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2:26

please enjoy part one of this

2:28

hit parade episode

2:39

welcome to hit parade a

2:41

podcast of pop chart history from

2:44

sleep magazine about the hits

2:46

from coast to coast i'm chris

2:48

mullin feet short analyst pop critic

2:51

and writer of slates why this song

2:53

number one series on today's

2:55

show nearly six decades

2:58

ago in april of nineteen

3:00

sixty four this single by

3:02

a banned from tottenham north

3:05

london was just breaking

3:07

into the top ten on america's

3:09

flagship chart the hot

3:11

one hundred

3:18

the song was glad

3:20

all over the band the

3:22

dave clark five and

3:25

at the time believe it or not

3:27

they

3:28

were billed as the main short

3:30

rivals to another

3:32

british band tearing up the charts

3:35

in fact that very weak

3:37

in america this other band

3:39

had several hits on our

3:41

charge like a ridiculous

3:44

number of hits

3:54

the beatles of course who

3:57

that week in april sixty four

3:59

thing

3:59

famously held down the entire

4:02

top five on the Hot 100. It

4:05

had taken America nearly two

4:07

years to catch on to the

4:09

Fab Four. Then suddenly,

4:12

with three consecutive number ones at

4:14

the start of 64, the

4:16

Beatles instantly became the most

4:18

successful UK act ever

4:21

to reach US shores.

4:23

But the fact that the Beatles had

4:26

British rivals was important.

4:38

Important because this

4:41

was how you knew the Beatles weren't

4:43

a one-off phenomenon. America

4:46

was being taken over, US

4:49

record stores, radio airwaves,

4:51

and our Billboard charts, by

4:54

acts from our mother country across

4:57

the Atlantic. Soon, the

4:59

Beatles and the Dave Clark Five

5:02

were joined on the Hot 100 by other UK acts.

5:06

They called this chart

5:07

incursion the British

5:10

Invasion.

5:15

Two decades later, in 1982, another wave of British bands began

5:18

making landfall on US shores.

5:31

As with the Beatles in 64,

5:33

it had taken America a few years

5:35

to catch on to this new wave

5:38

of

5:38

cutting-edge

5:48

synthesizer-heavy UK

5:50

acts. And again, at first,

5:53

the chart toppers, like the Human

5:55

League's number one smash Don't You

5:58

Want Me, seemed... But

6:00

then that British New

6:03

Wave hit was followed

6:06

by another.

6:24

Until

6:34

eventually this wave of

6:37

British bands no longer seemed

6:39

like a fluke. Soon enough,

6:42

the pundits started calling this

6:44

wave the second British invasion.

6:56

Both invasions were marked by

6:58

hits that are now considered classics

7:01

in both the 60s and

7:12

the 80s.

7:22

But as badass as some

7:25

of these songs were, there were

7:27

British invasion hits that were pretty

7:30

silly.

7:40

Gimmicky.

7:48

Or kitschy. And

7:58

sometimes just the impossible

8:01

to follow up but

8:10

for american pop fans

8:13

both invasions left an

8:15

indelible mark british

8:17

acts were taking an american

8:19

art form rewiring

8:21

it for a new age and

8:26

and and

8:33

giving it a new rainbow

8:36

coloured sole

8:41

mate meeting

8:47

today on hit parade we will

8:49

do some post war analysis

8:52

on a pair of musical bloodless

8:55

coors what did

8:57

the british invasion of the sixties

8:59

and the second british invasion

9:02

of the eighties have in common

9:05

why did america fall

9:07

for cool britannia twice

9:10

what

9:10

came in between and

9:12

how did each of these invasions

9:15

come to an

9:16

end to

9:25

the

9:25

boundaries of a british

9:27

invasion can be hard to define

9:30

there were no declarations

9:32

of war we only began

9:35

to recognize it was happening

9:37

when enough of england's

9:39

newest hitmakers had already

9:42

detonated on our charts by

9:44

then we yanks had

9:46

succumbed

9:57

and that's where you're hit parade

9:59

march today, the week ending

10:02

April 25, 1964, when

10:05

the Dave Clark Five's first

10:08

American hit, Glad All

10:10

Over, reached its peak on Billboard's

10:12

Hot 100 of number six,

10:15

the same week that the Beatles.

10:17

["Shake

10:18

It Up Baby Now!" by

10:20

The Beatles plays in the

10:23

background.]

10:27

Held down ten spots

10:29

on the Hot 100, this

10:32

made it official. The British invasion

10:35

had begun. But it

10:37

would take on many different forms

10:40

in the years to come and

10:42

the decades to follow, from

10:44

the Stones to Soft Cell,

10:47

the Kinks to Culture Club, Petula

10:50

Clark to Annie Lennox, Herman's

10:52

Hermits to Duran Duran. ["Please,

10:55

Please Tell Me Now!" by

10:58

The Beatles plays in the background.]

11:03

What wrinkle in the space-time

11:06

continuum made America

11:08

throw open its borders to

11:10

all these sassy English lads

11:13

and lasses? Was there something

11:15

they could say that would make them come

11:18

our way? Join us as we

11:20

puzzle out how the former colonies

11:23

got so much satisfaction

11:25

from old Blighty for

11:27

a time it really was

11:29

about as easy as a nuclear

11:32

war.

11:33

["You're Not As Easy As A Nuclear

11:36

War!" by

11:39

The Beatles plays in the

11:41

background.]

11:46

This podcast is brought to you by Slate Studios

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and Macy's. Hey

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y'all, what's up? It's your girl, Leneveny. I'm

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Before we walk through the

14:17

hits of the 60s and 80s

14:20

British invasions, I want

14:22

to lay out some principles. Let's

14:25

briefly go back, not

14:27

just before the invasion, but

14:30

before the birth of rock and roll.

