SheriffFatman
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Been spending most our lives living in the Cheshire countryside
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Post by SheriffFatman on Sept 7, 2020 22:44:09 GMT 1
I loved the Scissor Sisters’ version of Comfortably Numb! Sorry!
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Good Old Days
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Sielos grožio niekas nepavogs, kol širdy jaunystė gros.
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Post by Good Old Days on Sept 8, 2020 6:59:17 GMT 1
Kiss You Off is only one Scissor Sisters' track, which I like. The rest singles ... let's say that they are far from good songs.
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Post by suedehead on Sept 8, 2020 7:03:43 GMT 1
I loved the Scissor Sisters’ version of Comfortably Numb! Sorry! We'll have to agree to disagree on that one
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Post by onehitwonder on Sept 8, 2020 8:34:01 GMT 1
I used to mix them with MIKA (similar vocals).
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Post by suedehead on Sept 8, 2020 18:51:31 GMT 1
The song at number seventeen owes its high position largely to sentiment. The very first single I ever bought with my own money was Years may Come, Years May Go by Herman’s Hermits. That song reached number seven in early 1970 so fails to qualify for this list on two counts. The song that does qualify is their only number one, I’m Into Something Good.
I’m Into Something Good, written by Carole King and Gerry Goffin (Mr Carole King at the time), was Herman’s Hermits’ debut single. It entered the chart in August 1964 and took six weeks to climb to the top. It got there on my fourth birthday, not that I noticed as I knew nothing of the charts at such a tender age. It replaced The Kinks’ You Really Got Me which had spent the previous two weeks at number one. Had it held on for a third week, it would probably have been in my top ten - and without any sentimental reasons giving it a boost.
You Really Got Me dropped all the way to number five that week. It is interesting to note that the three other songs in the top five are all familiar to me now - The Four Seasons’ Rag Doll, Have I The Right by Honeycombs and The Supremes with Where Did Our Love Go. Roy Orbison’s Oh, Pretty Woman and Marianne Faithful’s As Tears Go By were both in the top ten. There was some good stuff elsewhere in the top forty too, including songs from The Beatles (A Hard Day’s Night), the Rolling Stones (It’s All Over Now) and the Beach Boys (I Get Around). Manfred Mann’s Do Wah Diddy Diddy and The Zombies’ original version of She’s Not There (brilliantly covered by Santana in the 1970s) were in the top twenty.
Herman’s Hermits went on to have a string of hit singles including Sunshine Girl, Something’s Happening, My Sentimental Friend and There’s A Kind Of Hush which The Carpenters covered successfully. Singer Peter Noone (blue eyes, cheeky grin, wonky teeth and just sixteen at the time of I’m Into Something Good) left in 1971 but the band still exists with drummer Barry Whitwam the only ever-present. I’m Into Something Good spent a fortnight at number one before Oh, Pretty Woman replaced it to give Roy Orbison his second chart-topper of the year.
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Post by suedehead on Sept 9, 2020 18:32:30 GMT 1
In 1976 I took my O Levels at the start of the long hot summer which was to become the long hot summer against which all subsequent ones were to be measured. The number one for almost all of the school holidays was Elton John and Kiki Dee’s Don’t Go Breaking My Heart. It was Elton John’s seventeenth top forty single (including the original version of Candle In The Wind) but the first to top the chart. At the beginning of September, just as I started A Levels, Abba took over with their third number one of the year with Dancing Queen and that song - number one on my sixteenth birthday - finishes at number sixteen here.
Dancing Queen was Abba’s third number one of the year and they all replaced long-running chart-toppers. In January Mama Mia had replaced Bohemian Rhapsody at the top and a great quiz question was born - the lyrics of which number one single did not contain its title but did include the name of the next number one? In May, the former Eurovision winners replaced that year’s winners at number one as Fernando finally toppled Brotherhood Of Man’s Save Your Kisses For Me after six weeks. Don’t Go Breaking My Heart had also spent six weeks at the top.
By the time my birthday came round, Dancing Queen was in its third week at the top. Manfred Mann’s brilliant version of Bruce Springsteen’s Blinded By The Light was also in the chart as was Rod Stewart’s The Killing Of Georgie (Sailing was also back for its second go) and Can’s I Want More.
