangling on the end of a fishing rod.

Now titled "Blue Moon', this fourth version of the song was licensed to 'Hollywood Hotel', a radio program that used it as the theme. On January 15, 1935, Connee Boswell recorded it for Brunswick Records. It subsequently was featured in at least seven MGM films, including the Marx Brothers' At the Circus (1939) and Viva Las Vegas (1964).

The Marcels, recorded the track for their album Blue Moon. In 1961, the Marcels had three songs left to record and needed one more. Producer Stu Phillips did not like any of the other songs except one that had the same chord changes as "Heart and Soul" and "Blue Moon". He asked them if they knew either, and one knew "Blue Moon" and taught it to the others.

The introduction to "Blue Moon" was an excerpt of an original song that the group had in its act, a cover of "Zoom" by the Cadillacs. Colpix A&R director Stu Phillips transferred the introduction to "Blue Moon" in order to give the song additional flair. The Marcels recorded "Blue Moon" in two takes. A promotion man asked for and got a copy of the finished tape, which found its way to DJ Murray the K. He promoted it as an "exclusive" and reportedly played it 26 times on one show - the crazy cat!

The record reached number one on the US Pop chart for three weeks, and also peaked at No. 1 on the UK Singles Chart. The Marcels' version of "Blue Moon" sold a million copies, and was awarded a gold disc.

Other Versions include :  Coleman Hawkins (1935)  /  Oscar Peterson (1946)  /  Bing Crosby (1946)  /  Mel Tormé (1949)  /  The Dave Brubeck Trio (1949)  /  Les Brown and His Band of Renown (1951)  /  Dizzy Gillespie (1952)  /  Charles Mingus (1952)  /  Jo Stafford (1952)  /  Billie Holiday (1952)  /  Duke Ellington  (1954)  /  Art Tatum (1955)  /  Blossom Dearie (1955)  /  Elvis Presley (1956)  /  Earl Bostic (1956)  /  Ella Fitzgerald (1956)  /  Jimmy Smith (1957)  /  Kay Martin and Her Bodyguards (1957)  /  The Drivers (1957)  /  Billy Vaughn (1958)  /  Tony Bennett (1958)  /  Julie London (1958)  /  Santo & Johnny (1959)  /  Rosemary Clooney (1959)  /  Frankie Laine (1959)  /  Conway Twitty (1960)  /  The Sh-Booms (1960)  /  Cliff Richard (1961)  /  Pat Boone (1961)  /  Frank Sinatra (1961)  /  The Ventures (1961)  /  Bobby Bland (1962)  /  Woody Herman (1962)  /  Jackie Wilson (1962)  /   Bobby Vinton (1963)  /  The Delltones (1963)  /  Dean Martin (1964)  /  Liza Minnelli (1964)  /  Jerry Allen (1965)  /  The Supremes (1967)  /  with a peg on his nose Bob Dylan (1969)  /  the inevitable Sha Na Na (1971)  /  the inevitable Mud (1974)  /  Hank C. Burnette (1976)  /  the inevitable Showaddywaddy (1980)  /  Chris Isaak (1994)  /  Ian McCulloch, Simon Boswell & Alex James (2000)  /  Ding Dong Daddios (2009)  /  Twiggy (2011)  / a robot (2016)

On This Day :

2 May : Doctor Robert, (The Blow Monkeys), born Bruce Robert Howard in Haddington, East Lothian, Scotland
4 May : Jay Aston, (Bucks Fizz), born Jay Hilda Aston (. . Hilda!) in Purley, South London
5 May : Alan Shepard becomes 1st American in space (aboard Freedom 7)
7 May : Phil "Wizzö" Campbell, (Motörhead), börn Philip Anthöny Campbell in Pöntypridd, Wales
10 May : "Beyond the Fringe" premieres in London
12 May : Billy Duffy, (The Cult), born William Henry Duffy in Hulme, Manchester

[Satchmo Distel]

The second #1 in this thread that Showaddywaddy had a hit cover version with.