14:44

This is one of the

14:45

earliest known recordings of

14:48

the American folk standard, Rock

14:51

Island Line, captured in 1934

14:55

at an Arkansas prison by

14:57

folklorist John Lomax and

15:00

led by a vocalist named

15:02

Kelly Pace. About 22

15:05

years after this recording,

15:07

this folk standard had made

15:10

its way across the Atlantic.

15:13

Just

15:13

now we see a change coming down the line,

15:16

and when she come up near the tailgate, the driver,

15:18

he shout down to the man, he say, I got

15:20

pigs, I got horses. And

15:23

was recorded by British

15:25

singer Lonnie Donegan, the

15:27

king of skiffle. England's

15:31

mid-50s answer to rock and roll,

15:33

commonly played on washboards,

15:36

jubilantly plucked guitars, and

15:38

a stand-up bass. Widely

15:41

credited with igniting a skiffle

15:43

craze among British teenagers

15:46

in 1956, Donegan's

15:49

Rock Island Line really traveled.

15:52

It even brought the song back

15:55

to America.

16:00

you know about nineteen

16:02

and ninety grow and evolve you

16:04

go down

16:05

agains rock island line

16:08

reached number eight on billboards

16:10

bestsellers in stores chart

16:13

a predecessor to the hot one

16:15

hundred this was in the spring

16:17

of nineteen fifty six so

16:20

a year before liverpudlian

16:22

skiffle fan john lennon ever

16:25

even net paul mccartney

16:27

let alone recorded or wrote

16:29

songs with him rock

16:32

island line was the first major

16:34

british crossover

16:35

hit on the american charts

16:38

of the rock you're

16:40

going to get information on baby

16:45

is due to get i'm

16:47

playing lonnie donegan

16:50

breakthrough hit to illustrate

16:52

a couple of things for one

16:54

thing there were british hits

16:57

prior to the british invasion

16:59

indeed skiffle was a major

17:02

influence on the beatles as

17:04

well as other liverpool london

17:06

and manchester groups that would

17:08

later conquer america

17:21

for another thing covers

17:23

like rock island line or

17:26

this recording of the hank williams

17:28

standard jumble wire by

17:30

jerry and the pacemakers

17:32

exemplify

17:34

a key principle of british

17:36

invasion music it took

17:38

american musical idioms

17:40

and made them new again i

17:43

call this the first principle

17:46

of the british invasion and

17:48

by the way it applies to both

17:51

british invasions sometimes

17:53

the british acts were literally

17:55

just remaking american

17:57

recordings like so

17:59

a soft sell, mashing up

18:02

an old Gloria Jones single

18:04

with another old Supremes

18:07

single.

18:30

So let's call that British

18:33

Invasion Principle number one.

18:35

The British acts were borrowing, reimagining,

18:38

and renewing American music

18:42

and selling it back to us. Here's

18:45

a second rule,

18:46

British Invasion Principle number

18:48

two. The second tier

18:51

bands were what made it an

18:53

invasion.

19:02

Maybe Peter and Gordon, whom

19:05

we discussed in a prior

19:07

hit parade episode, is not

19:10

remembered as a top tier British

19:12

Invasion act. They probably

19:15

won't be on a rock and roll hall

19:17

of fame ballot anytime soon. Neither

19:20

will

19:20

Spandau Ballet.

19:32

But the U.S. success of

19:35

Peter and Gordon and Spandau

19:37

Ballet, acts that wouldn't have

19:40

come near the American charts

19:42

a year or two

19:43

earlier, indicated that each

19:46

invasion wasn't about just

19:48

one titanic act like The

19:50

Beatles or Duran Duran.

19:53

And speaking of the Fab

19:55

Four and the Fab Five, part

19:58

of what made them Fab Five.

19:59

was their look as

20:02

well as their sound. And that's

20:04

not a slight. Those looks

20:07

were an

20:07

asset. Which

20:18

brings me to British invasion principle

20:21

number three. The visual

20:23

mattered. Duran Duran are

20:25

often remembered, sometimes pilloried,

20:28

for their glossy music videos

20:31

like the yacht-bound Rio. But

20:34

remember the Beatles generated

20:36

their share of glossy visuals

20:38

too. The iconography

20:41

of the British bands

20:43

was nearly as important

20:46

to their conquest

20:49

as

20:55

their music. Both before

20:58

and after the age of the music

21:00

video, the British invasion

21:02

bands cultivated a look

21:05

from Mick Jagger's strut to

21:07

Annie Lennox's glower that

21:10

pulled them ahead of their American

21:12

competition.

21:13

It made them larger than

21:15

life and just a little

21:18

bit exotic. And

21:20

that's yet another thing. At

21:23

the peak of each invasion, exoticism

21:26

was a plus. So let's

21:29

call that British invasion principle

21:31

number four. The Britishness

21:34

mattered. While some British

21:38

invasion acts tried to sound American,

21:40

many of their hits were tinged with a

21:42

scouse

21:50

accent, winsome lyrics, or

21:53

an ethereal quality that was

21:55

unmistakably English. This

21:58

was exactly what

21:59

American listeners in the mid-60s

22:02

and the mid-80s wanted. Often,

22:06

the more British it sounded, the

22:08

better.

22:10

["A House in the Middle

22:12

of our Street"]

22:16

In other words, what made

22:18

each of these periods an invasion

22:21

was that, for about three

22:24

or four years, the American

22:26

hunger for British sounds seemed

22:29

bottomless.