Dancing Queen went on to enjoy six weeks at number one, making it Abba’s longest-running chart-topper. It was replaced by Mississippi by Dutch group Pussycat. Dancing Queen was back in the chart sixteen years and was still in the top forty on my 32nd birthday. Will it keep up that progression by being there for my 64th? The famous piano bit at the beginning of the song inspired the introduction to Elvis Costello’s Oliver’s Army.
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Post by onehitwonder on Sept 10, 2020 11:01:30 GMT 1
Not a big ABBA fan, but they have brilliant singles, this being one of them.
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Post by suedehead on Sept 10, 2020 18:54:12 GMT 1
At number fifteen we have the second of the two Elvis Presley songs. When I drew up the list of number ones, She’s Not You came as a bit of a surprise. I thought I would have been familiar with any Presley entries even if they came from the early 1960s (this is from 1962) but that wasn’t the case. I had to head to YouTube to give it a listen.
Whenever people complain about certain singers not writing their own songs, the obvious retort is “What about Elvis Presley?”. Although he sometimes received a writing credit, it is generally accepted that this was just a way of increasing his (and Tom Parker’s) income and that he didn’t contribute a single note or syllable. His talent lay in singing other people’s songs and he proved to be equally adept at tackling both outright rockers and ballads. Let’s forget about his versions of My Way and Bridge Over Troubled Water which were both woeful.
She’s Not You, written by the legendary songwriting duo Leiber and Stoller (Hound Dog, Jailhouse Rock, Stand By Me with Ben E King) is a ballad and was released as a single between the better known Good Luck Charm and Return To Sender. It was number one in the very first Irish chart in October 1962. She’s Not You took just three weeks to climb to the top of the UK chart, becoming Presley’s twelfth chart-topping single. It ended Frank Ifield’s seven weeks at the top with I Remember You, arriving in time for my second birthday. Also in the chart that week were Mr ‘Acker’ Bilk’s Stranger On The Shore, on its way to becoming one of the few songs to get more than 50 weeks in the top forty, Jerry Lee Lewis’s Sweet Little SIxteen (his then wife was just eighteen by then, having married Lewis when she was only thirteen), and Ray Charles’ I Can’t Stop Loving You. Also in there were two songs that later provided hits for a Neighbours couple - Little Eva’s Locomotion (later recorded by Kylie Minogue) and Brian Hyland’s Sealed With A Kiss (Jason Donovan).
She’s Not You stayed at number one for three weeks. The song that replaced it was a complete contrast. An old-fashioned ballad made way for The Tornados’ futuristic-sounding Telstar, celebrating the launch of the satellite of that name earlier in the year. One of the members of The Tornados was George Bellamy, father of Muse’s Matt.
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Post by rubcale on Sept 11, 2020 10:46:31 GMT 1
How on earth were Herman's Hermit's so big? - they were totally naff (from what singles I've heard).
For a short period they were massive in the US with two monster #1s in Mrs Brown You've Got a Lovely Daughter and I'm Henry VIII I Am.
These weren't released as singles in the UK - at least we got that right!
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vastar iner
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Post by vastar iner on Sept 11, 2020 11:01:15 GMT 1
"Mrs Brown" was written by Trevor Peacock, aka Jim "No No No No No No Yes" Trott from the Vicar of Dibley. It was planned as a b-side. The original was part of a TV play and sung by Tom Courtenay, it was a hit for him in the Melody Maker charts.
Herman's Hermits were so big in the States because they were the unthreatening band for the squares. Bit like The Bachelors. Very safe for radio airplay.
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Post by suedehead on Sept 12, 2020 19:06:54 GMT 1
How on earth were Herman's Hrmit's so big? - they were totally naff (from what singles I've heard). For a short period they wre massive in the US with two monster #1s in Mrs Brown You've Got a Lovely Daughter and I'm Henry VIII I Am. These weren't released as singles in the UK - at least we got that right! They sound a little twee now but then thigs have moved on in the last fifty years!
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Post by suedehead on Sept 12, 2020 19:08:23 GMT 1
The song at number fourteen is the second of two songs from Sam Smith. One year after Too Late For Goodbyes topped the chart, he was back at the summit (in 2018) as the featured artist with Calvin Harris on Promises. I therefore needed to be very careful about how I worded the bit about The Police to have a number one single on my birthday in successive years.