Connie Boswell was actually Connee Boswell but the label kept misspelling her name.

https://en.m.wikipedia.org/wiki/Connee_Boswell

[purlieu]

Oh, I liked that one. Even if it did keep reminding me of 'Mr. Bass Man'.

[daf]

Connie Boswell was actually Connee Boswell but the label kept misspelling her name.

Cheers - just corrected it.

Should have known it was Connee too - I love The Boswell Sisters performance of That's Love (from 'George White Scandals of 1931') - Tight as a gnat's chuff!

[kalowski]

The best song in American werewolf.

[Gulftastic]

And used for a half decent gag in 'Grease'.

[Satchmo Distel]

Connee was a big influence on Ella Fitzgerald.

[Ballad of Ballard Berkley]

The Marcels version of Blue Moon is such an utterly joyous, bonkers thing, it's like a big, daft, cartoon take on rock 'n' roll. Fred Johnson's gonzo bass part is inspired, imagine coming up with something like that? I love it to bits, me.

[machotrouts]

Can't decide if this is the best doo-wop song we've had so far, or the tipping point where I get sick of doo-wop and never want to hear it again. I think probably both. It's a lot. Sort of immediately hated it, and then realised, after the first non-Marcels version I heard, ah, this used to be boring. That's why they made it not boring. Good thinking

[daf]

Roll Over Mrs Mills, and tell Russ Conway the news, it's . . .

117.  Floyd Cramer - On The Rebound



From : 14 – 20 May 1961
Weeks : 1
Flip side : Mood Indigo
bonus : The Jimmy Dean Show

Floyd Cramer - born October 27, 1933 - was an American pianist, and was one of the architects of the Nashville Sound. He was known for his "slip note" piano style, in which an out-of-key note slides into the correct note.

Cramer was born in Shreveport, Louisiana, and grew up in the small town of Huttig, Arkansas. He taught himself to play the piano. After finishing high school, he returned to Shreveport, where he worked as a pianist for the radio show Louisiana Hayride. In 1953, he cut his first single, "Dancin' Diane", backed with "Little Brown Jug", for the local Abbott label.

In 1954, he released two singles - all four sides were issued in the UK on the "Piano Hayride" EP :
A : Jolly Cholly  /  Fancy Pants  -  B : Five Foot Two, Eyes Of Blue  /  Oh! Susannah

In 1955 Cramer moved to Nashville, where piano accompaniment in country music was growing in popularity. By the next year he was, in his words, "in day and night doing session". Before long, he was one of the busiest studio musicians in the industry, playing piano for stars such as Elvis Presley, Brenda Lee, Patsy Cline, the Browns, Jim Reeves, Eddy Arnold, Roy Orbison, Don Gibson, and the Everly Brothers, among others. It was Cramer's piano playing, for instance, on Presley's first RCA Victor single, "Heartbreak Hotel". However, Cramer remained strictly a session player, a virtual unknown to anyone outside the music industry.

An album for MGM, 'That Honky-Tonk Piano', was issued to little fanfare in 1957 and he signed to RCA, enjoying his first real success as a solo act with the self-penned single "Flip, Flop and Bop" (1958).

"Last Date" was released by RCA Victor in 1960 - The instrumental piece exhibited a relatively new concept in piano playing known as the "slip note" style. The record went to number two on the US chart, sold over one million copies, and was awarded a gold disc. In the US, the song was kept out of the number 1 position by Elvis Presley's "Are You Lonesome Tonight". The session pianist for Elvis's recording was none other than Floyd Cramer himself.

Of the characteristic "slip note" style, Cramer commented :
"The style I use mainly is a whole-tone slur which gives more of a lonesome cowboy sound. You hit a note and slide almost simultaneously to another."
The origin of the style is uncertain. It seems to have first emerged at the 1960 session for Hank Locklin's hit "Please Help Me, I'm Falling", when Cramer was asked by Chet Atkins to copy the unusual piano styling of songwriter Don Robertson, who had played on the demo. Cramer also acknowledged the influence of "Mother" Maybelle Carter's autoharp playing.

