Extract from the book 'A Bizarre Collection Of Puzzles by The Enigma

http://www.amazon.com/Bizarre-Collection-Puzzles-Enigma/dp/095627255X
ACKNOWLEDGMENTS AND INTRODUCTION
Life is one big puzzle. In fact, us human beings are each something of a puzzle. This very own puzzling person has decided to inflict a bizarre collection of puzzles on you nice people out there in puzzle-solving land.
Let me start with what I loosely call the ‘names sudoku’ assignments. This is my radical attempt to break away from the well-trodden path of sudoku grids composed of numbers 1 to 9. We have all had thrills or torture with such a format. Here I present what I consider to be a revolutionary new concept which combines the principles of sudoku with the added ingredients of a bit of general knowledge, while the need to complete the grid with names or words is borrowed slightly from a similar task demanded of crossword solvers. Will this revolutionary sudoku challenge prove much too cumbersome or a refreshing alternative to the same old numbers format? Well you can decide for yourself. Incidentally, I have not graded the sudoku puzzles, but as a general rule, if you finish a puzzle in less than five minutes, then you are an incomparable genius. If it takes between five and ten minutes, you are still deserving of a round of applause. I would consider a length of between ten and fifteen minutes to be merely satisfactory, while a duration of more than fifteen minutes suggests that there is room for improvement within the confines of your own grey matter, to put it mildly. Oh and if you wish for enlightenment on any of the general knowledge contents or you wish to take issue with me, then feel free to email me in the nicest possible way at gw930@hotmail.co.uk You may also wish to contact me if you are struggling to complete the occasionally difficult sudoku as I have not included the finished articles at the rear of the book. Again, you may find that if you have inserted everything into the grid, then the chances are rather high that you have done so correctly!
Now let’s turn our collective attention to my naughty burglary of a whole host of Countdown puzzles from previous shows. Will the term ‘naughty burglary’ re-surface in any future court action from the powers at Countdown? If so, I will be incriminated by my own words. No seriously, as a former contestant on Countdown in 2006, I would like to take this opportunity to at least pay the courtesy of stating that the hugely popular Countdown is broadcast each weekday on Channel Four at 3.10 pm and that the show was devised by Armand Jammot, arising out of a French game called ‘Des Chiffres et Des Lettres’. The good folks at Countdown (and I can testify to their hospitality) do reserve the right to be annoyed at my use of their material from yesteryear, but it is most unlikely that this worthwhile project will prove to be a multi-million selling publication, so I do not expect substantial profit from this venture (or adventure). This is after all the book trade, and if you should ever dip your toes in the stormy waters of the book trade, be prepared for sharks and drowning!
Okay, that’s my half-baked attempt at acknowledgments. Now the time is fast approaching when you launch yourself into the hurdles and obstacles contained herein. Before you do so, here follows a word of caution. There are ‘solutions’ to the Countdown ‘problems’ at the back of this book. The trouble is that the conundrum answers are all bunched closely together. You might do well to bear this in mind when you tackle each conundrum. It is ‘crucial’ (if you can possibly excuse the pun) that you don’t consult the back of this publication after every conundrum or numbers game, or you are more than likely to encounter the answer to the next games as well. Right, I’m off to buy a large mansion on account of the projected revenue from this enterprise. [Is he being sarcastic?….. Yes!]
Best wishes to you all
The Enigma

1969 album extract from the book 'A Pop Revolution' by the invisible man

The best album of 1969? 

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533
Led Zeppelin by Led Zeppelin
peaked in the UK charts at No.6
peaked in the US charts at No.10
produced by Jimmy Page
released in January
It was a bizarre coincidence that as the brilliant Cream were bowing out of the rock scene in November 1968, a new act were filling their considerable void. Whilst Cream are hailed as the first supergroup, Led Zeppelin (or the New Yardbirds, as they were initially known) were themselves drawn from previous dalliances in the world of pop. In fact, Jimmy Page and John Paul Jones were prolific session men who had been hired to lend their professional expertise to a plethora of rather unlikely pop songs. Their CV makes for interesting viewing as they offered their assistance to a variety of pop acts. Now at last, Page and Jones were stepping out from the shadows of the recording studio, determined to make their own mark. They hired Robert Plant and John Bonham from the heart of the Black Country of the West Midlands, and it wasn’t long before their new appointments were vindicated, as Led Zeppelin cemented their reputation as one of the hottest live acts on the globe. In between live performances, this particular fab four managed bouts of recording which helped give birth to their debut long player. It is famed for being recorded with much haste and little expense, and lambasted for being a little too plagiaristic for some scoffers. However, it is not unnatural for a new group, finding their feet, to draw upon their own musical influences in their first recorded tracks. Whilst the debate rages on about the originality of their debut album, the musicianship is of the highest order. True, Robert Plant was still in his infant stages as a songwriter and by his own admission had not yet blossomed as a vocalist, but the foursome’s interpretation of the blues was without equal from a group of white English lads. Their rendition of Willie Dixon’s ‘You Shook Me’ is an obvious highlight. ‘Dazed And Confused’ meanwhile is a Page original that was intended for the Yardbirds. Here is its finest version before the group would fail to resist the temptation to play prolonged live attempts of this classic which at times would last the guts of half an hour. I once found myself driving along to the sound of ‘Dazed And Confused’, wondering if it was wise to be steering my way through such a heavy, sinister-sounding track. Elsewhere, the album-opener ‘Good Times, Bad Times’ and ‘the sonic mayhem of ‘Communication Breakdown’ were much shorter and thus laden with high energy. John Paul Jones’s prowess on keyboards also is in evidence on the vengeful ‘Your Time Is Gonna Come’. No sooner had this album made a triumphant invasion of Transatlantic album charts than a follow-up surfaced later in 1969 to reinforce the mighty Zep as the originators of a new genre, heavy metal. If nothing else, their first album is the greatest karaoke offering ever, and no 21st century fledgling rock act dare bypass this important manual which has left all imitators and competitors trailing miles behind.
The album’s best song? How Many More Times
SPORT IN 1969
English Division One soccer champions: Leeds United
English FA Cup final : Manchester City 1 Leicester City 0
English League Cup winners: Swindon Town
Scottish Division One soccer champions: Glasgow Celtic
Scottish FA Cup final: Glasgow Celtic 4 Glasgow Rangers 0
Scottish League Cup winners: Glasgow Celtic
Irish League soccer champions: Linfield; Irish Cup winners: Ards
League Of Ireland soccer champions: Waterford; cup winners: Shamrock Rovers
European Cup final: AC Milan 4 Ajax Amsterdam 1
European Cup-Winners’ Cup final: Slovan Bratislava 3 Barcelona 2
European Fairs’ Cup final: Newcastle United beat Ujpest Dozsa 6-2 on aggregate
English county cricket champions: Glamorgan
Five Nations’ rugby union champions: Wales (triple crown)
Formula One world drivers’ champion: Jackie Stewart
Gaelic football All-Ireland champions: Kerry; hurling champions: Kilkenny
British Open golf champion: Tony Jacklin
US Masters golf champion: George Archer
US Open golf champion: Orville Moody
USPGA golf champion: Ray Floyd
Rugby league Challenge Cup final: Castleford 11 Salford 6
Wimbledon men’s singles tennis champion: Rod Laver
Wimbledon ladies’ singles tennis champion: Ann Jones
The Aintree Grand National steeplechase winner: Highland Wedding
The Epsom Derby winner: Blakeney
The Ryder Cup: Great Britain & Ireland 16 USA 16

1969 songs extract from the book 'A Pop Revolution' by the invisible man

The best 10 songs of 1969? 

