DOCSLIB.ORG

Shane Fenton Feature

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Shane Fenton Feature elIq ttvl,w R()ff'N R0H. STAGE SHOW! IL i!F-qf ..,.€ iir tirlll.ilir -r'' BEFORS'ffi(0[vlING GLAi-I-ERA SMRALVIN' STARDUSI HF IfiJAS SHAHE FEHI0.II,IION OF THE EARLY'605. ONE OF THE ODDEST DOUBLE IDENTITY IWI$S IN ROCK'N'ROLL Hl ST0RY lS EXPL0RED BY' JEREIIY' lsfiA[, .. $fllr{ i*By .J3* e It!@I *ur . &tA[ &6r ffs* **{y,$ ai :#ay 1}* !d*xt6e g t was almost blind luck that an struck down by the rheumatic fever from il obscure singer-songwriter named which he had suffered as a child.'Tohnny il Bernartl Jewry hit the pop big time and I were really big mates," recalled il when he reinvented himseiias Jewry. "I waiked over to his house for a S Alvin Stardust in 1973. But it wes an rehearsal one day and he wasn't there. t even wilder and more tragic fluke His mum said'He's very ill, he's been a decade earlier that found him flonting taken into hospital'. Two days later, I TI l Shadows rivals the Fentones, and rockin' went round and she said'He's died'. We f I I just g out with the likes of Cliff Richard, Marty completely fell apart." I I Wilde, Tommy Steele and Joe Brown. At first the young musicians - Jerry ! I T Born on 27 September 1942 in Wilcock and Mick Eyre on lead and T I Musweli Hill, Bernard William Jewry rhythm guitars, Bill Bonney on bass and 3/ moved with his family to Mansfield, Tony Hinchcliffe on drums - were so I Nottinghamshire. By the late I950s he shocked that they wanted to disband. was obsessed with the rock'n'roll sounds But Theakston's grief-stricken mother of Elvis, Gene Vincent, Littie Richard and implored them to continue, using his Eddie Cochran, regularly attending rock stage name in honour ofher son, so road concerts, and even meeting Buddy Holly manager Jewry became lead singer under backstage in 1958. It was while appearing Theakston's professional moniker. with his own trio, The Jewry Rhythm Not only did Shane Fenton and the Band, in a talent contest at Mansfield Fentones keep their appointment with Palais that he met another group ofteen the BBC, they won their coveted Saturday hopefuls called Johnny Theakston and Ciub appearance, proving so popular the Tremeloes, formerly the Beat Boys. that they became a regular fixture on The group made him their road manager, the show as well as beinpl inundated even allowing him to join them on stage with live bookings. "We started getting on vocals once in a while. tours with people like Billy Fury Marty As the l960s dawned, Theakston Wilde, Joe Brown and Dickie Pride," decided on a name change, calling himself said Jewry. "Billy was bigger than Cliff, after the title character of the classic and Joe was our own Eddie Cochran. I Holly,wood western Shane and suddenly realised we were in the music a local printing company called Fenton's, business." The programme's musical with the band being rechristened the director, Tommy Sanderson, took over as Fentones. They were going over big in live their manager, eventually getting them a venues across Nottinghamshire, which recording contract with EMI's subsidiary encouraged them to record a demo tape label Parlophone Records. for submission to the BBC in the hope of Parlophone was not the giant it would landing a radio slot. Incredibly, the band become after signing The Beatles. was invited to audition for the nationally Founded in Germany in 1896, it had broadcast music showcase Saturday Club. evolved into a leadingjazz label in the "Radio