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

 

The Supremes 8th US number one, and my 4th (as a late 80’s re-issue, and then again in the 00’s), this Holland-Dozier-Holland need-to-break-up masterpiece was also a decent worldwide cover hit for Kim Wilde in the 80’s, but this remains the best version. Chock-a-block with angst and emotion, beautifully constructed and very danceable too into the bargain, both The Supremes and HDH were really on a creative roll by this time. In between their last topper, a run of good singles had popped up (including I Hear A Symphony, My World Is Empty Without You, and the much-covered You Can’t Hurry Love - hello Phil Collins) all of them well-known to me from a Greatest Hits album that our next door neighbours loaned us in Singapore 1970. So good, I recorded most of the tracks onto my dad’s newly-purchased reel-to-reel tape recorder. The sound quality might not have been great, and mono, but it meant that my pocket money started to go towards tapes so I could get copies of all my MANY favourite records to play over and over and over...

They said home-taping is killing music. It didn’t of course, 12-year-olds don’t have disposable income, and they weren’t lost sales at all, they were DELAYED sales: I ended up buying everything I ever taped and wanted good copies of. Record companies should note in these days of downloading (illegal and legal) that singles sales are the highest they have ever been now that we aren’t forced to buy an album for one track.

 

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

 

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

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

 

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

 

GOD ONLY KNOWS - The Beach Boys (4 weeks)

 

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

Edited May 18, 201312 yr by popchartfreak

SUNNY AFTERNOON - The Kinks (2 Weeks)

 

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

 

SLOOP JOHN B - The Beach Boys (1 week)

 

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

EBB TIBE - The Righteous Brothers (1 week)

 

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

 

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

 

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

 

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

 

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

Edited October 22, 201311 yr by popchartfreak

ELUSIVE BUTTERFLY - Val Doonican (1 week)

 

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

 

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

 

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

 

TOMORROW NEVER KNOWS - The Beatles (1 week)

 

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

Didn't heard the most songs from some last parts.

Mo-Dettes cover version of Rolling Stones "Paint It Black" was my # 1 in 1980. Kim Wilde with "You Keep Me Hangin' On" was sticked on # 2 for some weeks behind Cyndi Lauper - "True Colours" and Catherine Stock - "To Have And To Hold". 10+ weeks on the top results are very impressive. From 1970 to 2013 I have only 4 songs with such great achievements.

They are :

Sue Wilkinson - You Gotta Be A Hustler If You Wanna Get On (1980)

Sinead Quinn - I Can't Break Down (2003)

Anmary - Beautiful Song (2012)

Heidi Range - Bird In Flight (2013)

Edited November 5, 201311 yr by AlexRange

Didn't heard the most songs from some last parts.

Mo-Dettes cover version of Rolling Stones "Paint It Black" was my # 1 in 1980. Kim Wilde with "You Keep Me Hangin' On" was sticked on # 2 for some weeks behind Cyndi Lauper - "True Colours" and Catherine Stock - "To Have And To Hold". 10+ weeks on the top results are very impressive. From 1970 to 2013 I have only 4 songs with such great achievements.

They are :

Sue Wilkinson - You Gotta Be A Hustler If You Wanna Get On (1980)

Sinead Quinn - I Can't Break Down (2003)

Anmary - Beautiful Song (2012)

Heidi Range - Bird In Flight (2013)

 

thanks Alex,

 

there are some pop females popping up as I move into 1967, at least one of which I think you like B-)

 

cheers

John

John, I will wait your next # 1s.

Don't have a clues about them. First random thought was "Puppet On The String" by Sandie Shaw. :)

CALIFORNIA DREAMIN' - The Mamas & The Papas (17 weeks)

John, do you heard River City People's version ?

John, do you heard River City People's version ?

 

Hi Alex,

yes I even saw them sing it at Wembley Stadium when they were having hits B-)

 

Good guess with Sandie (but thats yet to chart, I'm looking for an excuse) though it was another popstar called Sandy :lol:

 

cheers!

john

 

PAPERBACK WRITER/RAIN - The Beatles (2 weeks)

 

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

 

 

BUS STOP - The Hollies (3 weeks)

 

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

 

 

 

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

 

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

 

1967  

 

BERNADETTE - The Four Tops (1 week)

 

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

 

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

 

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

 

I'M A BELIEVER - The Monkees (4 weeks)

 

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

 

 

THE SINGLE GIRL - Sandy Posey (1 week)

 

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

 

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

 

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

 

HELLO GOODBYE - The Beatles (4 weeks)

 

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

 

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

 

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

 

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

 

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

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

 

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

 

 

Probably my favourite song from the 60s.

Probably my favourite song from the 60s.

 

good choice! :dance:

THE SINGLE GIRL - Sandy Posey (1 week)

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

 

Surprising # 1. I like this song.

This single was charted at #12 on Billboard Hot 100 in December 1966, and #15 on UK Singles chart. This is a reason, because I didn't include "The Single Girl" in my retro charts in 1975, but will do it for 1967.

Surprising # 1. I like this song.

This single was charted at #12 on Billboard Hot 100 in December 1966, and #15 on UK Singles chart. This is a reason, because I didn't include "The Single Girl" in my retro charts in 1975, but will do it for 1967.

 

Hi Alex, it's a pretty little tune, glad it's going to top your retro chart, I've never stopped loving it B-)

 

cheers

john

John, I just found that "Pretty Woman" wasn't your # 1.

John, I just found that "Pretty Woman" wasn't your # 1.

 

Hi Alex, not yet at any rate:) I'm looking for an excuse to chart it, so it might do it yet :lol: (It would definitely have been a number one if i'd been doing charts then, so if I ever do Retro Charts like yours - and I might when you've done all yours - it'll be there!)

Edited June 2, 201411 yr by popchartfreak

SOMETHING STUPID - Frank & Nancy Sinatra (1 week)

 

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

 

 

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

 

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

 

 

EVERLASTING LOVE - Robert Knight (1 week)

 

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

 

SOMETHING STUPID - Frank & Nancy Sinatra (1 week)

 

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

Good review, John.

I prefer Robbie Williams and Nicole Kidman version, but both versions of "Something Stupid" were in my top 100 favourite UK # 1 singles list.