22:30

But eventually, the pendulum

22:33

swung the other way, which

22:35

had something to do with fashion, but

22:38

also a lot to do with Americans'

22:41

own adaptability. Which

22:43

brings me, finally, to what

22:45

I will call British invasion

22:48

principle number five. America

22:51

eventually struck

22:52

back. ["I Can't Sing

22:55

Me Love And Nobody But

22:57

You For All My Life"] Maybe

23:02

strike back isn't the

23:04

right phrase exactly. There

23:07

was no final battle to end

23:09

each invasion. More to the point,

23:12

American acts incorporated British

23:14

invasion tropes into their

23:16

own music, and American

23:19

tastes pivoted back toward

23:21

sounds the Brits couldn't do

23:23

as well. ["I

23:25

Can't Sing Me Love

23:28

And Nobody But

23:30

You For All My

23:33

Life"]

23:34

Music historians broadly

23:36

agree about when each British

23:38

invasion started. There

23:40

is less agreement about when

23:43

each one ended. After all,

23:45

British music hardly went away

23:48

in the years after each invasion. Several

23:51

British superstars continued

23:53

to command our charts for

23:55

years afterward.

24:00

I got a hang of my brain,

24:02

because I got to have my friends to play with.

24:05

I got to have a friend to play with.

24:07

Rather,

24:07

what dissipated

24:09

around 1967 the first time and around 1987 the

24:11

second time was the idea

24:18

of a cogent movement, the

24:20

sense that Britannia meant

24:23

cool. British music just

24:25

became part of Pop's potpourri.

24:29

So

24:30

with those five British invasion

24:32

principles established, let's

24:34

walk through each invasion to

24:37

chart its rise and fall. I'll

24:40

be recapping some songs and

24:42

artists we've covered in previous

24:44

episodes of Hit Parade, most

24:46

especially our episodes about The

24:48

Beatles and the history of

24:51

the music video. But we'll

24:53

place these hits in a more invasion-specific

24:57

context. One more thing

24:59

the two

25:00

movements had in common.

25:01

British invasion music didn't sound

25:04

like one single thing. It

25:06

ranged more widely than you

25:09

might recall.

25:10

But at the dawn of the

25:12

1960s to American

25:14

ears, at first British music

25:17

was little more than a novelty.

25:20

Does your chewing gum lose its flavor

25:22

on the bedcoast overnight? Lonnie Donegan, the skiffle

25:25

legend I mentioned just a few minutes

25:27

ago, scored his biggest

25:29

US

25:37

hit with the age-old novelty

25:39

song, Does Your Chewing Gum Lose

25:41

Its Flavor on the Bedpost Overnight.

25:45

It cracked the top five on the Hot 100

25:47

in 1961. This

25:51

was the state of affairs for

25:53

UK artists on the US charts.

25:56

Even respected acts like Donegan

25:59

could only

25:59

break in America with the

26:02

occasional freak hit. Consider

26:05

British teen idol Cliff Richard,

26:08

who launched his UK career with

26:10

four number ones in 1959 and 1960, but in the US

26:12

could only

26:18

scrape the top 30 with

26:20

his single Living Doll.

26:32

Cliff Richard's backing band, The

26:34

Shadows, were also legends

26:37

in the UK. To this day,

26:39

they're best known

26:40

for their UK chart-topping

26:42

instrumental, Apache.

26:45

Which, by the way, would

26:55

later

26:57

become an early hip-hop anthem

27:00

when covered by the incredible bongo

27:02

band. Get your sampler ready

27:05

for that ill-break beat.

27:18

While Apache was

27:20

a UK number one for

27:22

The Shadows in 1960,

27:34

in

27:34

America it didn't even

27:36

chart. Which was odd

27:38

because the early 60s

27:40

was a good time for instrumentals

27:44

on the Billboard charts. Even

27:46

British instrumentals. As

27:49

I mentioned in our Hits of the

27:51

Year episode of Hit Parade,

27:53

a mellow clarinet ditty by

27:56

a Somerset man who called himself

27:58

Mr. Acker Bill.

27:59

was the Hot 100's number

28:02

one song of 1962.

28:05

["Hott 100's No. 1 Song"] That

28:14

made Acker Bilk the first

28:17

British act to score a Hot 100 number

28:19

one hit, but

28:22

he never returned to the US

28:24

Top 40. Later that same

28:26

year, another British instrumental

28:29

act, the Tornadoes, topped

28:32

the Hot 100 with their space

28:34

age surf rocker about a telecommunications

28:38

satellite, Telstar. It

28:40

reached number one by Christmas, 1962.

28:44

["Hott 100's No. 1 Song"] In

28:54

between these two instrumental

28:56

hits in the fall of 62 came

28:59

an even quirkier hit with

29:02

vocals, yodeling vocals

29:04

to be exact. British born

29:07

Australia raised singer Frank

29:10

Ifield who scored multiple

29:12

chart toppers in his native UK, reached

29:15

number five on the Hot 100 with,

29:18

I Remember You.

29:20

The strumming bop contains

29:22

copious amounts of Ifield's

29:24

patented

29:25

yodel. ["I Remember

29:28

You"]

29:35

So can we call the

29:37

second half of 1962 the

29:40

start of the British invasion?

29:42

Not really. Music historians

29:46

rightfully regard these singles

29:48

as flukes, one-ops. Their

29:51

momentary success in America

29:54

in 62 was a coincidence,

29:57

not a movement.

29:59

Even the new, next year, 1963,

30:02

progress for British acts on

30:04

the billboard charts was slow.

30:07

But the contours of

30:09

the British invasion were taking

30:11

shape, thanks mostly

30:13

to a provincial rock movement

30:16

welling up in and around

30:18

Liverpool known as beat

30:21

music, or more popularly,

30:24

thanks to the Mersey River that

30:26

flows past Liverpool,

30:28

Mersey Beat. How do

30:31

you do what you do to me? I

30:34

am feeling blue. Wish

30:36

I knew how you'd do it to me, but

30:39

I haven't. Even before

30:40

The Beatles, Jerry

30:43

and the pacemakers were setting

30:45

the pace on the charts for Mersey

30:48

Beat groups.