was big in those days - 25 to 30 192Os, but by the early 196Os it was part of million listeners a week," Jewry told Electric & Musical Industries Ltd (EMI), Cherry Red TV in 2009.'After two shows, and regarded as the poor relation to you're a household name." EMI's other imprints, which boasted such But while the band were au,aiting their high-profiie acts as Cliff Richard, The audition date, Theakston was suddenll' Shadows and Johnny Kidd & the + E I g * \ 't::"' [: E E EI trF fi, a tE E El E m EI il E: s EI \l I x \# -s4 ,,# 6- .t:: ..n"j #- -d: ''..-*f-':.';ilf t!l::a:: r' Piratcs. But ir.r 1950, buclding proclucer comprositions by Jervr1,, nou. knor'vn as Cleorgc Martin joined the company after Shane Fenton. Spurred b1, their modest studyir.rg at thc Lluildl"rall School of N.[usic chart shou,ings, the groul.r embarked on and Dlama anrl working briefly frrr the a tour thlt inclucled Liverpool's Cavern ::Lr|]g ,,irti:lit::llli:: BBC's classical music clcpurtment. When Club, headlining a biii that inclucled the label boss Oscar Preuss letired in 1955, nascent Beatlcs. T\r'o months later the,v lr r\ 1':-:., Martir-r became top ciog at Parlophone. releasccl lt's All Over Now, peakecl : l'r.' "vhich Most of Martin's work had been at #29, rvith the Jcu,ry co-rvrite l4lhy rl,itl'r nor.elty acts, proclucing recorcls Little (]irl on the R-side. by comedians such ;rs Pcter Sellels, At this time in the rock business, . .:r.::r&:.iiarrr Bernard Cribbins, Brucc Forsyth and emphrisis was placed on the lead singer, Peter Cook and Dudlel' N{oore, along rvitl-r u.hich rneant that, u,hile Parlopl-rone MOR artists such as Cleo Lairre, .lohnn1, gru( )lr)c(l Shl rl(' Fcn to ll's pop inl :lit-(' i n Dar-rku,orth, Humphrey Ll,ttelton and anticipation of a solo carccE l-ris bircl<ir-rp; N{att X{unro. Ilr.rt he hacl errjo,vccl success bar-rd could experiment ir-rclepender-rtl1i u,itl'r \Arally Wh).ton's Vipcrs skiffle gror.rp Tl-re rcsulting instrumeutal single, ?he and the Temperance Scven, and was Mexican/Lover's Guitar, reached +41 on ,,I reatly to take on a rock'n'ro11 band. the charts. re1lisecl r,e.r1, quickll, just In the sumnrer of t961. Shane Ferrton hou. goocl tl-re bancl r'r,as," said Jer'r.r',v. and the Fentor.res joinecl Martin at Abbey "The1,had all bcen taught by big-band Roacl studios. The hrst choice for their musicians ancl could reacl and pla-v ver1. debtrt single, Flve Foot Two, Eyes Of Blue, lr,'ell. It u.as fabulous for n-rc to stand in \ ras soon relegated to 13-sicle status in front of such great musicians." favotrr of the srnoulclering 1'nt A Moodlr Reu r-rited, Sl-ranc' anrl the Fentones' , :r+=iii:. Guy, penned by Britisl.r songrvritcr Jerry Jnne 1962 release, Cindy's Birthddy, \\'as Lorclan, u.ho had u'rittcn Apachc for The a co\rcr of An-rerican T\r star Johnnv Shadorvs. Nine rnonths before thc Fab Crau'ford's US hit. It peaked at #19, and Four signerl with Parlophone to lr.ork this u,ould be the l.righest chart position u.ith GeorEie N4artin, Shrrne Fenton and the gr-oup r.vould attain clurir.rg tl'reir brief the FL.ntones hit the ainr.aves. assault on the LiK c1.rarts. The flipsicle, Itls I'nt A Moody Guy u,rs a hit, stal,ing on Gonna Take,\4ogrc, perfolmed in flcdgling- the charts fol eight u,ecks and leirching clirector Nlichae I \\iinnet"s Bi1l.v Fu11, #22. ^lt rvas like Disner'," Jeu'r1' rvould movie P/a.v It Coo1l, u.as co-u-rittcrt iry letel enthuse. "To hc;r pt'o musit intt Cliff Iticharcl's producer Norrie Prrarnor. u'as everv bo_v's dream. \\'e had an old, Three months later, tl-re Fentones release.'l battcled Thirrnes van and u.e u'er-e a1l their second instrumental single Ihc piled in the back rvith thc gear to pla-r'a Breeze And I, backed r,r,itl.r t1.re Wilcock- gig in Stoke-on-Trent. \\re u.ere lister-ring Evre composition Just -Ftrr Jerrv. 