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

He Ain’t Heavy , He’s My Brother by The Hollies
 Long before the emergence of Madchester or before Manchester became a mecca for the indie/new wave scene, it was the Hollies who originally flew the flag for this city. The group regularly flirted with the upper echelons of the UK singles chart, having been ‘top of the pops’ in 1965 with ‘I’m Alive’. However, arguably their greatest ‘sixties recording was this slice of brotherly love, ably assisted by a prominent harmonica, strings, and the group’s trademark harmonies.
If I Can Dream by Elvis Presley
The king of rock ‘n’ roll made a belated attempt to regain his throne by abandoning his mediocre acting career and returning to what he always did best: singing and performing. A ‘Comeback Special’ was filmed and screened to wide acclaim with Elvis showcasing a new tune, ‘If I Can Dream’. It wasn’t exactly hip-swivelling stuff, but ‘If I Can Dream’ is a mini-epic which reminded one and all of the majesty of Mr P. Buoyed by this comeback, Elvis enjoyed a brief flurry of big hits.
I Want You (She’s So Heavy) by The Beatles
After group relations were frayed by the sessions for the not-yet released ‘Let It Be’ album, the once fab four managed to patch up their differences and re-enlisted George Martin for the more harmonious ‘Abbey Road’ project. Determined to go out on a high, John Lennon weighs in with the lengthy and slightly disturbing ‘I Want You (She’s So Heavy)’. Dominated by guitar and Lennon’s unremitting demand of ‘I want you’, the song ends abruptly when Lennon states: cut the tape ‘there’.
Nothing Is Easy by Jethro Tull
 Long-haired flautist Ian Anderson carved out his own niche in the world of rock with a number of unique singles and albums. Nothing is indeed easy but Jethro Tull serve up a treat with this item from their ‘Stand Up’ album. Not only is the flute-playing a joy to behold, but the intro is out of this world. Jethro Tull are largely unheard of by the 21st century audience of X Factor devotees. One can feel nothing but sympathy for those who are oblivious of this quirky recording.
  Ramble On by Led Zeppelin
Ace guitarist Jimmy Page alternated between acoustic guitar and electric guitar while Bonzo Bonham’s drumming was both sedate and ferocious as the mighty Zeppelin demonstrated their light and shade dynamic in this outstanding piece from their second album. Robert Plant meanwhile revisits the well-worn theme of the rolling stone, born under a wanderin’ star who is unable to settle down and whose itchy feet set out for pastures new. Here was a new band really hitting its awesome stride.
Reflections Of My Life by Marmalade
Marmalade were the toast of the airwaves with their own joyful rendition of the Beatles’ ‘Ob-La-Di-Ob-La-Da’ which reached the top of the pops in the UK in early 1969. At the end of the year, the gang were back again with something completely different. ‘Reflections Of My Life’ was a sensitive tune and didn’t belong in the happy-go-lucky bracket. The track is notable for a backwards guitar whilst also decorated with strings. It is one of the best sad songs in popular music.
Someday We’ll Be Together by Diana Ross & The Supremes
The Supremes closed out the decade by occupying familiar territory, the summit of the Billboard Hot 100. It was something of a bitter-sweet triumph as this was the swansong for the leading Supreme, Diana Ross, who had just announced that this single would be her last with the group, as she prepared to launch her own solo career. Whether the song title suggested a group reunion was open to question, but the tragic death of original Supreme, Flo Ballard in 1976, scuppered any such hopes.
 Something In The Air by Thunderclap Newman
There was certainly something in the air in 1968, which was something of a year of protests and riots. This theme surfaces in this memorable tune from the short-lived ‘Thunderclap Newman’. This revolutionary single was a call to arms which if nothing else climbed to the peak position of the UK chart in mid-summer. This studio band included Jimmy McCulloch, future guitarist with Wings and the song was produced by Pete Townshend. It was his only involvement with a UK chart-topper.

Wonderful World , Beautiful People by Jimmy Cliff
Before Jimmy Cliff found fame with his leading role in the film, ‘The Harder They Come’, he made a few forays into the UK charts. Notable among them was this single which revealed Cliff’s longing for a better world. Cliff even exhorts Prime Minister Wilson and President Nixon in mid-song, though one could argue that his pleas fell on deaf ears. Here was another song that fell into the skinhead reggae category as Jamaican music found an unlikely audience with working-class white men.
You Can’t Always Get What You Want by The Rolling Stones
1969 witnessed the death of Rolling Stone, Brian Jones, (who was almost certainly murdered) while Marianne Faithfull nearly joined him a few days later when she overdosed. Undaunted by these traumas, Mick Jagger rode on regardless, as he went down to the demonstration to get his fair share of abuse! A choir was thrown in to this epic for good measure. This was the long closing track to the critically acclaimed ‘Let It Bleed’ album which had opened with the equally remarkable ‘Gimme Shelter’.

1968 album extract from the book 'A Pop Revolution'

The best album of 1968? 

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533
The Beatles by The Beatles
peaked in the UK charts at No.1
peaked in the US charts at No.1;
produced by George Martin; released in November
By 1968, all was not well on planet Beatles. Brian Epstein’s untimely death in August 1967 prompted the seemingly unsinkable quartet to go it alone and manage their own affairs for the next eighteen months. However, musicians they were; businessmen they were not. This state of affairs was compounded by a revolving door of girlfriends as Cynthia Lennon was obliged to trade places with the avant-garde Japanese artist, Yoko Ono, while Jane Asher abandoned her role as Paul McCartney’s significant other, a vacancy that was quickly filled by the American Linda Eastman. On top of all this emotional upheaval, even the Fab Four were becoming increasingly tired of one another. Having decided to quit touring in the summer of 1966, this in hindsight was the precursor to the eventual break-up, and the decision to spend more time cooped up together in the recording studio was itself partially counter-productive, as many long hours together perfecting their art would have tried anyone’s long-standing friendships. The Beatles sought spiritual relief in the Himalayan foothills in the company of their favourite guru, the Maharishi Mahesh Yogi, but even this experience proved less than fruitful, prompting a typically acidic Lennon to compose the majestic put-down of ‘Sexy Sadie’, his less-than-subtle revelation that the Maharishi was a fraud, or at least a self-proclaimed holy man who allegedly expressed an unholy interest in one of the Farrow sisters. If nothing else, their retreat to India provided a fertile ground for more songs which would surface later in the year on what came to be known as the ‘White Album’. Here, the kings of pop made their own daring statement of providing an album cover that was the very antithesis of Sergeant Pepper. There was no colourful, all-singing, all-dancing album cover with a cast of thousands. Hell, there wasn’t even a clever album title. Instead, the famous four were intent on letting their music do the talking and to steer clear of any fancy packaging or marketing. It remains a testimony to their ever-constant popularity that this ninety-minute delight was able to thrive in the absence of an accompanying tour. Here again, as with Pepper, the Beatles were making their own rules. In my semi-humble opinion, the ‘White Album’ contains songs that far surpass the majority of Pepper tunes, but effectively each song was a solo track, with the composer singing his own song, accompanied sometimes merely by an orchestra. Nevertheless, there are some terrific moments that reminded us of their camaraderie as an exhausted Ringo exclaims “I’ve got blisters on my fingers” at the conclusion of the raucous ‘Helter Skelter’. Eric Clapton also made a welcome contribution on ‘While My Guitar Gently Weeps’. Even as group harmony began to unravel, the Beatles were still remarkably capable of delivering an album of unquestioned greatness.
The album’s best song? Sexy Sadie
 SPORT IN 1968
English Division One soccer champions: Manchester City
English FA Cup final: West Bromwich Albion 1 Everton 0
English League Cup winners: Leeds United
Scottish Division One soccer champions: Glasgow Celtic
Scottish FA Cup final: Dunfermline Athletic 3 Heart of Midlothian 1
Scottish League Cup winners: Glasgow Celtic
Irish League soccer champions: Glentoran; Irish Cup winners: Crusaders
League Of Ireland soccer champions: Waterford; cup winners: Shamrock Rovers
European Cup final: Manchester United 4 Benfica 1
European Cup-Winners’ Cup final: AC Milan 2 SV Hamburg 0
European Fairs’ Cup final: Leeds United beat Ferencvaros 1-0 on aggregate
English county cricket champions: Yorkshire
Five Nations’ rugby union champions: France (grand slam)
Formula One world drivers’ champion: Graham Hill
Gaelic football All-Ireland champions: Down; hurling champions: Wexford
British Open golf champion: Gary Player
US Masters golf champion: Bob Goalby
US Open golf champion: Lee Trevino
USPGA golf champion: Julius Boros
Rugby league Challenge Cup final: Leeds 11 Wakefield Trinity 10
Wimbledon men’s singles tennis champion: Rod Laver
Wimbledon ladies’ singles tennis champion: Billie Jean King
The Aintree Grand National steeplechase winner: Red Alligator
The Epsom Derby winner: Sir Ivor
The European Championship soccer final: Italy 2 Yugoslavia 0

1968 songs extract from the book 'A Pop Revolution'

The best 10 songs of 1968? from 'A Pop Revolution'

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533
Build Me Up Buttercup by The Foundations
Having enjoyed a marvellous chart-topper in 1967 with ‘Baby, Now That I’ve Found You’, the Foundations journeyed up the hit parade again with the toe-tapper ‘Build Me Up Buttercup’. It still deservedly receives airplay many decades later, a testimony to its timeless impact. Although this single climbed to the top spot on the US Cashbox chart in early 1969, the Foundations did not build upon the foundations of this commercial triumph.

Burning Of The Midnight Lamp by The Jimi Hendrix Experience
“Loneliness is such a drag” wailed Hendrix on this remarkable track from the double album ‘Electric Ladyland’. Here the guitar virtuoso treats us to some wah-wah guitar, and throw in the harpsichord plus the rhythm of Mitch and Noel, and the outcome is pretty spectacular. It was such a pity that Hendrix would part company with Chas Chandler, and in time with his bass player and drummer too. Jimi never matched this excellence again. What a waste.

Can Blue Men Sing The Whites? by The Bonzo Dog Band
Having initially guested on the Beatles’ ‘Magical Mystery Tour’ film fiasco, the Bonzos were back in the limelight in 1968 with the suitably ludicrous ‘I’m The Urban Spaceman’. These urban spacemen also released an album entitled ‘The Doughnut In Granny’s Greenhouse’. This project included the spoof song which in its own weird way questioned whether English white boys should be singing the blues. It’s a frantic little number with guitar and harmonica to the fore. It’s worth checking out.

Crossroads by Cream
In-fighting amongst the trio’s rhythm section ensured that Cream would be a short-lived phenomenon. Before they bade their ‘fond’ farewells at the Royal Albert Hall, they weighed in with an outstanding live interpretation of Robert Johnson’s ‘Crossroads’. This must surely rank alongside ‘My Back Pages’ and ‘All Along The Watchtower’ as the best cover version of the decade. Take four minutes to bask in Eric Clapton on guitar and vocals here. It’s time well spent.

Lazy Sunday by The Small Faces
The cockney mods had really found their feet with the splendid ‘Ogden’s Nut Gone Flake’. The LP included this UK Number Two smash. It’s a real slice of joie de vivre from that artful dodger Steve Marriott, assisted by Ian McLagen on keyboards, bemoaning intolerant neighbours who have no time for ravers! The Small Faces were really starting to go places, but regrettably Marriott jumped ship, leaving les autres to form the Faces with Rod and Woody, a rock group-cum-drinking club.