Promises was Calvin Harris’s tenth number one and remains his last to date. His chart-toppers have included collaborations with Rihanna (We Found Love), Dua Lipa (One Kiss) and Florence Welch (Sweet Nothing). He had a big hit last year with Giant alongside fellow tall bloke Rag ‘n’ Bone Man and is currently in the charts with Over Now featuring The Weeknd. Rag’n’ Bone Man and Harris performed Giant on Graham Norton’s chat show in a week when Stephen Merchant and a tall American whose name I have forgotten were also guests. Rob Beckett (who is of roughly average height) was left saying he felt like Sandi Toksvig sitting in between them. Sam Smith has also not returned to the top in the two years since Promises so remains on seven number one singles.
As hinted at above, some of Sam Smith’s songs can be quite hard to listen to as their voice can be distinctly whiny at times but Promises has the advantage of being very much a Calvin Harris song with Smith’s vocals rather than a Sam Smith track produced by Harris.
Promises went to number one in its third week in the chart in early September, replacing Benny Blanco’s Eastside (featuring Halsey and Khalid) and was still there two weeks later. Also in the chart that week were Marshmello and Bastille’s Happier, George Ezra’s Shotgun and Panic At The Disco’s High Hopes. Calvin Harris’s previous number one, One Kiss, was still in the top forty.
Promises stayed at number one for five weeks before Dave and Fredo took over for a week with Funky Friday. Harris and Smith then regained the top spot for a further week before Lady Gaga and Bradley Cooper’s Shallow replaced them.
There is now just one number one from the 21st century remaining and only one other from the second thirty years of my life.
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Post by suedehead on Sept 13, 2020 20:10:34 GMT 1
The song at number thirteen is the fourth highest-placed number one from the 1980s although it was recorded in the 1960s. The song, He Ain’t Heavy He’s My Brother by The Hollies, was originally a hit in 1969 when it peaked at number three. At the time, the Hollies song I was most familiar with was the rather silly Jennifer Eccles which had been a hit in 1968. Ms Eccles (who had terrible freckles) turned up again in The Scaffold’s Lily The Pink which was the Christmas number one that year. The Scaffold included the wonderful Liverpool poet Roger McGough and someone who was known as Mike McGear because it was felt that his birth name (Mike McCartney) might draw comparisons with his more famous brother.
After He Ain’t Heavy, the Hollies didn’t have another major hit until The Air That I Breathe reached number two in 1974. When I first heard Radiohead’s Creep in 1992, that song immediately sprang to mind. Eventually, the same applied to the songwriters’ lawyers and they now receive a credit (along with the associated royalties).
He Ain’t Heavy, He’s My Brother climbed to number one in time for my 28th birthday. The song it replaced was a cover version of an even older song. A Groovy Kind Of Love, co-written by Carole Bayer-Sager, was originally a hit for The Mindbenders. That band included in their number Eric Stewart who went on to be part of 10CC. Stewart joined the Mindbenders from a previous, unsuccessful, group. When he and another member left that little-known group, the replacements were Allan Clarke and Graham Nash who later formed The Hollies. The chart-topping version of A Groovy Kind Of Love was by Phil Collins and came from the soundtrack of the film Buster in which he played the title role.
By a strange coincidence, another version of He Ain’t Heavy, He’s My Brother, sung by Bill Medley of the Righteous Brothers, was used in a Rambo film at the same time. As a result, that version was also in the chart. The top ten that week included Yello’s The Race, a reissue of Bill Withers’ Lovely Day and a new entry for the Pet Shop Boys with Domino Dancing. Lower down the top forty we had Bruce Springsteen’s Spare Parts, Hands To Heaven by Breathe and Guns ‘n’ Roses with Sweet Child O’ Mine.
The Hollies stayed at number one for a second week before slipping to number two behind U2’s first UK number one, Desire.
One of the people to buy the 1988 re-release of He Ain’t Heavy was 18-year-old James Aspinall as a present for his mother Margaret as it was one of her favourite songs. Just months later, on 13 April 1989, James died as one of the 96 victims of the Hillsborough disaster. Margaret Aspinall became one of the leading members of the (ultimately partially successful) campaign for justice for the victims of that tragedy. Because of its special meaning for her, the song was recorded by The Justice Collective in 2012 to achieve publicity and raise funds for the campaign. It was the Christmas number one that year, keeping X Factor winner James Arthur off the top.