'l'he tutt. Lr-rxcmbourg ar.rd st:rllecl :rt spending oull'orre u,eek or to Radio thel'pla1'ed =48, Moody Guy; u.e all r'vent'Stop the van, it's the chlrt. us!'Evervonc packed in their davjobs." Tl.rc bar.rcl's u,eak chart placings belied TI.re follou,-up single, I'Iia/k Al,av, theil huge populaliq' and consitlcrable also writtett b1, Lordan, spent fi\,e recolcl sales. "\\'e had tlinor Top 30 l-rits. r.veeks on thc'cl-rart, peirking at #.38 in but u'e still had big sales lrecause ever), N{arclr 1962. The flipsicle, Fallert Leaves u'eek u.e \\.el'c on the rariio plaf ing to 25 On The Ground, u'as the fir'st of n-rany rnill i on l istenels," Jer'vry later expl ained. t n :t ''Peoplq e would still be buying a record six months afterwards, so even if it wasn'r in !' ed rhe Top 30 anymore it was still selling a few thousand each week." Yet despite solid songs penned by esrablished writers or band members, and played by top-drawer musicians, plus numerous film, radio, TV and live appearances. (including their own regular Swing Along With Shane radio show). Shane Fenton and the Fentones had failed ro carve themselves a lasting niche like Billy Fury, or Cli[iand The Shadows. Tlreir next two singles, Too Young For Sad Memories/You're Telling Me (the first penned by Larry Parnes scribe Lionel Bart) and lAln't Got Nobody/Hey Miss Ruby, didn't chart at all.
Load more

Recommended publications
  • Songs by Artist
    Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S.
    [Show full text]
  • Songs by Artist
    Bertha Karaoke Hire Songs by Artist Jannz Entertainment DiscID Title Artist 1380 Take On Me A Ha 200 Boogie Oogie Oogie A Taste Of Honey 1731 Chiquitita Abba 332 Dancing Queen Abba 1732 Fernando Abba 1733 Gimme Gimme Gimme (A Man After Midnight) Abba 1734 Honey Honey Abba 683 I Have A Dream Abba 841 Knowing Me Knowing You Abba 959 Mamma Mia Abba 1354 Super Trouper Abba 1396 Thank You For The Music Abba 1570 Waterloo Abba 1441 The Look Of Love ABC 115 Back In Black ACDC 168 Big Balls ACDC 352 Dirty Deeds Done Dirt Cheap ACDC 619 High Voltage ACDC 781 I'ts A Long Way To The Top ACDC 981 Meltdown ACDC 1189 Rock 'n Roll Dream ACDC 1329 Stiff Upper Lip ACDC 1699 You Shook Me All Night Long ACDC 56 All That She Wants Ace Of Base 1311 Stand And Deliver Adam & The Ants 906 Lonely Pup (In A Christmas Shop) Adam Faith 1236 Seven Spanish Angels Adam Harvey & Troy Cassar Daley 826 Killer Adamski 264 Chasing Pavements Adele 1735 Hello Adele 1736 Lovesong Adele 955 Make You Feel My Love Adele 1196 Rolling In The Deep Adele 1202 Rumour Has It Adele 1234 Set Fire To The Rain Adele 1290 Someone Like You Adele 1520 Turning Tables Adele 149 Because I Got High Afroman 603 Here In My Heart Al Martino 1415 The Closer You Get Alabama 769 Ironic Alanis Moressette Song List Generator® Printed 3/11/2020 Page 1 of 46 Licensed to Jann Rau Bertha Karaoke Hire Songs by Artist Jannz Entertainment DiscID Title Artist 554 Hand In My Pocket Alanis Morissette 1182 Right Through You Alanis Morissette 95 You Learn Alanis Morissette 286 You Oughta Know Alanis Morissette 182
    [Show full text]
  • Chart Book Template
    Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts.