Old Friends by Simon And Garfunkel
The old friends of Paul Simon and Art Garfunkel had spent enough time together that by the late ‘sixties, their old friendship was becoming strained. Before they took a prolonged leave of one another, they recorded their penultimate studio album, ‘Bookends’. The LP takes its name from the track ‘Old Friends’, a gentle, reflective piece with an orchestral arrangement thrown in. It may not be one of their toe-tappers, but this easy listening item is worth several listens.

Pictures Of Matchstick Men by Status Quo
Status Quo were the latest English male guitar group to emerge on planet pop. Their debut single was very much in keeping with its time, a slice of psychedelia which would be a far cry from much of their output in the rockin’ seventies. Francis Rossi for the time being was sporting a moustache and hadn’t yet reinvented himself as a good time rocker. He was however the lead vocalist on one of the best songs of its era, and that was more than good for starters.

Rainbow Valley by The Love Affair
Young Steve Ellis and his group helped themselves to a brilliant UK Number One with ‘Everlasting Love’. Although its follow-up, ‘Rainbow Valley’, failed to reach the ‘top of the pops’, it was a hugely commendable single. Ellis longs for the safe haven of Rainbow Valley accompanied by fine female vocals and a notable contribution from the brass section. Deservedly, this release found a place in the UK Top 5. It is without doubt among the best singles of not only 1968, but of all-time.

Set The Controls For The Heart Of The Sun by Pink Floyd
With the wayward genius of Syd Barrett beginning to lose his marbles on account of his acid consumption, the other three were resigned to having to cut their umbilical cord and go it alone without the charismatic Syd. Recruiting new guitarist, Dave Gilmour, they opted for space rock on ‘Set The Controls For The Heart Of The Sun’. This was one of the first occasions when Roger Waters took over songwriting duties. The result was sufficiently impressive to encourage him to write more tunes.

The Way Young Lovers Do by Van Morrison
Van the man served his musical apprenticeship with Them who were welcome visitors to the airwaves with the likes of ‘Here Comes The Night’. Belfast’s most famous singer then chose to go it alone and came forth with a remarkable eight-track album entitled ‘Astral Weeks’. Although this project was something of an acquired taste, it did possess this obscure gem which, assisted by an excellent horns accompaniment, was a bit more energetic than most of the other laid-back tunes on the LP.

1967 album extract from the book 'A Pop Revolution'

The best album of 1967? from 'A Pop Revolution'

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533
Are You Experienced
by The Jimi Hendrix Experience
peaked in the UK charts at No.2
peaked in the US charts at No.5
produced by Chas Chandler
released in May
James Hendrix was languishing in New York, going nowhere slowly, when ex-Animals’ guitarist Chas Chandler chanced upon him and correctly identified Hendrix as a prodigious talent who was wasting himself. Chandler persuaded the talented left-handed axeman to flee his native land and find fame in the UK. In the winter of 1966/7, word began to spread amongst the chattering classes of London town about this extraordinary guitarist. Paul McCartney and Eric Clapton were two such high-profile champions of Hendrix and it therefore came as little surprise when Jimi and his two excellent sidekicks, Mitch Mitchell and Noel Redding, began a successful incursion of the airwaves in early 1967. During the course of this year, Hendrix and his Experience would offload two albums of startling sounds upon the British (and eventually American) public. ‘Axis: Bold As Love’ has its merits, but I believe ‘Are You Experienced’ lays a credible claim to being the best debut album ever. Herein however lay a problem for Hendrix. Had he peaked too soon? Could he maintain this formidable sound? Would he have to reinvent himself to stay ahead of the chasing pack?   Whatever considerations played upon his drugged mind, 1967 was regrettably his creative peak, even if ‘Electric Ladyland’ possesses a handful of jaw-dropping tracks. As for the debut album, Hendrix and his very competent rhythm section proceed to unleash a series of raw power chords that no-one had been prepared for. Are You Experienced? The listener was not, though Cream, Jeff Beck, and the Who were also in the vanguard of laying the foundations for what has become known as ‘rock music’. Hendrix and his first album were certainly foremost in providing a heavy alternative to the lighter, easy listening sounds of pop music. Generation gaps were well and truly pronounced now as the youth tuned in to guitar feedback and their elders pined for the return of the Shadows. Popular music had clearly come a long way. Was it only two years earlier that groups adorning Moptops and suits, and aping the Mersey sound were in vogue? Not for nothing did Hendrix exclaim in ‘Third Stone From The Sun’ that “but then you’ll never hear surf music again”. This wasn’t strictly true but what Hendrix was suggesting was that he and his Experience were flying their freak flag and ushering new sounds which challenged the traditional teeny pop music which had run its course. If ever the popular music scene was undergoing a transformation, it was here on this vinyl. ‘Fire’ highlighted Jimi’s sense of humour whilst the title track underpinned the playfulness of a shy man who paradoxically had copious female conquests. Even an impressed Clapton felt obliged to grow his own Hendrix afro. For a while, Hendrix was the talk of the town. However, rock music is a dangerous pastime, and Jimi was out of the game permanently in September 1970.
The album’s best song?
Third Stone From The Sun

SPORT IN 1967
English Division One soccer champions: Manchester United
English FA Cup final: Tottenham Hotspur 2 Chelsea 1
English League Cup winners: Queen’s Park Rangers
Scottish Division One soccer champions: Glasgow Celtic
Scottish FA Cup final: Glasgow Celtic 2 Aberdeen 0
Scottish League Cup winners: Glasgow Celtic
Irish League soccer champions: Glentoran; Irish Cup winners: Crusaders
League Of Ireland soccer champions: Dundalk; cup winners: Shamrock Rovers
European Cup final: Glasgow Celtic 2 Inter Milan 1
European Cup-Winners’ Cup final: Bayern Munich 1 Glasgow Rangers 0
European Fairs’ Cup final: Dynamo Zagreb beat Leeds United 2-0 on aggregate
English county cricket champions: Yorkshire
Five Nations’ rugby union champions: France
Formula One world drivers’ champion: Denny Hulme
Gaelic football All-Ireland champions: Galway; hurling champions: Kilkenny
British Open golf champion: Roberto De Vicenzo
US Masters golf champion: Gay Brewer
US Open golf champion: Jack Nicklaus
USPGA golf champion: Don January
Rugby league Challenge Cup final: Featherstone Rovers 17 Barrow 12
Wimbledon men’s singles tennis champion: John Newcombe
Wimbledon ladies’ singles tennis champion: Billie Jean King
The Aintree Grand National steeplechase winner: Foinavon
The Epsom Derby winner: Royal Palace
The Ryder Cup: USA 23.5 Great Britain & Ireland 8.5

1967 songs extract from the book 'A Pop Revolution'

The best songs of 1967? from 'A Pop Revolution'

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533
  
THE BEST 10 SONGS OF 1967?
Death Of A Clown by Dave Davies
Having previously treated the airwaves to the superb ‘Waterloo Sunset’, Dave Davies emerged from the shadow of his brother Ray and the other Kinks to briefly fly solo on this delightful ditty. He followed up the success of this release with another admirable single, ‘Susannah’s Still Alive’ before returning to further Kinks projects. Anyhow, let’s all drink to this UK Top 3 hit with its la-la-la backing vocals.
Don’t Sleep In The Subway by Petula Clark
‘Downtown’ is undoubtedly Petula’s best-known song. It even reached the coveted Number One position on the US Billboard and Cashbox singles charts. However, I have a liking for this relatively minor hit. Petula Clark may have delivered a number of strong-selling singles, but her vocals and the musical accompaniment on this particular recording are worthy of repeated listens.
007 by Desmond Dekker And The Aces
Desmond Dekker was the first male Jamaican singing sensation to find international popularity. This recording may have been viewed in some quarters as something of a novelty song, but more hits followed. In this track Dekker makes reference to the rude boys of the shanty town. These were Jamaican gangsters whose deeds inspired some of the material at this time in Jamaica where the craze of blue beat and ska was in fashion. It also found a willing audience amongst inner-city Britain.
Excerpt From A Teenage Opera by Keith West
It wasn’t exactly an opera song, though the subject matter was something of a soap opera as folks ponder the absence of the once-reliable grocer Jack. As we discover that poor old Jack’s delivery days are over, we are treated to a wondrous tune. The backing vocals of the children would have attracted a young audience, but this single proved popular amongst the older age group who appreciated the strings of this unusual ballad. This was definitely one of the 1960s’ best novelty records.
Let’s Go To San Francisco by The Flower Pot Men
San Francisco was the happening place to be in 1967 as numerous flower people made pilgrimages to Haight-Ashbury to bask in the sunshine, the sea, the sounds, and the substances. The Flower Pot Men were one-hit wonders but they did leave the legacy of this fine museum piece from the ‘summer of love’. Scott McKenzie and the Animals had also paid homage to San Francisco in their song titles, as the west coast of the USA became the Mecca for all self-respecting hippies.
Light My Fire by The Doors
The Doors eclipsed both the Beach Boys and the Byrds in 1967 as the leading act from the west coast of the USA. They hit the ground running with a memorable debut album that featured the psychotic ‘The End’ as well as this lighter item. Ray Manzarek’s keyboards are an absolute joy here as the charismatic Jim Morrison remains sufficiently sober to get playful. Hereafter Jim’s behaviour would become erratic, but quality tunes continued to be delivered until his death in 1971.
Massachusetts (The Lights Went Out In) by The Bee Gees 
Whilst other citizens of pop world were thinking about San Francisco, the Bee Gees were singing of a location on the opposite coast. A decade before they became the premier disco act, the Gibb brothers were issuing this two and a half minute piece of melancholy. Record buyers were suitably impressed by the orchestral arrangement and the vocals of this release to reward these new singing sensations with a British chart-topper. The USA were yet to be convinced.
She’s A Rainbow by The Rolling Stones
1967 has been described as an ‘annus horribilis’ for the strolling ruins as they fell foul of the law and fell out with one another. Ultimately Brian, Keef, and Mick narrowly escaped porridge, but they didn’t escape widespread scorn when they attempted their very own ‘Pepper’ album. The result was the sorely under-rated ‘Their Satanic Majesties Request’. This LP featured the delightful ‘She’s A Rainbow’. Assisted by the piano, this was a colourful psychedelic Stones track.
Somethin’ Stupid by Nancy Sinatra And Frank Sinatra 
The Sinatras had been regular visitors to the Transatlantic charts in recent times, and each had enjoyed a Number One single in 1966. In fact they spent the turn of the year competing against one another in the midst of the Billboard’s Top 10. Now at last, father and daughter joined ranks with this easy listening piece which predictably climbed to the top of the pop listings. It was a unique achievement for a family get-together. Maybe it inspired the Jacksons and the Osmonds.
Within You, Without You by The Beatles
George Harrison was among the first western pop artists to embrace the eastern sounds as demonstrated by the likes of India’s sitar man, Ravi Shankar. Harrison brought this influence into his own compositions. A number of Asian instruments were drafted into the likes of John Lennon’s ‘Strawberry Fields Forever’ and George’s offering for the Pepper album, ‘Within You Without You’. This five-minute wonder is a strong contender for the album’s best song.