In 1961, Cramer had a hit with "On the Rebound", which went to number 4 in the US, and number 1 in the UK Singles Chart, and the follow-up, "San Antonio Rose" reached #8 in the US. In a 1961 NME interview he said :
"Trying to launch myself on a solo career, after being Elvis Presley's pianist for so long, placed me in an unenviable position. Some people thought I was trying to cash in. If I had wanted to cash in on my association with Elvis, I would have done it five years ago."
     
By the mid-1960s, Cramer had become a respected performer, making numerous albums and touring with guitar maestro Chet Atkins and saxophonist Boots Randolph, sometimes headlining and sometimes as the opening act for Eddy Arnold. Cramer also performed with them as a member of the Million Dollar Band.

Over the years, he continued to balance session work with his own albums. Many of these featured standards or popular hits of the era. From 1965 to 1974 he annually recorded a disc of the year's biggest hits. Other albums included I Remember Hank Williams (1962), Floyd Cramer Plays the Monkees (1967), and Sounds of Sunday (1971).

In 1977 the legendary kick-arse disco LP Floyd Cramer and the Keyboard Kick Band was released, on which he played eight different keyboard instruments. In a similar style, in 1978 he released a single of the Disney Main Street Electrical Parade (Baroque Hoedown).

In 1980 Cramer's final major chart entry was a version of the theme of the television series Dallas.

Cramer died of lung cancer on New Year's Eve, 1997 at the age of 64. He was interred in the Spring Hill Cemetery in the Nashville suburb of Madison, Tennessee.

"On the Rebound" was written by Floyd Cramer. In contrast to most of Cramer's work, which consisted mostly of countrypolitan ballads, "On the Rebound" was an uptempo rock and roll instrumental. It made No. 4 in the US and No. 1 in the UK.

"On the Rebound" was later featured during the opening credits of the 2009 Oscar-nominated film An Education, which was set in England in 1961.

Other Versions include : Turk Ellis (1961)  /  Dickie Loader & The Blue Jeans (1962)  /  The Nashville Brass (1968)  /   Bosse Påhlssons (1978)  /  (his grandson) Jason Coleman (2006)  /  Danny McEvoy (2011)  /  Jon England  (2019)

On This Day :

14 May : Tim Roth, actor, born in Dulwich, London
14 May : Stirling Moss wins the 1961 Monaco Grand Prix
14 May : Bus with 1st group of Freedom Riders bombed & burned in Alabama
15 May : Melle Mel, rapper, born Melvin Glover in The Bronx, New York
15 May : Pope John XXIII publishes his latest steamy encyclical bonk-buster : "Mater et Magistra"
17 May : Enya, singer, born Eithne Pádraigín Ní Bhraonáin in Gweedore, County Donegal, Ireland
17 May : Fidel Castro offers to exchange Bay of Pigs prisoners for 500 bulldozers
18 May : "Donnybrook!" opens at 46th St Theater NYC
20 May : Nick Heyward, (Haircut 100), born in Beckenham, Kent

[Satchmo Distel]

Mood Indigo - wow,  a Duke Ellington song on the B-side of a #1 in 1961

[purlieu]

Cor, what a vibrant sounding piece for its time. After the past few that really leaps out at you.

[daf]

Good isn't it - sounds fresh as paint.

[machotrouts]

Pleasantly surprised at how receptive I've been to honky tonk. Must be because I spent my adolescence getting my ears lubed up by the Scissor Sisters (inventors of honky tonk)

[kalowski]

Pleasantly surprised at how receptive I've been to honky tonk. Must be because I spent my adolescence getting my ears lubed up by the Scissor Sisters (inventors of honky tonk)