    [Show full text]
  • 100 Years: a Century of Song 1970S
    100 Years: A Century of Song 1970s Page 130 | 100 Years: A Century of song 1970 25 Or 6 To 4 Everything Is Beautiful Lady D’Arbanville Chicago Ray Stevens Cat Stevens Abraham, Martin And John Farewell Is A Lonely Sound Leavin’ On A Jet Plane Marvin Gaye Jimmy Ruffin Peter Paul & Mary Ain’t No Mountain Gimme Dat Ding Let It Be High Enough The Pipkins The Beatles Diana Ross Give Me Just A Let’s Work Together All I Have To Do Is Dream Little More Time Canned Heat Bobbie Gentry Chairmen Of The Board Lola & Glen Campbell Goodbye Sam Hello The Kinks All Kinds Of Everything Samantha Love Grows (Where Dana Cliff Richard My Rosemary Grows) All Right Now Groovin’ With Mr Bloe Edison Lighthouse Free Mr Bloe Love Is Life Back Home Honey Come Back Hot Chocolate England World Cup Squad Glen Campbell Love Like A Man Ball Of Confusion House Of The Rising Sun Ten Years After (That’s What The Frijid Pink Love Of The World Is Today) I Don’t Believe In If Anymore Common People The Temptations Roger Whittaker Nicky Thomas Band Of Gold I Hear You Knocking Make It With You Freda Payne Dave Edmunds Bread Big Yellow Taxi I Want You Back Mama Told Me Joni Mitchell The Jackson Five (Not To Come) Black Night Three Dog Night I’ll Say Forever My Love Deep Purple Jimmy Ruffin Me And My Life Bridge Over Troubled Water The Tremeloes In The Summertime Simon & Garfunkel Mungo Jerry Melting Pot Can’t Help Falling In Love Blue Mink Indian Reservation Andy Williams Don Fardon Montego Bay Close To You Bobby Bloom Instant Karma The Carpenters John Lennon & Yoko Ono With My
    [Show full text]
  • Songs by Title
    Songs by Title Title Artist Title Artist #1 Goldfrapp (Medley) Can't Help Falling Elvis Presley John Legend In Love Nelly (Medley) It's Now Or Never Elvis Presley Pharrell Ft Kanye West (Medley) One Night Elvis Presley Skye Sweetnam (Medley) Rock & Roll Mike Denver Skye Sweetnam Christmas Tinchy Stryder Ft N Dubz (Medley) Such A Night Elvis Presley #1 Crush Garbage (Medley) Surrender Elvis Presley #1 Enemy Chipmunks Ft Daisy Dares (Medley) Suspicion Elvis Presley You (Medley) Teddy Bear Elvis Presley Daisy Dares You & (Olivia) Lost And Turned Whispers Chipmunk Out #1 Spot (TH) Ludacris (You Gotta) Fight For Your Richard Cheese #9 Dream John Lennon Right (To Party) & All That Jazz Catherine Zeta Jones +1 (Workout Mix) Martin Solveig & Sam White & Get Away Esquires 007 (Shanty Town) Desmond Dekker & I Ciara 03 Bonnie & Clyde Jay Z Ft Beyonce & I Am Telling You Im Not Jennifer Hudson Going 1 3 Dog Night & I Love Her Beatles Backstreet Boys & I Love You So Elvis Presley Chorus Line Hirley Bassey Creed Perry Como Faith Hill & If I Had Teddy Pendergrass HearSay & It Stoned Me Van Morrison Mary J Blige Ft U2 & Our Feelings Babyface Metallica & She Said Lucas Prata Tammy Wynette Ft George Jones & She Was Talking Heads Tyrese & So It Goes Billy Joel U2 & Still Reba McEntire U2 Ft Mary J Blige & The Angels Sing Barry Manilow 1 & 1 Robert Miles & The Beat Goes On Whispers 1 000 Times A Day Patty Loveless & The Cradle Will Rock Van Halen 1 2 I Love You Clay Walker & The Crowd Goes Wild Mark Wills 1 2 Step Ciara Ft Missy Elliott & The Grass Wont Pay
    [Show full text]
  • Dee Quits Four Month