1966 album extract from the book 'A Pop Revolution'

The best album of 1966? from 'A Pop Revolution'

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533
Pet Sounds by The Beach Boys
peaked in the UK charts at No.2; peaked in the US charts at No.10
produced by Brian Wilson; released in May
Beach Boy chief composer Brian Wilson and Paul McCartney were not only born two days apart in 1942, but they were a mutual appreciation society. Wilson cites the Beatles’ ground-breaking ‘Rubber Soul’ (born in December 1965) as a huge influence upon the development of ‘Pet Sounds’. McCartney, by the same token, attributes ‘Pet Sounds’ as equally important upon the recording of Sergeant Pepper. Wilson, it has to be remembered, was in the contradictory position of being within a group but at the same time he had to go it alone in terms of finding material that would challenge the British invasion of 1964 and 1965. This was a large burden for the fragile Wilson to shoulder but for a couple of years anyway, he was more than equal to the task at providing America’s belated response to the Beatles, Stones, and Kinks, amongst others. In the event, Wilson took the risky step of forsaking the Beach Boys’ tried and trusted formula of surfing songs and pop songs about cars which largely appealed to an alpha male psyche. Instead, he hired the finest session musicians and a lyricist called Tony Asher and decided to build a cycle of songs which effectively amounted to a teenage soap opera, exploring emotions such as hope and despair which all adolescents could relate to. Whilst the boys were on the road, Wilson retreated to the safe haven of his home (and eventually his bedroom) and in the mean time knocked out a dozen tracks which took the rest of the group by surprise when they returned from touring. Reception was generally favourable though a non-plussed Mike Love (Wilson’s erstwhile co-writer) urged Wilson to jettison this ‘ego music’ and stick to the winning formula. Wilson was not to be deterred, even if Capitol Records also raised their eyebrows at an album that in their commercial minds strayed too far away from mass appeal. With Capitol Records not providing the marketing muscle that Wilson had hoped for and indeed undermining the album’s sales potential by hastening to issue a Best Of compilation which deflected attention and sales away, ‘Pet Sounds’ found a more sympathetic audience in the UK, no doubt helped by lavish praise from media mouthpiece Andrew Loog Oldham and PR guru Derek Taylor who each pushed the line that Brian was a genius and that ‘Pet Sounds’ was the greatest album imaginable. Buoyed by this partial success, Wilson scaled new heights with ‘Good Vibrations’ but then got dizzy in more ways than one as his ‘Smile’ project threatened to achieve world domination, only for an increasingly unhinged Wilson to pull the plug on that remarkable enterprise. ‘Pet Sounds’ features beautiful harmonies from the boys, beautiful strings and musicianship, but it was effectively a Brian Wilson solo album and showcased his own production expertise. It still sits deservedly in lofty positions in ‘Greatest Album Ever’ polls.
The album’s best song?
Don’t Talk (Put Your Head On My Shoulder)
SPORT IN 1966
English Division One soccer champions: Liverpool
English FA Cup final: Everton 3 Sheffield Wednesday 2
English League Cup winners: West Bromwich Albion
Scottish Division One soccer champions: Glasgow Celtic
Scottish FA Cup final: Glasgow Rangers 1 Glasgow Celtic 0
Scottish League Cup winners: Glasgow Celtic
Irish League soccer champions: Linfield; Irish Cup winners: Glentoran
League Of Ireland soccer champions: Waterford; cup winners: Shamrock Rovers
European Cup final: Real Madrid 2 Partizan Belgrade 1
European CupWinners’ Cup final: Borussia Dortmund 2 Liverpool 1
European Fairs’ Cup final: Barcelona beat Real Zaragoza 4-3 on aggregate
English county cricket champions: Yorkshire
Five Nations’ rugby union champions: Wales
Formula One world drivers’ champion: Jack Brabham
Gaelic football All-Ireland champions: Galway; hurling champions: Cork
British Open golf champion: Jack Nicklaus
US Masters golf champion: Jack Nicklaus
US Open golf champion: Billy Casper Junior
USPGA golf champion: Al Geiberger
Rugby league Challenge Cup final: St Helens 21 Wigan 2
Wimbledon men’s singles tennis champion: Manuel Santana
Wimbledon ladies’ singles tennis champion: Billie Jean King
The Aintree Grand National steeplechase winner: Anglo
The Epsom Derby winner:Charlottown
World Cup soccer final: England 4 West Germany 2

1966 songs extract from the book 'A Pop Revolution'

  
http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

THE BEST 10 SONGS OF 1966?
Dedicated Follower Of Fashion by The Kinks
Ray Davies emerged as one of the most respected songwriters of his generation as his compositions were an observation of the state of the UK, from the down-at-heel ‘Dead End Street’ to the nouveau riche lamenting a ‘Sunny Afternoon’. Then of course there was this satirical swipe at the dandies and fashionistas who were making pilgrimage to London’s Carnaby Street. Like many of their contemporaries, the Kinks were travelling away from frantic origins towards something more thoughtful.
Distant Drums by Jim Reeves
Once upon a time, air travel was the tragic undoing of many a talented globetrotter. Jim Reeves succumbed to an early grave, courtesy of an aeroplane crash on July the 31st 1964. His wife still ensured that Jim’s esteemed repertoire would continue to surface beyond his untimely demise. ‘Distant Drums’ was his most successful posthumous smash hit, as it conquered the UK singles chart in the late summer of 1966.
Gimme Some Lovin’ by The Spencer Davis Group
The teenage Stevie Winwood raised the roof with an engaging uptempo number which stands favourable comparison with any dance song that emanated from the swinging ‘sixties. This track was notable for its intro and the fabulous organ sound. Remarkably, it failed narrowly to reach the UK singles summit, though it perhaps was more deserving of this lofty position than the group’s two recent chart-toppers, ‘Keep On Running’ and ‘Somebody Help Me’.
Go Where You Wanna Go by The Mamas And The Papas
Vocal harmonies rarely sounded better than they did when this mixed gender quartet combined so well in the recording studio. Whilst Michelle was sacked and then reinstated on account of her infidelity, the group still thrived in spite of the disharmony. Along with the hit single ‘I Saw Her Again’, this album track was amongst the very best pop songs of 1966.
Last Train To Clarksville by The Monkees
After the Beatles had conquered the United States with both their breezy pop music and their cheeky charm, imitators were sought. In the event, four Beatles clones were found in the guise of the Monkees. Critics may have scoffed at their lack of musical prowess and the fact that they had to rely on other songwriters, nevertheless this new fab four thrilled their teenage followers with such catchy tunes as the guitardecorated ‘Last Train To Clarksville’. Here began the latest stars.
Rainy Day Women Nos. 12 & 35 by Bob Dylan
Many Dylan aficionados take his music a bit too seriously, which is surprising, given that the great man was himself prone to a bit of humour. The album opener for the excellent ‘Blonde On Blonde’ project was one such case, in which Mr Zimmerman suggests “everybody must get stoned.” What, like the early Christian martyr Stephen? No, not exactly, one can safely deduce that this was a call to indulge in some marijuana. This likeable, but rather oddball tune narrowly fell short of the US pop summit.
Reach Out, I’ll Be There by The Four Tops
Nobody can put a date on the origin of disco music, but I would venture that this fine product from Tamla Motown is one of the pioneering dancefloor classics of the 1960s. The Four Tops were one of the great North American singing groups of their era, alongside the Miracles and the Temptations. This danceable delight is undoubtedly the highlight of their career.
When A Man Loves A Woman by Percy Sledge
This release hit the top of the Billboard Hot 100, whilst in the UK, it journeyed into the Top 10 in 1966 and again in 1987 when another retro item, Ben E King’s ‘Stand By Me’ kept it away from the Number One spot. Sledge’s singing is a wonder, assisted by good contributions from the organ and the backing vocalists. Regrettably, he failed to build upon this triumph.
Wild Thing by The Troggs
The Troggs not surprisingly found favour on both sides of the Atlantic with this tune which was something of a rock and pop crossover hit. There may have been only one Elvis, but there were two Presleys, including the group’s lead singer Reg. Jimi Hendrix was sufficiently impressed to cover this song at the Monterey Pop Festival just prior to setting fire to his guitar. The Troggs had a few big hits, including ‘Love Is All Around’ in the USA in 1968, though songwriting royalties from that record weren’t boosted until it was successfully covered in 1994 by Wet Wet Wet.
Wrapping Paper by Cream
They were well-named because the power trio of Ginger Baker, Jack Bruce, and Eric Clapton were the cream of the British blues scene. Their first single, ‘Wrapping Paper’, is by no means their best recording, but it is rather quaint and considerably better than Baker has suggested. The drummer scathingly regarded it as the worst song he had heard in his entire life, which may be attributed to his concern that it was the start of the Jack Bruce/Pete Brown songwriting axis.