30:49

Led by liver puddlian

30:51

Jerry Marsden and signed

30:53

with the same manager and producer

30:56

as The Beatles, Brian Epstein

30:58

and George Martin respectively, Jerry

31:02

and the pacemakers recorded this

31:04

song, How Do You Do It,

31:06

as their debut single after

31:09

The Beatles rejected

31:11

it. How do you do

31:13

it holds a special distinction

31:16

in UK chart history with

31:18

an asterisk. On the United

31:29

Kingdom's flagship pop chart, then

31:32

known as the record retailer

31:34

chart, the predecessor to the UK's

31:37

modern day official charts company

31:39

chart, How Do You Do

31:41

It hit number one before

31:43

any song by The Beatles did,

31:46

making Jerry and the pacemakers

31:49

technically the first Liverpool

31:52

group

31:52

to have a UK number

31:54

one. The asterisk is

31:56

that before How Do You Do

31:59

It, The Beatles

31:59

the went to number one on to

32:02

competing uk charts with

32:04

their early nineteen sixty three single

32:07

please please me

32:17

and rec of retailer please

32:19

please me only hit number

32:21

two regardless the

32:23

song that not jerry and the pacemakers

32:26

how do you do it out of the

32:28

record retailer number one spot

32:31

was the beatles own from me

32:33

to you which

32:34

made it official by

32:36

the spring of sixty three a

32:38

mercy beat invasion had

32:40

taken hold

32:42

across great britain by

32:51

the fall of sixty three

32:54

both groups went back to number

32:56

one in the uk jerry

32:58

and the pacemakers with a cover

33:01

of the show tunes standard you'll

33:03

never walk alone

33:15

and

33:15

the beatles with their head

33:17

shaking original song she

33:19

loves you

33:29

by then they were joined

33:31

on the charts by a group that

33:33

scored it's first uk top

33:35

twenty hit with a song written

33:38

by the beatles a five

33:40

man combo from london calling

33:42

itself the rolling stones

33:45

a lot of

33:49

a new name

33:53

it is ironic that the

33:55

stones future purported

33:57

rivals to the beatles bro

33:59

on the british charts with a song

34:02

by john lennon and paul mccartney

34:05

from the jump vocalist mick

34:07

jagger guitarist keith richards

34:09

multi instrumentalist brian jones

34:12

bassist bill wyman and drummer

34:14

charlie watts played with

34:16

more overt connections to

34:19

american rhythm and blues then

34:21

the beatles did whether the stones

34:23

were covering chuck berry as

34:26

on their debut single com on

34:28

body

34:28

come out can

34:30

get started come out again

34:33

apologetic always somebody going

34:36

on and on it

34:37

or covering buddy holly

34:40

with a bo diddley beat as

34:42

on their early sixty four single

34:45

not fade away

34:57

each of these singles would be

34:59

gradually bigger of hits

35:01

for the stones but as

35:04

exciting as all this beat

35:06

music was in england through

35:08

the end of nineteen sixty three

35:10

none of these songs were appearing

35:13

on billboards hot one hundred mind

35:15

you contrary to the long

35:18

held stereotype of moribund

35:21

american music pre british

35:23

invasion there were plenty

35:25

of lively hits on the american

35:28

charts in sixty three from

35:30

doo wop all law those famed

35:33

jersey boys the four seasons

35:45

to girl groups like the show

35:47

farms or the angels

35:51

that

35:58

m the first wave of hitmakers

36:00

on motown including the

36:02

young man then known as little

36:05

stevie wonder

36:14

to

36:14

get past this home grown

36:17

us competition british

36:19

beat music couldn't just sound

36:21

like an imitation of american

36:23

our and be he would have to

36:25

feel like a new wave

36:28

in the decades since nineteen

36:31

sixty four cultural historians

36:33

have offered theories as to

36:36

why the british invasion finally

36:38

began to take shape in the united

36:41

states at the end of nineteen

36:43

sixty three rolling stone

36:45

critic park pewter bar wrote

36:48

quote a

36:49

popular theory holds that

36:51

the country in the aftershock

36:53

of president john f kennedy's

36:55

assassination transferred

36:57

to the beatles all the youthful

37:00

idealism that had been cresting

37:02

under j f k it's

37:05

also a plausible that the beatles

37:07

gave kids they are credible

37:09

excuse for mania since

37:11

elvis presley unquote

37:13

whether

37:14

you buy into this widely

37:17

held received wisdom based

37:20

on chart performance alone there

37:22

is no question the beatles finally

37:25

delivered a galvanizing

37:27

single

37:30

hey listeners there's a

37:32

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37:44

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37:47

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37:49

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37:51

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38:13

debriefing with her mom judy

38:16

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for Apple Card range from 15.49% to 26.49% based on creditworthiness.

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Rates as of March 1, 2023.

40:25

I covered the Beatles' US

40:28

chart conquest in exhaustive

40:30

detail in the second ever episode

40:32

of Hit Parade, our Fab Four

40:35

Sweep edition. So I

40:37

will cover John, Paul, George,

40:39

and Ringo's output only glancingly

40:42

in this episode.

40:43

Briefly, Capitol Records

40:46

in the States, after passing

40:47

on releasing the group's singles

40:50

through 1962 and almost all of 63, finally got with the program

40:52

when Beatlemania

40:58

in England became too big to

41:01

ignore and US

41:03

fans

41:03

were independently requesting,

41:06

I want to hold your hand

41:08

on the radio.

