A History of Rock Music in 500 Songs - Episode 98: “I’ve Just Fallen For Someone” by Adam Faith

Episode Date: September 15, 2020

Episode ninety-eight of A History of Rock Music in Five Hundred Songs looks at “I’ve Just Fallen For Someone” by Adam Faith, and is our final look at the pre-Beatles British pop scene. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “San Francisco Bay Blues” by Jesse Fuller. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ (more…)

A History of Rock Music in 500 songs by 100 Hockey. Episode 98 I've Just Fallen for Someone By Adam Faith Today we're going to take our last look at the pre-Beatles British pop world and we're going to look at a record that's far more important in metrospect than it seemed at the time. We're going to look at Adam Faith and a track he recorded called I Have Just Fallen for Someone I've just fallen for someone,

someone's fallen for me, and we'll love each other, love eternally. She doesn't want me curerment, nor does she want wealth unto. As is normal for British rock and roll stars of the 50s, Adam Faith was a pseudonym. In this case, for someone whose birth name

is the subject of some debate. The registrar seems to have got a bit confused, but who was known as Terry Nellum, a 5-foot-5 singer with high cheekbones, a strong chin, and a weak voice. The crucial change in Nellam's life had come at the cinema when he had watched a film called Rebel Without a Cause,

starring James Dean. Amazingly, I think we managed to get through the whole 1950s without mentioning Dean, but he was a massive figure in youth pop culture of the 50s, and his presence still resonated for decades afterwards. Dean only starred in three films, and only one, east of Eden, was released in his lifetime. He died in a car crash while the other two were in post-production, but his performance in the posthumously released, Rebel Without a Cause, seemed to many teenagers of the time to encapsulate everything that they

wanted to be, and Terry Nellum decided he wanted to be James Dean. Why not? He bore a slight resemblance to him, Terry was going to go into showbiz. There was a problem, though. In the Britain of the 50s, acting was something that was largely the purview of the middle classes, and Terry was firmly working class. He lived on a council estate and went to a secondary modern, the schools which, in the 50s UK education system, were designed for people who were considered unlikely to succeed academically. There was no way he was going to end up studying at Rada, or any of the other ways one got into acting. So he decided that rather than become a film star, he would become a director. That was much easier to get into than acting was, in the British film industry of the 50s.

You got a job as a tea boy at a film studio, worked your way up into the editing suite, became an editor, and then became a director. There was a steady career path, and you had job security at every stage, and Terry Nellum was someone who always looked after his money. So that's what he did, he got a job at the RANK organization as a messenger, then moved across to a company that made commercials for the new commercial TV network ITV, where he was an assistant editor. But while he was working at RANK, Nellum had joined a Skiffel Group, the Worried Men, named after the Skiffel Standard, who had been formed by some of the younger employees. They became the resident band at the Two Eyes when the Vipers Skiffel Group went out on tour. Despite all the stories about other people who had been discovered at the

Two Eyes on their first gig, the Worried Men ended up performing there for months before any kind of success. But then they did get a certain amount of fame, when Six Five Special did its single most famous episode, a live outside broadcast from the Two Eyes itself. As the House band, the Worried Men got to perform a few songs on that show, and they also got a couple of tracks on two Decker compilations, rocking at the Two Eyes and Stars of the Six Five Special. But neither album sold particularly well, and the worried men slowly drifted apart. One member joined the Vipers, and Nellam left before the group got in a couple of people we've already seen a few times in our story. Both Tony Meehan, who would go on to join the shadows, and Brian Bennett,

who ended up replacing him, passed through the group. But while Nellum had quit the worried men, as much as anything else, because holding down a day job, while he also played for four hours at the two eyes every night, was starting to affect his health. Jack Good remember him from that one six five special appearance and thought that his looks, if not his singing ability, gave him the potential to be a star. Good changed Nellam's name to Adam Faith and gave him a solo spot on 65 Special, as well as getting him a contract with HMV, one of Cephal record labels owned by the large conglomerate EMI. His first single on HMV was Got a Heart Sick Feeling, backed by Jeff Love in his orchestra.