1965 album extract from the book 'A Pop Revolution'

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533
Highway 61 Revisited by Bob Dylan;
peaked in the UK charts at No.4;
peaked in the US charts at No.3
produced by Bob Johnston
released in August
     This new offering from Mr Zimmerman was something of a watershed in a number of respects. Not only was Dylan incurring the wrath of Luddite folk music devotees by plugging his new tunes into electric sockets, but here arguably for the first time was an album of substance, carefully constructed, and thus historically it represented a new departure from the previous formula of artists hastily compiling a dozen filler material to complement the one or two ‘quality’ singles that featured on any given long player. ‘Highway 61 Revisited’, it can be claimed, heralds the dawning of a new genre: folk rock.
     No longer was Dylan and other folksters merely strumming protest songs on acoustic guitar, accompanied possibly by harmonica. Now folk music was, horror of horrors, selling its soul (in the eyes of some zealots) and embracing modern technology. Electric guitars, bass guitar, drums, and keyboards were all drafted in to complement the bard of the folk scene. A defiant Dylan merely responded to being called a “Judas” in mid-concert in Manchester by exhorting his group to “play f***ing louder” on their rendition of ‘Like A Rolling Stone’.
     Seminal track is an often overused description in popular music tomes, but scarcely a soul anywhere questions its suitability in relation to Dylan’s six-minute album opener which, unlike the other ten songs, was actually produced by Tom Wilson. Such indeed is the enduring appeal of ‘Like A Rolling Stone’ that music critic Greil Marcus was sufficiently moved to compose a whole publication on this one song.
     ‘Ballad Of A Thin Man’ follows a similar theme as the sixties’ leading songwriter sings once more of alienation and of being the outsider on the periphery, looking inside at the American dream. This was Generation X material, twenty years ahead of its time. Brian Jones, himself an increasingly peripheral figure in the Rolling Stones, was convinced that these two tracks in particular were a commentary on his state of mind. “How’s your paranoia meter?”, Dylan once famously asked Mr Jones. Was it pure coincidence that ‘Ballad Of A Thin Man’ contains the lyric “Something is happening here and you don’t know what it is/Do you, Mr Jones?” A credible case can be made that the subsequent ‘Blonde On Blonde’ project contains better songs, but Highway 61 Revisited is less patchy, in spite of the presence of the lengthy ‘Desolation Row’. For the uninitiated, ‘From A Buick 6’, ‘It Takes A Lot To Laugh, It Takes A Train To Cry’, and ‘Queen Jane Approximately’ are gems waiting to be unearthed. Bob Dylan was emphatically laying down a marker that he was the leading spokesperson for the new generation that viewed the Establishment with disdain and suspicion. Dylan remained an enigma thereafter, allowing his constant flow of product to speak on his behalf. The quality of his output may have varied through time, but Dylan’s status as the main man of the 1960s’ music scene was cemented by this LP.
The album’s best song? Like A Rolling Stone
SPORT IN 1965
English Division One soccer champions: Manchester United
English FA Cup final: Liverpool 2 Leeds United 1
English League Cup winners: Chelsea
Scottish Division One soccer champions: Kilmarnock
Scottish FA Cup final: Glasgow Celtic 3 Dunfermline Athletic 2
Scottish League Cup winners: Glasgow Celtic
Irish League soccer champions: Derry City; Irish Cup winners: Coleraine
League Of Ireland soccer champions: Drumcondra; cup winners: Shamrock Rovers
European Cup final: Inter Milan 1 Benfica 0
European CupWinners’ Cup final: West Ham United 2 Munich 1860 0
European Fairs’ Cup final: Ferencvaros 1 Juventus 0
English county cricket champions: Worcestershire
Five Nations’ rugby union champions: Wales (triple crown)
Formula One world drivers’ champion: Jim Clark
Gaelic football All-Ireland champions: Galway; hurling champions: Tipperary
British Open golf champion: Peter Thomson
US Masters golf champion: Jack Nicklaus
US Open golf champion: Gary Player
USPGA golf champion: Dave Marr
Rugby league Challenge Cup final: Wigan 20 Hunslet 16
Wimbledon men’s singles tennis champion: Roy Emerson
Wimbledon ladies’ singles tennis champion: Margaret Smith
The Aintree Grand National steeplechase winner: Jay Trump
The Epsom Derby winner: Sea Bird II
The Ryder Cup: Great Britain & Ireland 12.5 USA 19.5

1965 songs extract from the book 'A Pop Revolution' by the invisible man

 http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

THE BEST 10 SONGS OF 1965?
Goldfinger by Shirley Bassey
The welsh songbird had previously reached the UK pop summit with the double-A- side ‘I Reach For The Stars’ and ‘Climb Ev’ry Mountain’. However, her singing career is best remembered for her association with the James Bond movie themes. The prime example is ‘Goldfinger’ which briefly invaded the US Top 10. This film is frequently cited as arguably the best 007 movie, and one could easily presume that Bassey’s outstanding vocals were the ideal curtain-raiser for the subsequent action.

In My Life by The Beatles
As the Beatles started to mature into performers of a more sophisticated pop, as exemplified on their ‘Rubber Soul’ album, so John Lennon himself penned a love song which was a far cry from the jolly, uptempo material of the Mersey sound. ‘In My Life’ is presumably a tribute to his first wife, Cynthia, but it is also a gentle, sentimental look back at the people and places who had shaped Lennon’s upbringing.

Make It Easy On Yourself by The Walker Brothers
They weren’t brothers, and none of them was actually called Walker, but this trio stepped forth to deliver vocal performances which found favour with the British record-buying public. Here, the guys were reminding a jilted lover that breaking up is so very hard to do. This wasn’t exactly a happy-go-lucky 45, but this melodrama nevertheless deservedly climbed to the top of the tree in the UK singles chart.

Mr. Tambourine Man by The Byrds
Session musicians were drafted in for this recording and only Jim McGuinn actually played his guitar on this memorable track. Even though the Byrds were merely relegated to harmonies on this smash hit, they were greatly encouraged by its favourable reception. Bob Dylan couldn’t complain either, as here was the first prominent occasion when others dipped into his repertoire and reaped the benefits. The Byrds would continue to do justice to a number of Dylan tunes.

My Generation by The Who
This became one of the great anthems for the emerging mods’ movement, as young folk turned onto Pete Townshend’s lyrics which correctly observed that there was a yawning generation gap between the mod upstarts and their war-hardened parents. This song is notable for Roger Daltrey’s deliberate stuttering and Keith Moon’s characteristically energetic drum sound. The disenfranchised youth may have been largely inarticulate, but here Townshend was acting as their spokesperson.

Stop! In The Name Of Love by The Supremes
The Supremes had a hugely successful 1965 as they cemented their position as the world’s best girl group. ‘Stop! In The Name Of Love’ ranks among their very best recordings and was one of five successive Number One singles on the Billboard Hot 100. Diana, Florence, and Mary had come a long way since their inner-city origins, and now they were the flagship act for Detroit’s highly influential Tamla Motown record company.

Tears by Ken Dodd
Ken Dodd was an unlikely chart-topper, but his tear-jerker was actually one of the biggest-selling singles in the UK in 1965. This year witnessed a number of sad songs which proved surprisingly popular with record-buyers, such as ‘Go Now’, ‘The Minute You’re Gone’, and ‘The Carnival Is Over’. However it was the toothy comedian Dodd who emerged with the most successful of them all. He was sufficiently tickled pink by ‘Tears’ to issue a follow-up entitled ‘The River’.

Unchained Melody by The Righteous Brothers
Bobby Hatfield and Bill Medley built upon the foundations of the outstanding ‘You’ve Lost That Lovin’ Feeling’ with an impressive attempt at the ‘fifties ballad ‘Unchained Melody’. The musical accompaniment was suitably tremendous as the ‘brothers’ found themselves back in the US Top 10. It took the UK a further quarter of a century to appreciate this item when it was belatedly rewarded with a British Number One.

Where Are You Now My Love by Jackie Trent
Cilla Black, Petula Clark, Sandie Shaw, and Dusty Springfield were all reminders that the hit parade was not just a playground for young males. However, perhaps the best British-made single in 1965 from a female artist was this offering. Jackie Trent is ably assisted by a piano as she pines for a lost love. More big-selling singles should have followed.