41:11

The result? The Beatles

41:13

had America's number one song

41:16

by the end

41:23

of January 1964, a

41:26

couple of weeks before

41:27

their plane even touched down

41:29

at JFK Airport. And

41:32

in a remarkable streak, the

41:34

Beatles commanded the

41:35

Hot 100 through three consecutive

41:38

number ones, a still unbroken

41:41

record. After seven weeks

41:43

on top, I Want to Hold Your Hand

41:46

was replaced at number one by

41:48

She Loves You. Which

41:49

two weeks

41:59

later was instantly replaced

42:02

itself by Can't Buy

42:04

Me Love. That same week,

42:06

as I noted at the top of the show,

42:08

the Beatles locked down the Hot

42:11

100's entire top five. Can't

42:14

Buy Me Love,

42:17

love, can't buy me

42:19

love. Now

42:23

all

42:23

of this could have just reflected

42:25

the Beatles' dominance and not

42:28

any larger transatlantic cultural

42:30

trend. True, the U.S.

42:33

media had started using the word

42:35

invasion as early as December 1963.

42:38

And on the day the Beatles arrived in New

42:40

York, esteemed

42:44

TV anchorman Walter Cronkite

42:46

said, quote, the British invasion

42:48

this time goes by the codename

42:51

Beatlemania, unquote.

42:54

Cronkite's point was well taken.

42:56

At first, the so-called invasion

42:59

was mostly about the

43:01

Fab Four.

43:03

But almost immediately, there

43:05

was evidence the Beatles had coattails,

43:08

that all of the suppressed

43:11

British music that had failed

43:13

to make art charts previously

43:16

finally had an opening to

43:18

rise or fall on its own

43:21

musical merits.

43:32

Interestingly, the first

43:34

single to break out in the Beatles'

43:36

wake was not a male-mercy

43:39

beat combo, but rather

43:41

a female soloist, Dusty

43:44

Springfield. The blue-eyed

43:46

soul singer from London was in

43:48

the right place at the right time

43:51

with a first-rate song, her

43:53

classic girl group style, I

43:55

Only Want to Be With You, a fortnight

43:59

after the Beatles' I Want to Hold Your

44:01

Hand reached number one. Springfield's

44:04

debut single hurtled 27 spots on

44:06

the Hot 100 into the top 30. A

44:10

month after that, when Hand

44:13

was in its final week on top, I

44:15

Only Want to Be With You reached

44:18

an impressive peak of number 12.

44:21

Not bad

44:24

at all, but not quite enough

44:26

to qualify for an invasion.

44:29

It

44:36

would help if another group, like

44:39

the Beatles but distinct from them,

44:41

entered the arena. As Fortune

44:43

would have it, a certain fivesome,

44:46

no, not the Stones, were

44:49

also peaking at the right moment.

44:59

Like many British groups of

45:01

the time, the Dave Clark Five,

45:04

named for their drummer, Tottenham

45:06

born Dave Clark, launched

45:08

their career with a cover of

45:11

an American hit, The Contours,

45:13

Do You Love Me. The fact was,

45:16

the DC Five were trend-hopping.

45:19

Weeks before their Do You Love Me

45:21

reached number 30 on the UK

45:23

chart, another cover of that

45:25

same song by Brian Poole

45:28

and the Tremolos

45:29

had done much better, reaching

45:31

number one. But the Dave

45:33

Clark Five's next single, an

45:35

original song written by Clark and

45:38

singer Mike Smith, established

45:40

them as a chart force.

45:45

Glad All Over made headlines in

45:47

Britain for knocking the

45:49

Beatles I Want to Hold Your Hand out

45:52

of the

45:59

number one spot in January 1964.

46:04

Fleet Street even hyped up the

46:06

DC5's music as quote,

46:09

the Tottenham Sound, a rejoinder

46:11

to the Beatles and the pacemakers' Mersey

46:14

Beat sound. The portrayal

46:17

of the DC5 as Beatles rivals,

46:19

imagine that three decades later

46:22

they might have been the in sync to the Beatles'

46:24

Backstreet Boys, only helped

46:27

the band's cause in America.

46:30

Glad All Over debuted on the Hot 100 in

46:32

mid-February 1964, the same week

46:35

Dusty Springfield

46:37

made

46:47

her big leap up the chart. Two

46:49

months later, as the Beatles locked

46:51

down positions all over the Hot 100,

46:55

Glad All Over reached its peak

46:57

of number six, the first non-Beetle

47:00

single of the British invasion to

47:03

crack the US Top 10.

47:05

The invasion Walter

47:07

Cronkite had spoken of was now

47:09

actually coming to pass. That

47:12

same week Liverpool group The

47:14

Searchers were holding at number 13

47:17

with their cover of the Jackie DeShannon

47:20

single, Needles and Pins.

47:23

And yet another Liverpool

47:25

band,

47:32

The Swinging Blue

47:35

Jeans, were in the Top 40 with

47:37

their cover of the Chan Romero

47:39

rock and roll rave up hippie hippie

47:42

shake. The jeans version peaked

47:44

at number 24.

47:55

The Swinging Blue Jeans never

47:57

reached those heights with any other single.

47:59

But the Dave Clark Five

48:02

and the Searchers became regular

48:04

hitmakers. Less than a year later,

48:07

the Searchers reached their all-time

48:09

high of number three on the Hot 100

48:12

with another Mersey Beat cover

48:14

of an old US hit, Love

48:17

Potion Number

48:18

Nine. And the Dave Clark

48:20

Five strung

48:24

together a nearly unbroken

48:27

streak of more than a dozen

48:29

top 20

48:36

US hits, most of them originals

48:39

and half of them peaking in the top

48:42

ten, including the number four

48:44

Bits and Pieces.

48:47

And the number three ballad,

48:50

Because.

49:11

By the time the Dave Clark Five

49:13

peaked with Because, America

49:16

had a new number one song, the

49:19

first of the British invasion by a

49:21

group other than the Beatles, and

49:23

not counting the aforementioned duo

49:26

Peter and Gordon.

49:27

Yet again, it was an English

49:29

cover of an American standard,

49:32

but this cover had its own

49:35

unique harder edge style,

49:37

and it represented an entirely

49:40

different side of the invasion.