That record was, of course, but the extent to make a bit of course publicised on 6'5 special, but the extent to which Faith's star potential was based on his looks rather than his singing ability can probably be seen from the fact that after his first appearance on the show, he mined rather than sing live, unlike all the other performers. The record was not a success, and nor was his second single, a cover of Jerry Lee Lewis's High School Confidential.

Faith was unpopular Faith was unpopular, but he was able to give up his day job in the editing room to go on tour with a package based on 6-5 special at the bottom of the bill. And on that tour he became friendly with one of the other acts, John Barry, the trumpet-playing leader of a group called the John Barry 7. Barry had wanted to be an arranger for big band,

but when he realised that was no longer a viable career path, he'd formed his small group, who at the time were making records like Zip Zip, which were fairly awful early British rock and roll efforts, but with slightly more interesting instrumental arrangements than the bulk of the work being put out in the UK at that point. She loves me, she's my Zip Zip Gally, she's a farmer full of fun,

she's just not by everyone Zip Zip. Oh, she's my Zip Gow, she makes me flip, flip, When Jack Good moved over to ITV to do O'Boy, he took Faith with him. But Faith's career was stagnating, and he quit performing altogether, and got another job as an assistant editor at Elstree Studios, working on ATV shows like William Tell and The Invisible Man. But then Faith got a call from John Barry. The BBC were putting together a new show,

drumbeat to compete with O'Boy, and they wanted their own star to compete with Cliff Richard and Marty Wilde. Would Adam be interested? He would, though he was cautious enough after last time, that he kept his day job. He'd bunk off work on Thursday and Friday afternoons to rehearse and record the show, and make the time up on Sundays.

His workmates covered for him when he bunked off, and that worked until his boss's daughter mentioned to the boss that she'd seen Terry on the telly. He was told that he had to choose between his pop career and a secure job, and he decided to make his pop career into a secure job by getting a guaranteed six-month contract on Drumbeat before quitting Elstree. Drumbeat did little to make Faith's records sell any more, but it did lead to acting appearances,

as a biker in the police show No Hiding Place, and as a musician in a cheap exploitation film that was originally titled Strip Tees Girl, before the censors made the film producers cut the nudity out, except for foreign markets, at which point it was retitled Beat Girl in the UK, and Wild for Kicks in the US. It was hardly rebel without a cause, but it was definitely a step in the right direction. The music for that film was done by Adam's friend John Barry, the very first film score Barry ever did. But Adam Faith was still a pop star without a hit, and that was a situation that couldn't last.

He was also temporarily without a record contract, but his new manager, Eve Taylor, managed to get him one with Parlophone, and other EMI-owned label, and then his drumbeat contacts came through in a big way. One of the other acts who regularly appeared on the show was a group called The Rain Drops, who featured a singer who had been born Janis Skoradilides,

but whose name had soon been anglicised to John Worsley. He'd then taken on the stage name Johnny Worth, which was the name he performed under. But he was also starting to write songs, and because he was under contract as a recording artist, he took on yet another name as a songwriter to avoid any legal complications, so he was writing as Les Van Dyke.

It was under that name that he wrote a song called What Do You Want, which he played to Faith and Barry, his two colleagues on drumbeat. They saw potential in it, a lot of potential, and John Barry had an idea for an instrumental gimmick. We're now into 1959 and Buddy Holley's It Doesn't Matter anymore had just been a big posthumous hit for him. The Pitsa daisy how you drove me crazy, but I guess it doesn't matter anymore.

The pizsicato strings in particular had code the year of a lot of people, and Barry had already used them in the arrangement he'd written for Be Mine, a record by the minor British pop star Lance Fortune. that hadn't been mine, and Barry thought that I could never doubt you, couldn't ever live without you, would you say you... That hadn't been released yet. It went top five when it eventually was, and Barry thought that it was worth repeating the trick, and so he came up with a pizikato arrangement for the song Van Dyke had written.