    11EWS shed press officer Annie Branson, prom- otion man Paul Sargent and regional£40,000 TV Deals Dee quits promotion chief Trish Connolly. Dee was said tbe leaving to concentrate onspend for Polly Brown's Nia net a erhis ownaoctiviies. Meanwhile Lynne Peacock, who hasLeo Sayer LP belated token four monthS been with Magnet for some time, has been promoted, and her new areas ofCHRYSALIS RECORDS is mounting DAVE DEE has left Magnet Recordsresponsibility have been extended toa £40,000 test TV campaign in the after just four months as head of presscover national promotion, marketingGranada area next week to promote Leo and promotion. and press, working with a team report-Sayer's World Radio album - first His departure coincides with a rash ofing directly to her from each of thesereleased in mid -May. redundancies at the label, which has alsoareas. The campaign breaks on July 28 and runs for three weeks. There will be a mix of 60, 20 and ten second spots making a total of 21 spots altogether. If success- Secondary boost for Digance ful, the push will then roll into the INDEPENDENT COAST Records hasa joint promotion with the eating houseCentral TV area. moved into the secondary merchandis-chain running. A 50 -off voucher is Display packs for the album are ing field with a Richard Digance cassetteincluded with the package entitling theavailable from PolyGram free of charge.GOOD LUCK token: Polly Brown designed to be sold through the chain ofpurchaser to a discount on mail -order-Order number is DPLS5. receives a belated silver disc from the roadside Happy Eater cafes, called Mr.ing Backwater.
    [Show full text]
  • SLAP Supporting Local Arts & Performers
    Issue 42 SLAP Supporting Local Arts & Performers Welcome to the November issue of SLAP Magazine and another packed issue it is too. If you thought for one minute things might start to go quiet around these parts then think again! We’ve spent some time burning the midnight oil to bring you all the latest goings on from the local arts community including our feature on long established local artist Chris Bourke, as well as amongst others, our very own Katie Foulkes and her debut photography exhibition. Nov 2014 With loads of Theatre news, CD and gig reviews, interviews and previews to the many exciting shows coming up in your area, there’s something within these pages for everyone. We also meet local singer/song writer Tom Forbes, strongly SLAP MAGAZINE tipped for greater things, who also provides our colourful front Unit 3a, Lowesmoor Wharf, cover imagery ahead of his latest release ‘Wallflower’. Worcester WR1 2RS I have to mention two sad losses to the music world which Telephone: 01905 26660 certainly took the shine off deadlining on another issue of [email protected] SLAP this October. Former Cream bass player and solo artist For advertising enquiries, please contact: Jack Bruce who was a big influence to many died from Liver [email protected] Failure at the age of 71. And Alvin Stardust who lost his fight EDITORIAL Mark Hogan against Prostrate Cancer at the age of 72. Only last week Alvin Kate Cox - Arts editor was entertaining fans at the Regal Cinema in Evesham. CONTRIBUTORS Andy O’Hare On a more positive note Wilko Johnson declared himself Chris Bennion cured of pancreatic cancer at the Q Awards following surgery Mel Hall earlier this year.