49:53

The origins of House

49:55

of the Rising Sun date back

49:57

to the early 20th century.

49:59

a seedy folk blues tale

50:02

of a life gone wrong in New

50:04

Orleans. By the time The

50:07

Animals, a five-man band

50:09

from Newcastle upon Tyne, got

50:11

a hold of the song, it had been

50:14

transformed by Troubadours, Dave

50:16

Van

50:16

Rancke, and Bob Dylan into

50:19

a sharp screed, a cautionary

50:22

tale. Animals frontman

50:24

Eric Burden said, quote, we were

50:26

looking for a song that would grab

50:29

people's

50:30

attention.

50:43

That it did. The Animals

50:46

Breakthrough Single debuted on

50:48

the Hot 100 in August 1964 and

50:51

was number one just four weeks

50:54

later. In his book, The Heart

50:56

of Rock and Soul, critic Dave

50:58

Marsh calls The Animals House of

51:00

the Rising Sun, quote, almost

51:03

certainly the first folk rock

51:05

hit. And he adds, quote,

51:08

Alan Price's bold organ and

51:10

Eric Burden's howling vocal connected

51:12

the ancient tune to a live

51:15

wire, unquote.

51:26

Whether it was their bluesy playing

51:29

or Eric Burden's Geordie accent,

51:31

House of the Rising Sun was not

51:34

only a massive hit, it

51:36

signaled that the British invasion had

51:39

truly broadened in scope. There

51:41

were still beat groups like

51:44

Jerry and the Pacemakers or

51:46

The Honeycombs featuring Honey

51:48

Landtree, one of rock's earliest

51:50

female drummers.

52:01

But there was also the groovy

52:04

mod-pop of the zombies.

52:17

The lilting folk-pop

52:19

of Chad and Jeremy.

52:31

Or the raucous R&B-flavored

52:33

rock of Manford Man, led

52:36

by the South African keyboardist

52:38

of the same name. Manford

52:40

Man, the band, went to number

52:43

one one month after the animals with

52:45

the strutting Doo-Wah Diddy

52:47

Diddy. There she was, just

52:50

walking

52:50

down the street singing. Doo-Wah

52:58

Diddy Diddy was a product of American

53:01

songwriters Ellie Greenwich and Jeff

53:03

Barry, part of New York's Brill

53:05

Building Stable. So was

53:07

the song that broke Herman's Hermits,

53:10

a Manchester band led by the

53:12

aboliant 17-year-old frontman

53:15

Peter Noon. I'm

53:19

into something good.

53:26

I'm Into Something Good, penned

53:28

by famed Brill Building songwriters

53:31

Carole King and Jerry Goffin, hit

53:33

number 13 on the Hot 100 in December 1964.

53:39

But here's the funny thing about

53:41

Herman's Hermits. They did better

53:44

in America the more British

53:46

they sounded.

53:58

Mrs. Brown, you've got a lovely door.

53:59

got a lovely daughter. Sounded

54:02

old-timey, but it was actually

54:05

written in 1963 for a British teleplay

54:08

starring actor Tom Courtenay.

54:11

The Hermit's label, MGM, had

54:14

no intention

54:15

to issue the Hermit's cover of

54:17

Mrs. Brown as a single from

54:19

their album Introducing Herman's

54:21

Hermits. But then, US

54:24

radio stations leapt on it, while

54:26

the Hermit's earlier hits, Can't

54:28

You Hear My Heartbeat and Silhouettes,

54:31

both top ten hits, were still

54:34

on the Hot 100.

54:45

Pre-release airplay for Mrs.

54:47

Brown You've Got a Lovely Daughter was

54:50

so strong, MGM was compelled

54:53

to issue the single in April 1965. The

54:57

song set a Billboard chart record

54:59

at the time for highest debut,

55:02

all the way up at number 12 on the Hot 100.

55:04

It went to number one

55:07

just two weeks later. By

55:10

then, British acts had completely

55:12

taken over the Hot 100. One

55:15

week in May 1965, when

55:18

the Hermit's were number one with Mrs.

55:20

Brown, British common wealth acts

55:23

held down nine of the top

55:25

ten songs. These included

55:27

two fellow Mancunian acts

55:30

who'd also hit number one, Back

55:32

to Back. Freddie and the Dreamers,

55:35

whose I'm Telling You Now came

55:37

with its own lurching dance,

55:40

The Freddie,

55:40

hit number one in April 1965.

55:43

Freddie and the Dreamers were

55:45

followed directly

55:48

by Wayne Fontana and the Mindbenders,

55:51

whose blew

55:59

a

55:59

wide soul Strutter, The Game

56:02

of Love also

56:03

hit number one.

56:15

Also riding the top 10

56:17

that week in May was Petula

56:19

Clark, who at age 32

56:22

was already a veteran of the British

56:24

charts and the variety show circuit.

56:27

The British invasion turned Clark into

56:30

a late blooming US hit maker.

56:32

In the winter of 65, she'd

56:34

topped the Hot 100 with her classic

56:37

single, Downtown.

56:49

And during that week of British chart

56:51

dominance in May, she

56:53

was back with the number three peaking,

56:56

I Know a Place.

57:06

Of course, the Beatles were in the top 10

57:09

at the time, rising fast with

57:11

their soon to be eighth number one

57:13

hit, The Jangly Ticket to Ride.

57:25

And there was even an Australian

57:27

folk group, The Seekers, benefiting

57:30

from the mania for all things British

57:33

adjacent. With their number five

57:35

hit, I'll Never Find Another

57:37

You.

