Seven little girls (sitting in the back seat), was a hit for the Avons in 1960. In fact, according to Wikipedia, it reached number three in the UK Singles Chart and stayed there for some 13 weeks.
The song itself is a bit of a nonsense but it is a fun song with a nice beat and it’s also a song that is easy to sing along with. If you have not heard the song and have no idea what I’m talking about just search for the full title, as above, on YouTube and have a listen.
The Avons were a British pop group comprising two sisters-in-law, Valerie Murtagh and Elaine Murtagh along with Raymond S Adams. Originally it was just the two girls and they were known as ‘The Avon Sisters’ but, of course, once Raymond was added they had to change their name. Continue reading
I have been advised of a rock ‘n’ roll weekend being held at Pontin’s Pakefield Village at Lowestoft. The dates for this event are Friday, 5 July 2013 to Monday, 8 July 2013.
More information can be obtained from the Tennessee club website which is here, with more information about the event and also the Christmas rock ‘n’ roll party here. Continue reading
Oh Carol was a hit single for Neil Sedaka recorded and produced in the early years of the 1960s.
It was written by both Neil Sedaka and his co-writer for several years Howard Greenfield. The title of the song, according to the Wikipedia, arose because Sedaka had dated a girl called Carole King in high school. Carole King, of course, went on to become a well-known American singer-songwriter in her own right. Note however that her name is spelt with an ‘E’ at the end whereas the song title does not contain that letter. Continue reading
Yet a second song that poses a question and the first real hit single for the young Adam Faith.
The song was written in 1959 by British songwriter Les Vandyke being produced by John Burgess (of whom I know little) and arranged by John Barry.
At that time Barry had his own band and was working on the BBC series Drumbeat (a pop music program) and was also arranging material for other artists. Adam Faith, too, after several unsuccessful attempts to break into pop, was working on Drumbeat and it was following this success that he got the chance to record What Do You Want. It was released and became a hit single. Continue reading
Nothing evokes the essence of 1960s London like Carnaby Street. Walking down the Street on a Saturday afternoon in the late 1960s was a way to experience what that decade was all about because everything that was sixties was encapsulated in that small area.
Now a pedestrianised shopping area in Soho, Central London, the street is still home to a vast number of independent fashion shops and boutiques and is well worth a visit. If you decide to go, take the tube to Oxford Circus on the Bakerloo, Central and Victoria lines.
Our history of Carnaby Street, however, begins just before the 1960s with a shop, His Clothes, which was opened by John Stephen in the late 1950s. Then, as the 60s developed, more and more clothes sellers and fashion designers began to open shops. But it was when people such as Mary Quant and two of the most influential designers Marion Foale and Sally Tuffin began to open shops that the street really took off. It then became the main place where fashion began and the most up-to-the-minutes clothes were purchased. Continue reading
What Do You Want To Make Those Eyes At Me For? Was a hit single from Emile appearing in the first year of the 1960s decade.
Emile Ford was born in the West Indies in 1937 and made a name for himself in 1950s London, appearing on TV in the late 1950s with his group: the Checkmates. This song was an old one written by Joseph McCarthy, Howard Johnson and James V. Monaco as long ago in 1916 and recorded originally in 1917 by Ada Jones and Billy Murray. Continue reading
The late 1950s and the early 1960s were a time of full employment when anyone who wanted a job could find one. This meant that people felt confident that their wages would be there week by week, month by month and even year by year.
The old way of buying was to save until there was sufficient money to buy the wanted item. This method worked fine in days when there was not the plethora choice that began to bombard buyers as the 1960s began. Full unemployment also meant that desirable domestic goods were being produced at a faster and faster rate and so were available for purchase. Continue reading
We called them ‘The Solicitor’s Rover’ and used to see them everywhere on the roads in the early 1960s.
Rover had, and had always had, a reputation for making quality cars that embodied the best materials and these vehicles were squarely and unashamedly targeted at the middle classes. And the middle classes were appearing in numbers in the late 1950s and early years of the 1960s decade.
Fatigued from the war, Rover set about designing a new car to carry forward the fortunes of the firm and produced, in 1949, the Rover 75, the first of the P4 designs. This was a good car that came to be nicknamed ‘Cyclops’ because of the one central light in the radiator at the front. It was a solid-looking car that had a comfortable interior and used the best materials to produce a sort of cross between pre-war luxury and modern day design. In truth, it was modelled on the American cars appearing after the war but still had, or so I believe, a British middle class look, rather staid and old-fashioned yet still very able to compete in its chosen market. That market, of course, was for the professional classes of doctors, solicitors, civil servants and upper management who all wanted to be modern yet retain the old values of style and comfort. Continue reading