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Post by suedehead on Sept 13, 2020 20:11:06 GMT 1
The song at number thirteen is the fourth highest-placed number one from the 1980s although it was recorded in the 1960s. The song, He Ain’t Heavy He’s My Brother by The Hollies, was originally a hit in 1969 when it peaked at number three. At the time, the Hollies song I was most familiar with was the rather silly Jennifer Eccles which had been a hit in 1968. Ms Eccles (who had terrible freckles) turned up again in The Scaffold’s Lily The Pink which was the Christmas number one that year. The Scaffold included the wonderful Liverpool poet Roger McGough and someone who was known as Mike McGear because it was felt that his birth name (Mike McCartney) might draw comparisons with his more famous brother. After He Ain’t Heavy, the Hollies didn’t have another major hit until The Air That I Breathe reached number two in 1974. When I first heard Radiohead’s Creep in 1992, that song immediately sprang to mind. Eventually, the same applied to the songwriters’ lawyers and they now receive a credit (along with the associated royalties). He Ain’t Heavy, He’s My Brother climbed to number one in time for my 28th birthday. The song it replaced was a cover version of an even older song. A Groovy Kind Of Love, co-written by Carole Bayer-Sager, was originally a hit for The Mindbenders. That band included in their number Eric Stewart who went on to be part of 10CC. Stewart joined the Mindbenders from a previous, unsuccessful, group. When he and another member left that little-known group, the replacements were Allan Clarke and Graham Nash who later formed The Hollies. The chart-topping version of A Groovy Kind Of Love was by Phil Collins and came from the soundtrack of the film Buster in which he played the title role. By a strange coincidence, another version of He Ain’t Heavy, He’s My Brother, sung by Bill Medley of the Righteous Brothers, was used in a Rambo film at the same time. As a result, that version was also in the chart. The top ten that week included Yello’s The Race, a reissue of Bill Withers’ Lovely Day and a new entry for the Pet Shop Boys with Domino Dancing. Lower down the top forty we had Bruce Springsteen’s Spare Parts, Hands To Heaven by Breathe and Guns ‘n’ Roses with Sweet Child O’ Mine. The Hollies stayed at number one for a second week before slipping to number two behind U2’s first UK number one, Desire. One of the people to buy the 1988 re-release of He Ain’t Heavy was 18-year-old James Aspinall as a present for his mother Margaret as it was one of her favourite songs. Just months later, on 15 April 1989, James died as one of the 96 victims of the Hillsborough disaster. Margaret Aspinall became one of the leading members of the (ultimately partially successful) campaign for justice for the victims of that tragedy. Because of its special meaning for her, the song was recorded by The Justice Collective in 2012 to achieve publicity and raise funds for the campaign. It was the Christmas number one that year, keeping X Factor winner James Arthur off the top.
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Post by raliverpool on Sept 14, 2020 20:22:38 GMT 1
The song at number seventeen owes its high position largely to sentiment. The very first single I ever bought with my own money was Years may Come, Years May Go by Herman’s Hermits. That song reached number seven in early 1970 so fails to qualify for this list on two counts. The song that does qualify is their only number one, I’m Into Something Good. I’m Into Something Good, written by Carole King and Gerry Goffin (Mr Carole King at the time), was Herman’s Hermits’ debut single. It entered the chart in August 1964 and took six weeks to climb to the top. It got there on my fourth birthday, not that I noticed as I knew nothing of the charts at such a tender age. It replaced The Kinks’ You Really Got Me which had spent the previous two weeks at number one. Had it held on for a third week, it would probably have been in my top ten - and without any sentimental reasons giving it a boost. You Really Got Me dropped all the way to number five that week. It is interesting to note that the three other songs in the top five are all familiar to me now - The Four Seasons’ Rag Doll, Have I The Right by Honeycombs and The Supremes with Where Did Our Love Go. Roy Orbison’s Oh, Pretty Woman and Marianne Faithful’s As Tears Go By were both in the top ten. There was some good stuff elsewhere in the top forty too, including songs from The Beatles (A Hard Day’s Night), the Rolling Stones (It’s All Over Now) and the Beach Boys (I Get Around). Manfred Mann’s Do Wah