You’re So Good To Me by The Beach Boys
In the previous year, Brian Wilson quit touring to concentrate on composing and recording new material. This peculiar decision paid dividends as the Beach Boys’ leading songwriter started to branch out with tunes that were on a superior level to most of the other stuff floating on planet pop. ‘You’re So Good To Me’, a prime cut from the ‘Summer Days (And Summer Nights)’ album is one such shining example. Here again, the group’s harmonies excel themselves, inspired by the Four Freshmen. The Beach Boys were in some respects the prototype boy band.

Introduction to the reference book 'A Pop Revolution'

http://www.amazon.co.uk/Pop-Revolution-Transatlantic-Music-Scene/dp/0956272533

          The latter half of the 1960s represented a revolution both in popular music and also socially. As well as being a period of unabated Cold War tension, as demonstrated by the escalating conflict in Vietnam, and aside from the tremendous social upheaval characterised by the emergence of the permissive society, not to mention the economic instability exacerbated by the perpetual cycle of boom and bust, the late ‘sixties was an era that witnessed growing strife that spilled onto the streets and manifested itself in student protests and antiwar riots. There was moreover much upheaval in the world of ‘pop’ which found itself undergoing a number of transformations.
          In the first instance, 1965 to 1969 saw the birth of the album as an art form of some substance, whereas before LPs were neither intended nor regarded to be of enduring appeal. Now, more and more performers were committing due care and attention in the pursuit of a long player which would attract positive reviews from critics and stand the test of time. Furthermore, whereas before musicians regarded themselves or were indeed viewed as merely entertainers, they now saw themselves and wished to be projected as artists and not just performers. They now felt that they had something meaningful to say and thus felt the need to commit their observations onto record as they made their very own ‘state of the nation’ musical statements. As well as stepping away from a previous stance of being apolitical or apathetic, the new generation of performers or artists regarded themselves as spokespersons for the youth and the standardbearers of the developing subculture in which adolescents and teenagers campaigned for the need to ‘make love, not war’. All of this was anathema of course to the older generation and in hindsight it all smacked of gross naivety, the youthful feeling that they could conquer a world of cynicism with their very own ideals of peace and love.
          However, two major problems arose. First of all, when the forces of the Establishment feel threatened, they soon regroup and channel their energies to snuff out the potential insurrection. There have been many successful revolutions in world history, but what is rarely recorded is the fact there have been a great deal more that failed and were often mercilessly curtailed at their outset. Therefore, “if history has taught us anything” (to quote Michael Corleone) it is that the odds of confronting the established order and winning are rather slim, in spite of the spectaculars of 1776, 1789, or 1917. Therefore, it is easy with hindsight to see how the burgeoning youth subculture of the late sixties was doomed to failure. Was it a complete failure? No, there were many liberal social reforms such as equality for women and protecting the rights of minorities which eventually found their way into law. However, although a new generation of politicians such as Bill Clinton and Tony Blair owed their formative years to the influence of the sixties’ youth revolution, this same era still spawned a conservative reaction which culminated in the election and re-election of Nixon and Reagan in the USA and Mrs Thatcher in Britain. If the agents of change in the latter part of the ‘sixties were urging reform, well the electorate in their respective countries clearly had other ideas.
          Also ominous to the successful prosecution of the hippie campaign for love and peace was the substantial amounts of illegal and dangerous substances which many of the protagonists experimented with. It is true that the great artists of this era owed some of their creativity to the stimulus of LSD and of marijuana, but such was the implosion of the flower power generation at the ill-fated Altamont festival in December 1969 that the naive optimism of Woodstock four months earlier was already but a pipedream. If you want to challenge the Establishment, it is best to do so with a clear head, and minds that were afflicted with all manner of substances was clearly not the way to do it.
          Meanwhile back on planet pop, another transformation was taking place, alongside the emergence of the album as an art form. Now, the artists were promoting their new genre, known as rock, by means of relentless touring and festival appearances. Yes, the epoch from 1965 to the end of the decade witnessed the rise of the great outdoor festival as a new social gathering in which thousands would come into the sun (in theory) to pay homage to their new heroes. Speaking of heroes, this was the period which also gave birth to the guitar hero. No longer was a guitarist a smiling accomplice who lurked innocently in the background. Now guitarists were often viewed at least on a par with the lead vocalist. Eric Clapton, Jeff Beck, Peter Green, Jimi Hendrix, Pete Townshend, Jimmy Page, and Keith Richards were seven such axemen who were held in the kind of esteem that was previously reserved for singers only. Even drummers were not to be left behind. Ginger Baker, Keith Moon, Mitch Mitchell, and later John Bonham were celebrated drummers whose presence and histrionics on stage by itself would warrant sell-out crowds. This was clearly the age of the musician, as well as the era of the album. Rock music was clearly on a journey far from its origins. It would have been inconceivable a decade earlier that the crooners, balladeers, and skiffle merchants were igniting the runaway train of rock. Rock itself would branch out in due course into heavy metal, punk, and grunge. Other forms of music appeared for the first time during the metamorphosis in popular music of 1965 to 1969, most notably Britain’s importation of Jamaican ska and rock steady which between them paved the way for the growth of reggae in the 1970s.
          Were the years from 1965 to the end of the decade a pop revolution? You bet your life, they were. Even artists and their streetwise managers belatedly started to flex their muscles after having had rings run around them by record companies and concert promoters. Rock musicians were slowly starting to wake up to the fact that music was a dog eat dog business and henceforth they were resolved to assert themselves in recording contracts too.
          Robin Williams once quipped that “If you remember the ‘sixties, you weren’t there”. This assembly of facts, assessment, and assorted observations is both intended as a companion for those who were there and those who weren’t.

1979 in 'An Essential Guide To Music In The 1970s'

http://www.amazon.co.uk/Essential-Guide-Music-1970s/dp/0955575656
                         The song of the month for January 1979
                         Heart Of Glass by Blondie (peak chart position: No.1)
Experienced pop music producer Mike Chapman dragged the Blondie group kicking and screaming away from their punk origins and into the mainstream where their own brand of new wave rock would be sufficiently attractive to ensure commercial success. The group’s finest triumph indeed came courtesy of a disco-influenced track which could be used as dance floor material. ‘Heart Of Glass’ wasn’t a typical Blondie tune, but as the group started to branch out into new sounds, there became no such thing as a typical Blondie tune.

                         The song of the month for February 1979
                         Chiquitita by Abba (peak chart position: No.2)
By Abba’s very high standards, ‘Chiquitita’ was an abysmal failure, only managing to reach a dismal Number Two in the British singles lists! In fact, pop charts are rarely an accurate barometer of quality so it is possible to argue that this marvellous melodrama is actually superior to some of the fab four’s chart-toppers. The tragic ‘Chiquitita’ would at least provide extra funds for UNICEF as the group donated its royalties to this children’s charity. The talented quartet remained regular visitors to the top of the pops for another 2 years.

                         The song of the month for March 1979
                         Bright Eyes by Art Garfunkel (peak chart position: No.1)
The man with the supremely beautiful voice proved that there was life after Simon when he enjoyed two British Number One successes in the 1970s. Whilst ‘I Only Have Eyes For You’ is a superb love song, ‘Bright Eyes’ was a mini-epic which finished the year as the UK’s biggest-selling single. Composed by the songwriter Mike Batt, this single was associated with the animated ‘Watership Down’ movie. The music was first class, the singing was of the highest quality and the video with the rabbits was compulsive viewing. It was scarcely a surprise therefore that this recording occupied the British pop summit for six weeks in the spring of 1979.

                         The song of the month for April 1979
                         Dance Away by Roxy Music (peak chart position: No.2)
Whilst Britain coped with another general election campaign on the back of a ‘winter of discontent’, Roxy Music returned to form with their very own ‘Manifesto’. The ‘Manifesto’ included the Top Five smashes ‘Angel Eyes’ and the outstanding ‘Dance Away’. The latter was sung from the point of view of a poor soul who finds no alternative but to close his “eyes and dance ‘til dawn” as a means of escaping personal heartache. This hit ought to be short-listed for the song of the year, while Roxy Music’s ‘Manifesto’ would have won my vote.

                         The song of the month for May 1979
                         I Fought The Law by The Clash (peak chart position: No.22)
Bracing themselves for the harsh medicine of the new Thatcher administration, the Clash released the ‘Cost Of Living’ extended player. The song which was afforded most exposure from this 45 was the band’s cover of ‘I Fought The Law’, performed originally by Bobby Fuller. They may not have had to break rocks in the hot sun, but the anti-establishment Clash had fallen foul of the law at various times, so the song title was apt. 1979 culminated in the group’s release of the ‘London Calling’ double album to universal acclaim.

                         The song of the month for June 1979
                         C’mon Everybody by The Sex Pistols (peak chart position: No.3)
Once his mate Johnny sloped off to form his own Public Image Limited, the loose cannon that was Sid Vicious was left to his own self-destructive devices. Before long he would be accused of having murdered his girlfriend, Nancy Spungen, and then the tragic fool died of a drugs overdose. In loving memory of Sid (or more likely to capitalise on ‘The Great Rock ‘N’ Roll Swindle’ movie), a number of Sid karaoke classics climbed the British charts. Chief among them was a terrific rendition of Eddie Cochran’s ‘C’mon Everybody’.