And for a final touch, Faith received some vocal coaching from another drumbeat performer, Roy Young, who taught him how to mangle his vowels so that he could sing in what was, to British ears, almost a convincing imitation of Buddy Holly's hiccuping vocal, particularly on the word baby. The result was a huge hit, becoming the first number one single ever on the parlophone label. Love, Baby. Faith was now a real pop star at last. What do you want of the very rare British records to actually get an American cover version? Bobby V, the buddy Holly sound like, picked up on the record and issued his own version of it. That do you want if you don't want money?

What do you want if you don't want gold? Say what you want and I'll give it you, darling. Wish you wanted my love, baby. What do you want if you don't want Herman? What do you want if you don't want pearls? Say what you want and I'll give you darling. Wish you wanted my love. That wasn't a success, but as V became a star, he would occasionally record versions of

the songs Faith recorded. Faith's second parlophone single was another number one, and another song written by Les Van Dyke and arranged by John Barry. It was very much What Do You Want Part 2, but there was an interesting musical figure Barry came up with in the intro. In the night didn't hide, didn't even try cheating me with lies again, making me remember when. In the 1990s, Barry used that as evidence in a court case over his claim to authorship of the piece of music with which he is most associated, a piece arranged and performed by Barry, but whose credited writer is Monty Norman. Compare and contrast, Poor Me and the James Bond theme. next couple of years, Faith had a string of hits, mostly written by Van Dyke and arranged by

Barry, though no more number ones. By most metrics in hits, record sales and fan appeal, he was the second biggest British pop star of the early 60s, after Cliff Richard. He also became well known as a media personality, thanks in large part to his appearance on the interview show face to face. This was a TV programme that ran from 1959 through 1962, almost the precise same length as faith's pop career and which had interviewer john freeman sat with his back to the camera while the studio was largely in darkness other than the face of the person he was interviewing freeman's questions seem in the modern media landscape to be remarkably gentle but in the early sixties he was regarded as the most incisive and probing interviewer in the british media he reduced at least one subject gilbert harding to tears and his questioning of tony hancock is poignant popularly supposed to have started Hancock into the spiral of questioning, self-doubt and depression that led first to his career crashing and burning, and eventually to his suicide.

Most of the guests that Freeman had on the show were serious, important, high-brow people. The 35 episodes of the show included interviews with Bertrand Russell, Carl Jung, Adly Stevenson, Henry Moore, Martin Luther King, and Joe O Kenyatta. But occasionally there would be someone invited to him. on from the world of sport or entertainment, and Faith was invited on to the show as a representative of youth culture and pop music. The questions asked on the show were clearly designed to make Faith, a 20-year-old pop singer who went to a secondary modern and still lived on a council estate even though he'd hit the big time, seem a laughing stock, and to poke holes in his image.

Everyone involved seems to have been surprised when he came across as a well-read, cultured, a rather mercenary young man who could string three words together. The newspaper cutting say that you like classical music, now is that just a story or is it true? Well, you see, I always take interviews myself, and I never give out any press releases. So most of it, and what you read in newspapers is true, if not just slightly exaggerated. But I do enjoy classical music. What particular composer? Sir Baylis and Vajek I enjoy very much.

Treykoski are there? Do you ever have time to go to a classical concert? Haven't been to a classical concert for about nine months. The last one I went to see at the Royal Festival Hall, Tuscanyan. Do you read a lot? Fair amount, yeah, as much as I can. Again, any particular taste? Well, very varied again.

I like... I've read some of Huxley's book. read some of Huxler's books. Old as Huckley. Yeah. And have you read any of Salingers? Yes, I like it. The Ketter in the Rye.