    [Show full text]
  • Through the Iris TH Wasteland SC Because the Night MM PS SC
    10 Years 18 Days Through The Iris TH Saving Abel CB Wasteland SC 1910 Fruitgum Co. 10,000 Maniacs 1,2,3 Redlight SC Because The Night MM PS Simon Says DK SF SC 1975 Candy Everybody Wants DK Chocolate SF Like The Weather MM City MR More Than This MM PH Robbers SF SC 1975, The These Are The Days PI Chocolate MR Trouble Me SC 2 Chainz And Drake 100 Proof Aged In Soul No Lie (Clean) SB Somebody's Been Sleeping SC 2 Evisa 10CC Oh La La La SF Don't Turn Me Away G0 2 Live Crew Dreadlock Holiday KD SF ZM Do Wah Diddy SC Feel The Love G0 Me So Horny SC Food For Thought G0 We Want Some Pussy SC Good Morning Judge G0 2 Pac And Eminem I'm Mandy SF One Day At A Time PH I'm Not In Love DK EK 2 Pac And Eric Will MM SC Do For Love MM SF 2 Play, Thomas Jules And Jucxi D Life Is A Minestrone G0 Careless Whisper MR One Two Five G0 2 Unlimited People In Love G0 No Limits SF Rubber Bullets SF 20 Fingers Silly Love G0 Short Dick Man SC TU Things We Do For Love SC 21St Century Girls Things We Do For Love, The SF ZM 21St Century Girls SF Woman In Love G0 2Pac 112 California Love MM SF Come See Me SC California Love (Original Version) SC Cupid DI Changes SC Dance With Me CB SC Dear Mama DK SF It's Over Now DI SC How Do You Want It MM Only You SC I Get Around AX Peaches And Cream PH SC So Many Tears SB SG Thugz Mansion PH SC Right Here For You PH Until The End Of Time SC U Already Know SC Until The End Of Time (Radio Version) SC 112 And Ludacris 2PAC And Notorious B.I.G.
    [Show full text]
  • Wk 44 – 1973 Nov 3 – UK Top 50
    Wk 44 – 1973 Nov 3 – UK Top 50 1 1 4 DAYDREAMER / PUPPY SONG David Cassidy 2 2 10 EYE LEVEL Simon Park Orchestra 3 4 3 SORROW David Bowie 4 32 2 LET ME IN Osmonds 5 5 9 CAROLINE Status Quo 6 6 6 GOODBYE YELLOW BRICK ROAD Elton John 7 11 6 GHETTO CHILD Spinners 8 3 5 MY FRIEND STAN Slade 9 19 3 TOP OF THE WORLD Carpenters 10 7 11 FOR THE GOOD TIMES Perry Como 11 8 8 LAUGHING GNOME David Bowie 12 16 5 SHOWDOWN Electric Light Orchestra 13 10 6 A HARD RAIN'S GONNA FALL Bryan Ferry 14 17 5 KNOCKIN' ON HEAVEN'S DOOR Bob Dylan 15 20 4 THIS FLIGHT TONIGHT Nazareth 16 9 9 NUTBUSH CITY LIMITS Ike And Tina Turner 17 18 5 DECK OF CARDS Max Bygraves 18 15 6 LET THERE BE PEACE ON EARTH Michael Ward 19 28 2 WON'T SOMEBODY DANCE WITH ME Lynsey De Paul 20 34 2 DYNAMITE Mud 21 13 10 MONSTER MASH Bobby Pickett & Crypt-Kickers 22 21 4 5:15 Who 23 14 7 THAT LADY Isley Brothers 24 26 2 PHOTOGRAPH Ringo Starr 25 12 7 BALLROOM BLITZ Sweet 26 24 4 THE DAY THAT CURLY BILLY SHOT DOWN CRAZY SAM MCGEE Hollies 27 22 18 SPANISH EYES Al Martino 28 45 2 DAYTONA DEMON Suzi Quatro 29 23 35 TIE A YELLOW RIBBON ROUND THE OLE OAK TREE Dawn 30 37 32 DECK OF CARDS Wink Martindale 31 - 1 DO YOU WANNA DANCE Barry Blue 32 35 3 DREAMBOAT Limmie And The Family Cookin' 33 - 1 HELEN WHEELS Paul McCartney And Wings 34 29 4 HIGHER GROUND Stevie Wonder 35 42 3 MILLY MOLLY MANDY Glyn Poole 36 - 1 KEEP ON TRUCKIN' Eddie Kendricks 37 39 29 AND I LOVE YOU SO Perry Como 38 27 9 JOYBRINGER Manfred Mann's Earth Band 39 47 7 LET'S GET IT ON Marvin Gaye 40 38 4 THE OLD FASHIONED WAY Charles Aznavour 41 25 14 SAY HAS ANYBODY SEEN MY SWEET GYPSY ROSE Dawn 42 44 24 WELCOME HOME Peters and Lee 43 30 12 I'VE BEEN HURT Guy Darrell 44 49 3 LOVE IS ALL Engelbert Humperdinck 45 33 10 ANGEL FINGERS Wizzard 46 46 15 DANCING ON A SATURDAY NIGHT Barry Blue 47 - 1 BY YOUR SIDE Peters and Lee 48 40 10 ANGIE Rolling Stones 49 36 9 OH NO NOT MY BABY Rod Stewart 50 - 1 MY COO-CA-CHOO Alvin Stardust .