                         The song of the month for July 1979
                         Gangsters by The Specials (peak chart position: No.6)
As punk rock subsided, a new multi-racial dance craze from the English Midlands filled the vacuum. The main protagonists were the special septet, the Specials. Coventry’s finest hit the ground running when their first release on their own ‘Two Tone’ record label advanced into the UK Top Ten. The group had previously toured as support for the Clash, so they were familiar with the machinations of Clash manager, Bernie Rhodes. As a result, ‘Gangsters’ contained the tongue-in-cheek lyrics of “Bernie Rhodes knows; don’t argue.”

                         The song of the month for August 1979
                         I Can’t Help It by Michael Jackson (album track)
Michael Jackson finally cut off the family umbilical cord to pursue his own musical path and made the best possible start with the Quincy Jones-produced ‘Off The Wall’. This album would have been hailed as one of North America’s finest long players were it not for the success of its successors, ‘Thriller’ and ‘Bad’. Nevertheless ‘Off The Wall’ is overflowing with exquisite cuts. The title track and ‘She’s Out Of My Life’ are two such musical wonders, but one of the great hidden jewels of planet pop is Jackson’s attempt at Stevie Wonder’s ‘I Can’t Help It’. Michael sings of “like a trip to Heaven” and when you hear the accompanying strings, you know precisely what he means. This is a truly beautiful song from a brilliant singer but odd individual.

                         The song of the month for September 1979
                         Video Killed The Radio Star by Buggles (peak chart position: No.1)
Island Records had been sponsors of a plethora of reggae, rock, and even punk artists who contributed many seminal performances to the charts, but it took the unusual source of Buggles to provide Chris Blackwell’s company with their first British Number One. Blackwell was aghast when Trevor Horn explained that he had named his group after his dog. ‘Video Killed The Radio Star’ wasn’t necessarily realised, but MTV cheekily used the video of this great pop song as its first-ever broadcast video. I was always keen on the group’s follow-up, ‘Plastic Age’, but Trevor Horn would later find further fame as the producer of Frankie Goes To Hollywood.

                         The song of the month for October 1979
                         On My Radio by The Selecter (peak chart position: No.8)
The Selecter had enjoyed a previous outing when their self-titled instrumental comprised the flip side of the spongy ska of ‘Gangsters’ by their stable mates, the Specials. This time around the group released their own single, complete with Pauline Black’s lead vocals. ‘On My Radio’ wailed about the same old songs on the airwaves, but here was a new treat for the youth generation to feast themselves on. The Selecter never really built on the success of this fine debut, and by 1981 they were going their separate ways.

                         The song of the month for November 1979
                         One Step Beyond by Madness (peak chart position: No.7)
Madness had previously dipped their toes in the Top Twenty with ‘The Prince’ which was a tribute to the Jamaican ska legend, Prince Buster. This time around the crazy north Londoners thrilled all and sundry with their ‘One Step Beyond’ instrumental. The recording was dominated by the saxophone of Lee Thompson, while the accompanying video displays the choreography of the nutty dance. Carl Smyth (then called Chas Smash) introduces the song and its “heavy heavy monster sound.” Here was a new group on the brink of fame.

                         The song of the month for December 1979
                         Sara by Fleetwood Mac (peak chart position: No.37)
Sara only just sneaked into the British Top 75 at the end of December but this was the highlight of Fleetwood Mac’s latest LP, the ambitious double album, ‘Tusk’. The great Stevie Nicks takes time out from her extra-curricular cocaine consumption to sing of “Drowning in the sea of love/ Where everyone would love to drown.” Gosh, drowning has never seemed so attractive. Mick Fleetwood weighs in with a tremendous rhythm while the backing harmonies only add to the majesty of this track. Here is one song that merits the word ‘classic’.
                         1979’s CONCERTS OF THE YEAR
Led Zeppelin made their first UK appearance in four years when they performed at the Knebworth music festival in August. It would be the last outings of the original four on their native soil. Meanwhile, a new stable of artists from the west Midlands and London were instigating a new dance craze, as the Specials, the Selecter, the Beat, and Madness were prompting youngsters to get rather dizzy from the sounds of ska. Another new outfit, the Pretenders, took to the road, with another combo, entitled UB40, acting as their support. The Clash too were up close and personal with concert-goers throughout the UK. Then, at the end of December, as a turbulent decade drew to a close, the likes of the Clash, the Pretenders, and the Specials joined three Zeppelins for a series of concerts at the Hammersmith Odeon to raise funds for the people of war-torn Kampuchea. The performances were dominated by characteristically show-stopping efforts from the Who and Queen. Rockpile and Wings weighed in with their contributions, while Paul McCartney assembled a hugely impressive Rockestra, consisting of some of the best musicians in the business. The Rockestra concept was almost certainly Band Aid ahead of its time. It was a noble means of bringing the curtain down on the 1970s, though it would not be long before Macca was back in the news headlines, but for all the wrong reasons.

                         1979’s ALBUM OF THE YEAR: Eat To The Beat by Blondie
                         (released in October; reached No.1 in the UK)
                                                           
‘Eat To The Beat’ boasted the world’s first accompanying video cassette. It also had the peculiar distinction of sharing the Number One position in the UK chart for one week with the Police. Above all, this was arguably Blondie’s best record, better even than ‘Parallel Lines’. The record ranged in style from the reggae of ‘Die Young Stay Pretty’ to the punk of ‘Living In The Real World’, from the mellow ‘Sound Asleep’ to the loud ‘Victor’. The most recognisable tracks were the hugely popular ‘Atomic’ (a subsequent UK chart-topper) and ‘Dreaming’, as well as the excellent ‘Union City Blue’ which mysteriously failed to reach the British Top Ten. Also worthy of respect are ‘Shayla’, ‘The Hardest Part’, and the outstanding ‘Slow Motion’. Any one of the latter three could have excelled itself in the singles listings. After this impressive offering, it is rather hard to believe that Deborah Harry and the gang would run out of gas two albums later.

                         SPORT IN 1979
English Division One football champions: Liverpool; runners-up: Nottingham Forest
English FA Cup final: Arsenal 3 Manchester United 2
English League Cup Final: Nottingham Forest 3 Southampton 2
Scottish Division One football champions: Glasgow Celtic; runners-up: Glasgow Rangers
Scottish FA Cup final: Glasgow Rangers 3 Hibernian 2 (in a replay)
Scottish League Cup final: Glasgow Rangers 2 Aberdeen 1
Irish League football champions: Linfield; Irish Cup final: Cliftonville 3 Portadown 2
League Of Ireland football champions: Dundalk; cup winners: Dundalk
European Cup final: Nottingham Forest 1 Malmo 0
European Cup-Winners’ Cup final: Barcelona 4 Fortuna Dusseldorf 3 (after extra time)
UEFA Cup final: Borussia Moenchengladbach beat Red Star Belgrade 2-1 on aggregate
English county cricket champions: Essex
Five Nations’ rugby union champions: Wales (six points); runners-up: France
Formula One world drivers’ champion: Jody Scheckter (South Africa) in a Ferrari car
Gaelic football All-Ireland champions: Kerry; runners-up: Dublin                       
British Open golf champion: Severiano Ballesteros (at Royal Lytham & St Annes)
US Masters golf champion: Fuzzy Zoeller
US Open golf champion: Hale Irwin
USPGA golf champion: David Graham
Rugby league Challenge Cup final: Widnes 12 Wakefield Trinity 3
Wimbledon men’s singles tennis final: B Borg beat R Tanner 6-7, 6-1, 3-6, 6-3, 6-4
Wimbledon ladies’ singles tennis final: M Navratilova beat C Evert-Lloyd 6-4 6-4
World snooker final: Terry Griffiths (Wales) beat Dennis Taylor (Northern Ireland) 24-16
The Aintree Grand National steeplechase winner: Rubstic; price 25-1
The Epsom Derby winner: Troy; jockey - Willie Carson; price 6-1
The Ryder Cup golf contest: United States 17 Europe 11

Extract from 'An Essential Guide To Music In The 1970s' by Johnny Zero

High-res →

http://www.amazon.co.uk/Essential-Guide-Music-1970s/dp/0955575656

                        The song of the month for January 1973
                         Blockbuster by The Sweet (peak chart position: No.1)
Glitter and platform shoes were very much to the fore when the Sweet stepped forth with the ultimate glam rock composition. Borrowing a remarkably similar guitar riff to David Bowie’s ‘The Jean Genie’, Brian Connolly and the gang thrilled the teenage market with this energetic piece. A siren was thrown in for good measure as this single went on to occupy Number One in the British charts for five weeks, until fellow rockers Slade dislodged them with the rabble-rousing ‘Cum On Feel The Noize’.

                         The song of the month for February 1973
                         Killing Me Softly With His Song by Roberta Flack (peak chart position: No.6)
This love song only had a brief flirtation with the UK Top Ten, but in the United States, ‘Killing Me Softly With His Song’ softly killed off all competitors as it sat on the summit of the Billboard listings for a commendable five weeks. While the Osmond family, the Jackson family, and glam rock dominated the British pop scene, the intrusion of Roberta Flack’s beautiful ballad upon the airwaves was a welcome distraction.

                         The song of the month for March 1973
                         The Great Gig In The Sky by Pink Floyd (album track)
If there was an accolade for the best album track of all time, then Rick Wright’s ’ The Great Gig In The Sky’ would be a front-runner. It is bizarrely ironic that whilst this piece concerns the taboo subject of death, many folk chose this item as a soundtrack for making love to, such is its orgasmic sound. This is due largely to the session singer Clare Torry who was asked to stand at the microphone and make some sort of vocal response to the music. She then wails and returns to the studio booth sheepishly and apologises for her efforts. The band however were hugely impressed, although less amused by her eventual claim for co-composing royalties.