57:48

By this time, bands that

57:50

seemed resolutely British and

57:53

might not have wanted anything to do

57:55

with this US fad were

57:58

finding themselves with US hit. Consider

58:01

the Kinks, whom critic Nicholas

58:03

Schaffner would later call, quote, the

58:06

most quintessentially British

58:07

and the most reluctant

58:09

conscripts to serve in the

58:12

original invasion. Between

58:13

the fall of 64 and the

58:16

spring of 65, the Kinks, powered

58:18

by the raucous playing

58:21

of brothers Ray and Dave Davis,

58:23

and

58:34

Ray's almost sneering self-consciously

58:37

English voice, scored

58:39

three top ten US hits

58:42

back to back. A pair of number

58:44

seven hits, You Really Got Me

58:47

and the similarly rambunctious All

58:49

Day and All of the Night.

59:01

And the shuffling love-lorn

59:03

Tired of Waiting for You, a

59:05

number six Kinks hit. Also

59:07

reaching number six that

59:09

spring were unlikely hitmakers

59:12

The Yardbirds, a

59:20

blues rock act that went for the

59:22

pop jugular with For Your

59:24

Love. The song prompted guitarist

59:27

Eric Clapton to leave the group. But

59:40

the latest

59:41

bloomers of the British

59:43

invasion were arguably the

59:45

Rolling Stones, who were gradually

59:48

refining their electric R&B

59:51

and clawing their way up the US

59:53

charts. The Stones finally

59:55

broke into the US top ten

59:58

in the closing weeks of 1965.

59:59

sixty four with time

1:00:02

is on my side

1:00:10

of the

1:00:13

week in may that british acts were

1:00:15

locking down the top ten the stones

1:00:17

were among them at number nine

1:00:20

with their rave up the last

1:00:22

time

1:00:32

and finally in the summer the

1:00:35

stones hit number one with the

1:00:37

song who's a mortal riff keith

1:00:39

richards conjured in a dream

1:00:42

and whose mick jagger lyrics

1:00:44

were considered scandalous for

1:00:46

their overt sexuality and

1:00:48

anti commercialism i

1:00:50

can't get no satisfaction

1:00:52

top the hot one hundred for four

1:00:55

weeks in july nineteen sixty

1:00:57

five once

1:01:07

the stones were finally

1:01:09

chart broken they became reliable

1:01:12

hitmakers immediately returning

1:01:15

to number one with they are taking the piss

1:01:17

follow up get off my class

1:01:29

by year's end even the

1:01:31

dave clark five had topped the

1:01:33

hot one hundred after a string

1:01:36

of hits that were mostly originals

1:01:38

co written by dave clark and

1:01:40

other band members their cover

1:01:43

of a fifties sock hop party

1:01:45

record by bobby day called

1:01:48

over and over finally

1:01:50

took them all the way to number

1:01:52

one the week of christmas nineteen

1:01:54

sixty five

1:02:00

This dance is gonna be a drag I

1:02:03

said over and over and over and over

1:02:04

Over and over was

1:02:06

a throwback in more ways

1:02:09

than one. It not only sounded

1:02:11

like the 50s, by 1966 it

1:02:15

even sounded a little old school for

1:02:17

the British invasion.

1:02:19

In the wake of the Beatles, Sitar

1:02:21

laid in tracks like Norwegian

1:02:23

would.

1:02:24

And when I awoke,

1:02:27

I was alone It was a

1:02:30

birdie flow So

1:02:33

I looked at the sky

1:02:34

Several British acts were writing

1:02:36

hits attached to the so-called

1:02:39

Raga Rock movement, with

1:02:41

guitars that resembled sitars,

1:02:44

as on the Holly's No. 5, 1966 hit, Busta.

1:02:48

Nice to think that that

1:02:50

umbrella could lend me

1:02:53

to a vow. Or

1:03:01

outright Raga with actual sitars,

1:03:04

as on the Stones' sinister 1966 No. 1 hit,

1:03:06

Painted Black.

1:03:20

Going fully psychedelic also

1:03:22

got Scottish folk rocker Donovan

1:03:25

to No. 1 in the summer of 1966, with

1:03:28

his groovy Sunshine Superman.

1:03:32

Cause I made my mind,

1:03:34

and I'll be your going to

1:03:36

my mind I'll tell you

1:03:38

right now, and it's wrecking

1:03:40

me And then on the complete opposite

1:03:43

end of the spectrum, several

1:03:45

invasion acts were throwing

1:03:47

back all the way to the age of vaudeville

1:03:50

and British music hall. In the

1:03:52

late summer of 1965, Herman's

1:03:54

Hermitts had doubled down on their quirky

1:03:57

approach by recording an actual

1:03:59

musical

1:03:59

song from the 1910s,

1:04:02

a Cockney trifle called, I'm

1:04:04

Henry VIII, I Am.

1:04:07

The result? Another American

1:04:09

chart topper. And like Mrs.

1:04:11

Brown, it wasn't even released

1:04:13

as a single in the UK.

1:04:15

I'm an eighth old man, I'm Henry. Henry

1:04:19

VIII, I am. Second

1:04:21

verse, same as the first. I'm

1:04:24

Henry VIII, I am.

1:04:26

One year later, in the fall of 66,

1:04:29

a studio band assembled by London

1:04:31

musician Jeff Stevens called

1:04:34

the New Vaudeville Band, scored

1:04:37

an even more improbable Hot 100 number one

1:04:40

with Winchester Cathedral,

1:04:43

a song inspired by 1920s dance bands that

1:04:47

even featured a Rudy Valley megaphone

1:04:49

style

1:04:50

vocal. Winchester Cathedral,

1:04:55

you're bringing me down. You

1:04:59

stood and you watched I...

1:05:01

As trifling as these Music

1:05:03

Hall style throwback hits might seem

1:05:05

today, they may have had an

1:05:08

impact on no less than The Beatles.

1:05:10

It has been observed that the alter

1:05:13

ego The Fab Four took on one

1:05:15

year later on their totemic Sgt.