Diddy Diddy and The Zombies’ original version of She’s Not There (brilliantly covered by Santana in the 1970s) were in the top twenty. Herman’s Hermits went on to have a string of hit singles including Sunshine Girl, Something’s Happening, My Sentimental Friend and There’s A Kind Of Hush which The Carpenters covered successfully. Singer Peter Noone (blue eyes, cheeky grin, wonky teeth and just sixteen at the time of I’m Into Something Good) left in 1971 but the band still exists with drummer Barry Whitwam the only ever-present. I’m Into Something Good spent a fortnight at number one before Oh, Pretty Woman replaced it to give Roy Orbison his second chart-topper of the year. ^ This is one of those songs I used to like, especially when it was used in one of The Naked Gun films. But then Mark Lamarr's Rock N' Roll Jukebox radio show introduced me to the vastly superior USA #38 original:
Earl Jean & The Cookies - I'm Into Somethin' Good
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Post by raliverpool on Sept 14, 2020 20:40:53 GMT 1
The song at number thirteen is the fourth highest-placed number one from the 1980s although it was recorded in the 1960s. The song, He Ain’t Heavy He’s My Brother by The Hollies, was originally a hit in 1969 when it peaked at number three. At the time, the Hollies song I was most familiar with was the rather silly Jennifer Eccles which had been a hit in 1968. Ms Eccles (who had terrible freckles) turned up again in The Scaffold’s Lily The Pink which was the Christmas number one that year. The Scaffold included the wonderful Liverpool poet Roger McGough and someone who was known as Mike McGear because it was felt that his birth name (Mike McCartney) might draw comparisons with his more famous brother. After He Ain’t Heavy, the Hollies didn’t have another major hit until The Air That I Breathe reached number two in 1974. When I first heard Radiohead’s Creep in 1992, that song immediately sprang to mind. Eventually, the same applied to the songwriters’ lawyers and they now receive a credit (along with the associated royalties). He Ain’t Heavy, He’s My Brother climbed to number one in time for my 28th birthday. The song it replaced was a cover version of an even older song. A Groovy Kind Of Love, co-written by Carole Bayer-Sager, was originally a hit for The Mindbenders. That band included in their number Eric Stewart who went on to be part of 10CC. Stewart joined the Mindbenders from a previous, unsuccessful, group. When he and another member left that little-known group, the replacements were Allan Clarke and Graham Nash who later formed The Hollies. The chart-topping version of A Groovy Kind Of Love was by Phil Collins and came from the soundtrack of the film Buster in which he played the title role. By a strange coincidence, another version of He Ain’t Heavy, He’s My Brother, sung by Bill Medley of the Righteous Brothers, was used in a Rambo film at the same time. As a result, that version was also in the chart. The top ten that week included Yello’s The Race, a reissue of Bill Withers’ Lovely Day and a new entry for the Pet Shop Boys with Domino Dancing. Lower down the top forty we had Bruce Springsteen’s Spare Parts, Hands To Heaven by Breathe and Guns ‘n’ Roses with Sweet Child O’ Mine. The Hollies stayed at number one for a second week before slipping to number two behind U2’s first UK number one, Desire. One of the people to buy the 1988 re-release of He Ain’t Heavy was 18-year-old James Aspinall as a present for his mother Margaret as it was one of her favourite songs. Just months later, on 13 April 1989, James died as one of the 96 victims of the Hillsborough disaster. Margaret Aspinall became one of the leading members of the (ultimately partially successful) campaign for justice for the victims of that tragedy. Because of its special meaning for her, the song was recorded by The Justice Collective in 2012 to achieve publicity and raise funds for the campaign. It was the Christmas number one that year, keeping X Factor winner James Arthur off the top. I would maintain it is the best UK #1 hit single Elton John played on.
I'm really glad you brought up the facts included in your last paragraph. But you were clearly too dignified to mention James Arthur's reaction from being denied the Xmas #1. And the fact when former 2010 X-Factor runner up Rebecca Ferguson; & former 2006 X-Factor runner up Ray Quinn criticised his reaction he doubled down in his ignorant self entitled views to The S*n newspaper attacking that football team from that city who plays in red with the "always the victim, never your fault" trope. Needless to say I virulently took against him ever since.