    [Show full text]
  • What Questions Should Historians Be Asking About UK Popular Music in the 1970S? John Mullen
    What questions should historians be asking about UK popular music in the 1970s? John Mullen To cite this version: John Mullen. What questions should historians be asking about UK popular music in the 1970s?. Bernard Cros; Cornelius Crowley; Thierry Labica. Community in the UK 1970-79, Presses universi- taires de Paris Nanterre, 2017, 978-2-84016-287-2. hal-01817312 HAL Id: hal-01817312 https://hal-normandie-univ.archives-ouvertes.fr/hal-01817312 Submitted on 17 Jun 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. What questions should historians be asking about UK popular music in the 1970s? John Mullen, Université de Rouen Normandie, Equipe ERIAC One of the most important jobs of the historian is to find useful and interesting questions about the past, and the debate about the 1970s has partly been a question of deciding which questions are important. The questions, of course, are not neutral, which is why those numerous commentators for whom the key question is “Did the British people become ungovernable in the 1970s?” might do well to balance this interrogation with other equally non-neutral questions, such as, perhaps, “Did the British elites become unbearable in the 1970s?” My reflection shows, it is true, a preoccupation with “history from below”, but this is the approach most suited to the study of popular music history.
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]
  • Why Doesn't Anybody Write Anything About Glam Rock?
    WHY DOESN'T ANYBODY WRITE ANYTHING ABOUT GLAM ROCK? Jon Stratton In discussions of post-war British youth cultures glam rock gets very little attention. For example, in their seminal work on British youth cultural forms, Hall et al (1976:54), make only one passing reference to this subculture. In a list of subcultural possessions and objects they refer to: '... the glitter costumes of the Bowrieites ... .' Similarly, Brake (l980:80) in his outlines of British post-war youth cultures gives the culture half a page while skinheads get two pages and rockers one page. Hebdige, (1979) in Subculture: the meaning of style, does spend about two and a half pages looking at glam rock but most of this space is taken up with an analysis of the images of David Bowie. Hebdige writes of Bowie that: Certainly Bowie's position was devoid of any obvious political or counter-cultural significance ... (l979:6l). And Bowie's meta-message was escape — from class, from sex, from obvious commitment — into a fantasy past ... or a science-fiction future (1979:61). What is confusing for Hebdige about glam rock soon becomes clear: In glam-rock, at least amongst those artists placed, like Bowie and Roxy Music, at the more sophisticated end of the glitter spectrum, the subversive emphasis was shifted away from class and youth onto sexuality and gender-typing (1979:61-2). On the one hand, Hebdige can write so much about Bowie because glam rock's presentation of image as image lends itself to Hebdige's dominant semiotic method of analyzing cultural texts.
    [Show full text]