1:05:17

Pepper's Lonely Hearts Club Band LP

1:05:20

was an imagined Music Hall

1:05:22

group, not far from what Herman's

1:05:25

Hermits and the New Vaudeville Band

1:05:27

were doing.

1:05:28

Will you still need me? Will you

1:05:30

still feed me when I'm 64? By

1:05:38

the time of Sgt. Pepper, depending

1:05:41

on whom you asked, the British

1:05:43

Invasion was either morphing or

1:05:45

winding down. To be sure,

1:05:48

new Invasion style bands were

1:05:50

still breaking. The Who, fronted

1:05:53

by songwriting guitarist Pete Townsend

1:05:55

and the explosive singer Roger Daltrey,

1:05:58

had been issuing...

1:05:59

as far back as 1964, but only began cracking

1:06:02

the US Top 40 in 1967 with Happy Jack.

1:06:11

The Kinks were recording ever more

1:06:13

conceptual albums and singles,

1:06:16

like their 1966 classic

1:06:17

Dedicated

1:06:25

Follower of Fashion.

1:06:27

The song was a satire of Carnaby

1:06:30

Street Dandies at the peak of

1:06:32

Swinging London, and it could

1:06:34

only manage to reach number 36 in

1:06:37

the States.

1:06:47

But likely the main reason the press

1:06:50

was no longer pushing the British

1:06:52

invasion hype was that American

1:06:55

acts had adapted their sound, their

1:06:57

style, and even their band names

1:06:59

to compete with cool Britannia.

1:07:02

For example, a San Antonio

1:07:04

Tex-Mex band led by songwriter

1:07:07

Doug Sam called themselves the

1:07:09

winkingly absurd name the Sir

1:07:11

Douglas Quintet, just to co-opt

1:07:14

a piece of the British invasion.

1:07:25

Paul Revere and the Raiders,

1:07:26

another American band,

1:07:29

dressed in revolutionary war garb

1:07:31

and marketed themselves as America's

1:07:34

answer to the British invasion.

1:07:36

More seriously,

1:07:45

folk rock

1:07:47

legends The Birds began adding

1:07:50

chiming Rickenbacker guitars to

1:07:52

number one hits like 1965's Mr.

1:07:55

Tambourine Man as a response

1:07:57

to the jangly guitars George Howard

1:07:59

harrison was playing on the beatles

1:08:02

hits

1:08:12

and

1:08:13

in late sixty six

1:08:15

the launch of the tv spawned

1:08:17

band the monkeys or quartet

1:08:19

of three yanks plus british

1:08:21

singer davy jones kicked

1:08:24

off their career with a number one

1:08:26

hit last train to clarksville

1:08:28

that sported a remarkably authentic

1:08:31

imitation british invasion

1:08:33

south cause

1:08:34

i mean on

1:08:42

it as much as i

1:08:44

said earlier no one declared

1:08:47

an end to

1:08:47

the british invasion by nineteen

1:08:50

sixty seven the media was more

1:08:52

captivated by the hippy movement

1:08:54

and the summer of love and

1:08:57

even as british bands were still

1:08:59

scoring piles of hits the

1:09:01

seemed to adhere to no one

1:09:03

galvanizing sound now

1:09:06

that the stones were scoring baroque

1:09:08

chart toppers like ruby tuesday

1:09:24

and

1:09:24

the beatles were exploring the

1:09:26

limits of the studio in their

1:09:28

sessions for sergeant pepper

1:09:42

it was hard to still call

1:09:44

british pop an invasion

1:09:46

as i said earlier on like

1:09:49

an actual

1:09:49

war no treaty

1:09:51

brings a chart and vision to

1:09:53

a close it's more like

1:09:55

an implied truce with

1:09:58

hindsight the sixties bird

1:09:59

the invasion had crested in nineteen

1:10:02

sixty four sixty five and

1:10:04

sixty six though you will

1:10:06

find some critics claiming it

1:10:08

stretched even into the early

1:10:10

seventies indeed

1:10:13

if there is one figure who can

1:10:15

be said to have bridged the first

1:10:17

and second british invasions

1:10:19

it is arguably this

1:10:22

man who spent the mid sixties

1:10:24

trying to become a pop star before

1:10:27

changing his name and finding

1:10:29

his bold new direction with this

1:10:32

nineteen sixty nine recording

1:10:39

ground control to major

1:10:41

tom ground

1:10:45

control to major tom

1:10:48

when

1:10:48

we come back the former

1:10:50

david jones takes on

1:10:52

a new name and create conditions

1:10:55

in the seventies that will lead to

1:10:57

another invasion in the eighties

1:11:00

another uk chart cool

1:11:02

on the u s charts marked by

1:11:05

much slicker technology more

1:11:07

danceable rhythms and much

1:11:09

bigger hair

1:11:11

non sleep plus listeners will

1:11:13

hear the rest of this episode in two

1:11:15

weeks for now i hope

1:11:17

you've been enjoying this episode

1:11:19

of hit parade our show was written

1:11:21

edited and narrated

1:11:23

by chris mullin v that's me my

1:11:26

producer is kevin vendors derek

1:11:28

john his executive producer of

1:11:30

narrative podcasts and a leash

1:11:32

or montgomery is v p of audio

1:11:35

for sleep podcasts check

1:11:37

out their roster of shows at sleep

1:11:39

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1:11:41

you can subscribe to hit parade wherever

1:11:44

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1:11:46

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1:11:49

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please rate and review us while you're there

1:11:54

it helps other listeners bind the show

1:11:56

thanks for listening and i look forward

1:11:58

to leading the hit parade, back your

1:12:01

way. We'll see you for part two

1:12:03

in a couple of weeks. Until then,

1:12:06

keep on marching on the one. I'm Chris

1:12:08

Melanphy.

1:12:33

Hey listeners, there's

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