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Post by suedehead on Sept 15, 2020 8:10:05 GMT 1
At number twelve it is the last surviving representative of the 21st century. Like the second highest-placed song from this century, it is a producer (in this case, a production duo) featuring a vocalist.
Leeds duo Sigma had a couple very minor hits in 2010 and 2013 before they hit the big time with Nobody To Love which went all the way to number one in 2014. Later that year, with Paloma Faith as featured artist, they topped the chart again with Changing. Paloma Faith had had three top ten hits by then, including the wonderful Only Love Can Be Like This, but Changing was her first number one. It remains her only chart-topping single and owes its high placing here largely due to her presence.
Chart fans will remember 2014 as the year of one-week number ones. Changing entered at the top, replacing Calvin Haris and John Newman’s Blame after its allotted week at number one. Changing also lasted just a solitary week before Jessie J, Ariana Grande and Nicki Minaj’s awful Bang Bang. Paloma Faith and Jessie J have both worked as coaches on the adult and junior versions of The Voice with Faith bringing her characteristic kookiness to the role. Sigma released a single with John Newman earlier this year but it failed to reach the chart.
George Ezra had two songs in adjacent positions in that week’s chart Budapest was at number eleven having finally become a hit at the third attempt; Blame It On Me was one place above it. Also in the chart were Sia’s Chandelier, Clean Bandit and Jess Glynne’s Rather Be, Pharell Williams’ Happy and, new to the top forty that week, Hozier’s Take Me To Church.
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vastar iner
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Post by vastar iner on Sept 15, 2020 10:45:34 GMT 1
the Hollies song I was most familiar with was the rather silly Jennifer Eccles which had been a hit in 1968. Ms Eccles (who had terrible freckles) turned up again in The Scaffold’s Lily The Pink which was the Christmas number one that year. And Nash did backing vocals...along with Tim Rice.
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Post by suedehead on Sept 15, 2020 18:01:55 GMT 1
At number eleven it is the only true one-hit wonder (a number one single and no other top 100 entries) in the list. The act involved have also not spent as much as a single week in the albums chart so they truly are one-hit wonders. I cannot even find any evidence that they appeared uncredited on another hit. As Paul and Art’s only number one single was in February and March 1970, it is also the only entry to include a Simon in the credit. Furthermore, it is one of two instrumental number ones in the top eleven.
Eye Level by the Simon Park Orchestra was the theme tune to the ITV series Van der Valk and is the only entry here that topped the chart as a result of being a television theme tune. Rod Stewart’s Sailing was, as related above, used as a theme tune but only after it had been a number one single.
Van der Valk series started in 1972 but Eye Level was not released until shortly after the first series ended and was only a minor hit. Once the second series started the following year, the single hit the shops again and took just three weeks in the chart to get to the top, replacing Wizzard’s Angel Fingers.
For the first two of Eye Level’s four weeks at the top, the orchestra kept Sweet’s Ballroom Blitz off the top as had Wizzard the week before.. The first week was the chart we are interested in here; other songs in the chart that week were Ike and Tina Turner’s Nutbush City Limits, 10CC’s The Dean & I and Manfred Mann’s Joybringer, based on Jupiter (the bringer of joy) from Gustav Holst’s Planets Suite. We will gloss over the fact that David Bowie was in there with The Laughing Gnome.
Eye Level was the 22nd instrumental number one. Just how long we had to wait for the 23rd (or whether there has even been a 23rd) depends on how strict your definition of an instrumental is. If you insist that there should be no vocal noises whatsoever, there still hasn’t been one in 47 years. By that token, the last instrumental number one was replaced by David Cassidy’s Daydreamer / The Puppy Song.
Although Van der Valk was set in Amsterdam, the only genuine Dutch thing about it was Eye Level which was written by a Dutch composer. The original novels were by a British author and the cast was British with Barry Foster taking the title role. The series was revived this year but was not well received by the critics (or me).
There is one more 1970s number one to come.
Acts who had a number one single or album in 1973 has just come up as a question in the Pointless final.
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vastar iner
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Post by vastar iner on Sept 16, 2020 15:46:52 GMT 1
The Simon Park Orchestra did not exist. Simon Park did, he composed and arranged library music, but he hired musicians on day rates. The chaps in the TOTP video are the TOTP orchestra.
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