                         The song of the month for April 1973
                         My Love by Wings (peak chart position: No.9)
Paul McCartney’s solo path fluctuated initially from the radical politics of ‘Give Ireland Back To The Irish’ to the ‘markedly different’ ‘Mary Had A Little Lamb’. Eventually Wings soared high when Macca recorded perhaps his best love song since ’Revolver’. John Lennon may have scoffed at McCartney’s muzak, but ‘My Love’ is a song of outstanding beauty and compares favourably with anything the Beatles ever released. Uncle Sam clearly agreed as Wings were rewarded with a Stateside chart-topper.

                         The song of the month for May 1973
                         Can The Can by Suzi Quatro (peak chart position: No.1)
American chick Suzi Quatro demonstrated that glam rock was not merely a boys’ game as she elbowed another glam outfit, Wizzard off the British pop summit. Quatro was a beneficiary of the hugely successful Chinn and Chapman songwriting partnership. With the production expertise of Mickie Most, Quatro was well on the way to success. Above all, Quatro’s high-pitched vocals and the drumbeat ensured a UK smash hit.

                         The song of the month for June 1973
                         Life On Mars by David Bowie (peak chart position: No.3)
This classic ‘seventies single had originally been recorded almost two years earlier for the seminal ‘Hunky Dory’ long player, but eventually non-album buyers were allowed the opportunity to purchase this four minute wonder. What may have confused many observers was that this was not a Ziggy Stardust song, but a more mellow item, which featured Rick Wakeman on piano. One thing was for certain: this Top Three marvel with its sailors fighting in the dance halls was not a “God-awful small affair.”

                         The song of the month for July 1973
                         Saturday Night’s Alright For Fighting by Elton John (peak chart position: No.7)
Recognising the fact that variety in your repertoire was the best means of sustaining a music career, Elton John drifted away from the tender ‘Your Song’ and the sensitive ‘Daniel’ in favour of a slice of alpha male musical machismo. Bernie Taupin supplied the rabble-rousing lyrics about the need to “get a belly full of beer” and Elton’s pumping piano and Davey Jonstone’s guitar did the raucous rest. This bar-room favourite was the first single from the ‘Goodbye Yellow Brick Road’ album. When it came to glam rock, Elton proved that he could cut it too.

                         The song of the month for August 1973
                         Angie by The Rolling Stones (peak chart position: No.5)
Although their musical career was beginning to take something of a nosedive, Mick and his associates could still offer the occasional gem. The ballad ‘Angie’ (possibly Angie Bowie) was proof of this. It may have dismayed some Stones followers who cared only for a constant diet of riffs, but this acoustic piece found favour in the United States where it peaked at Number One. This was the highlight of the new ‘Goat’s Head Soup’ project. Regrettably, the Stones started rolling downhill hereafter until the arrival of Ron Wood injected new life.

                         The song of the month for September 1973
                         Eye Level by Simon Park Orchestra (peak chart position: No.1)
From time to time British record-buyers are seduced by something ‘different’. The theme tune to the detective series ‘Van der Valk’ was one such piece of music that prompted droves of young and old to proceed to their local records retail outlet and invest in a wondrous little black plastic item called a ‘single’. This particular single had made an unsuccessful incursion into the  UK hit parade a year earlier, but eventually the Simon Park Orchestra re-appeared with a vengeance as their magical composition remained in the chart for 22 weeks.

                         The song of the month for October 1973
                         Hallelujah Time by The Wailers (album track)
This Bunny Livingstone (or Wailer) track was merely confined to Side One of the new ‘Burnin’ album. What a pity that many music aficionados have perhaps not yet familiarised themselves with it. Bunny Wailer had a supremely beautiful voice and this soulful, spiritual offering is a joy to listen to. ‘Burnin’ was the Wailers’ second assignment for Island Records but it would also bring the curtain down on the ace trio of Bob, Bunny, and Peter Tosh, as the latter two went solo, leaving Bob Marley to recruit new Wailers for his backing band.

                         The song of the month for November 1973
                         You Won’t Find Another Fool Like Me by The New Seekers (peak chart position: No.1)
Not to be confused with a successful Australian outfit of the mid-‘sixties, the New Seekers were also seeking out success in the singles lists. Lightning would indeed strike twice as ‘You Won’t Find Another Fool Like Me’ would be their second UK Number One, emulating two chart-toppers accumulated by the (‘old’) Seekers. This composition stalled just short of the top spot for several weeks, before peaking in January 1974. In my semi-humble opinion it rates as one of the greatest pop songs of the twentieth century, nothing more, nothing less.

                         The song of the month for December 1973
                         I Wish It Could Be Christmas Everyday by Wizzard (peak chart position: No.4)
1973 was a hugely successful year for the eye-catching Roy Wood as his Wizzard combo helped themselves to two British Number Ones, thus vindicating Wood’s ‘move’ from The Move and E.L.O. This Christmas Top Five failed to reach the summit in the face of stiff opposition from the likes of Slade’s dreadful ‘Merry Xmas Everybody’ but it remains a constant feature of shopping arcades throughout the land every November and December. The song is a fusion of glam with a Spectoresque ‘wall of sound’. It does possess a certain charm.


                         1973’s CONCERTS OF THE YEAR
A new musical phenomenon that hailed from Jamaica called Bob Marley was beginning to deliver his message to ‘Babylon’. Speaking of Babylon, the United States was treated to another Led Zeppelin tour, whereupon the awesome foursome showcased their damp squib ‘Houses Of The Holy’ album. The Zep’s performances at Madison Square Garden would later surface on the disappointing ‘The Song Remains The Same’ live soundtrack. Gig of the year however was almost certainly Elvis Presley’s ‘Aloha From Hawaii’ in January. It is one of the great injustices in the history of popular music that ‘the King’ was never able to delight his international followers in the flesh. A concert in Hawaii was the nearest that the burger king came to a foreign gig. The mid-Pacific venue had been shrewdly chosen by the wily Colonel Tom Parker to cash in on the far east audience, as well as enchanting the globe via satellite. It was regarded as Elvis’s last great outing before self-destruction took its toll.

                         1973’s ALBUM OF THE YEAR: Goodbye Yellow Brick Road by Elton John                   (released in October; reached No.1 in the UK)
                                                           
If anyone should ever doubt the merits of music in the seventies, just respond with four words:’Goodbye Yellow Brick Road’. Elton’s masterpiece incorporated a variety of musical styles such as love songs (‘Harmony’), glam rock (‘All The Girls Love Alice’), pseudo-reggae (‘Jamaica Jerk-Off’), and country (‘Roy Rogers’). However, the proceedings were dominated by the massive hits that were drawn from this project, namely ’Candle In The Wind’ (the timeless tribute to Marilyn), the seminal title track, the US chart-topper ‘Bennie And The Jets’, not forgetting the energetic ‘Saturday Night’s Alright For Fighting’. The album, which was recorded in France, also benefited from marvellous artwork on the cover. Assisted by the orchestral arrangements of Del Newman and the allegedly suspiciously misogynistic lyrics of Bernie Taupin, this offering from Mr. Dwight is a joy to behold. Also worth checking out are such majestic items as ‘The Ballad Of Danny Bailey (1909-1934)’ and ‘Sweet Painted Lady’. Until the emergence of ‘London Calling’ at the end of the decade, this piece of work was undoubtedly the finest double album of the 1970s.

                         SPORT IN 1973
English Division One football champions: Liverpool; runners-up: Arsenal
English FA Cup final: Sunderland 1 Leeds United 0
English League Cup Final: Tottenham Hotspur 1 Norwich City 0
Scottish Division One football champions: Glasgow Celtic; runners-up: Glasgow Rangers
Scottish FA Cup final: Glasgow Rangers 3 Glasgow Celtic 2
Scottish League Cup final: Hibernian 2 Glasgow Celtic 1
Irish League football champions: Crusaders; Irish Cup final: Glentoran 3 Linfield 2
League Of Ireland football champions: Waterford; cup winners: Cork Hibernians
European Cup final: Ajax Amsterdam 1 Juventus 0
European Cup-Winners’ Cup final: AC Milan 1 Leeds United 0
UEFA Cup final: Liverpool beat Borussia Moenchengladbach 3-2 on aggregate
English county cricket champions: Hampshire
Five Nations’ rugby union champions: all five countries finished with four points
Formula One world drivers’ champion: Jackie Stewart (United Kingdom) in a Tyrrell car
Gaelic football All-Ireland champions: Cork; runners-up: Galway                         
British Open golf champion: Tom Weiskopf (at Royal Troon)
US Masters golf champion: Tommy Aaron
US Open golf champion: Johnny Miller
USPGA golf champion: Jack Nicklaus
Rugby league Challenge Cup final: Featherstone Rovers 33 Bradford Northern 14
Wimbledon men’s singles tennis final: J Kodes beat A Metreveli 6-1, 9-8, 6-3
Wimbledon ladies’ singles tennis final: B-J King beat C Evert 6-0, 7-5
World snooker final: Ray Reardon (Wales) beat Eddie Charlton (Australia) 38-32
The Aintree Grand National steeplechase winner: Red Rum; price 9-1
The Epsom Derby winner: Morston; jockey - Eddie Hide; price 25-1
The Ryder Cup golf contest: Great Britain And Ireland 13 United States 19