Yeah, well, that's my favourite book. Kater in the Rye, Salinger. As a result of that appearance, Faith was increasingly asked onto TV shows to be the voice of the youth, particularly as he was the first pop star to admit to things like having sex before marriage. He debated with the Archbishop of York

about religion on national TV, in a debate chaired by Ludovic. Kennedy, and Faith was largely viewed as having come out better than the bishop. He also took at least one brave political stand in 1964. He had been booked to tour in South Africa, and agreed to do so only under the condition that he would perform only to integrated audiences. But when he got on stage for one show, he saw the police dragging two young girls out of an otherwise all-white audience, because they weren't white. He walked off stage and refused to do the rest of the tour.

tour. The promoter demanded compensation, and Faith refused, saying he'd made clear that he was only going to play to integrated audiences. He tried to leave the country, booking plane tickets under his birth name to escape suspicion, but was dragged off the plane at gunpoint by South African police. Eventually, the intervention of the chairman of EMI, the British Foreign Secretary, the General Secretary of Equity, the Actors Union, and several brave journalists who said that if Faith was imprisoned they would go to prison with him, meant that Faith was allowed to leave the country, though EMI paid the promoter's compensation and took it out of Faith's future royalties. Not that there were many royalties by that point. In early 1963, John Barry had stopped working

with Faith to concentrate on his film music. He'd just started working on the Bond films that would make his name, and the hits dried up then, especially when musical styles suddenly changed in the middle of that year. But Faith had managed to parlay his looks into an acting career by that point, and over the next decade he appeared in several films, starred in the TV series Budgie and toured in repertory theatre. He also became a manager and producer, managing Leo Sayer and producing Roger Daltrey's solo recordings. He would occasionally make the odd record himself, up to the 90s, with his final single being a duet with Daltry on a cover version of Stuck in the Middle with You. But as someone who looked after his money, Faith had been far more canny than most of his fellow pop stars,

and for much of his life he was a very wealthy man. While he continued performing, his main role in the 80s and 90s was as a financial journalist and investment advisor, writing columns on finance for the Daily Mail. He presented the BBC Business Show, Working Lunch, the Channel 4 Money Show, Dosh, and eventually started his own TV channel devoted to business, Money Channel. Unfortunately for him, the Money Channel went down in the stock market crashes of the early 2000s, and Faith went bankrupt in 2002. He died in 2003, age 62. But you'll notice we haven't yet mentioned the song that this episode is about. That's because that song, I've just

fallen for someone, was completely unimportant in Adam Faith's life. It was just a bit of album filler on his second album. But though Faith didn't know it, it was an important song in mock music history. Like Humpty Dumpty I've fallen Like Faith's hit, that was written by another performer, one who, like Les Van Dyke, had a variety of different names. John Askew was one of Larry Parnes' stable of act, and far from the most successful of them.

He performed under the name Johnny Gentle, and didn't have a great deal of success. Askew's first single, Wendy, was unsuccessful, but it was unusual among British singles of the Piers, in that it was written by Askew himself. His second, though, made the top 30. That would be the most success Johnny Gentle ever had, and his live shows were made up entirely of cover versions of other people's records. When he toured Scotland in 1960, for example,

his set list consisted of two Buddy Holly songs, and one each by Elvis, Ricky Nelson, Clarence Frogman Henry, Eddie Cochran and Jim Reeves. But he was still writing songs on that tour, and he was working on one in a hotel in Inverness, one that clearly referenced What Do You Want with its girl who doesn't want Ermin and Pearls, when he got stuck for a middle eight for the song

and mentioned it to the rhythm guitarist in his backing band. The guitarist came up with a new middle eight, referencing a line from a favourite song of his, Money by Barrett Strong. Askew took that new middle eight, though didn't give the guitarist any. songwriting credit. Askew was an established songwriter after all. He gave the song to Faith, who recorded it in late 1961 and released it in 1962. We know that we'll get by,

just wait and see. Just like the song tells us the best things in life for free. Like Humpty Dumpty I've fallen But I won't need no king's men Because if it was with the same girl I'd fall all over again That was on his second album Adam Faith His first album had been called Adam

And on an EP taken from the album But Askew thought it had more potential and he recorded his own version as Darren Young. By this point he'd decided that his old stage name was bringing him back look. That version wasn't successful either, and the song remained completely obscure until the mid-1990s. It was at that point that Askew started telling the story of how the song had been written, and suddenly the song was of a lot more interest, at least to some people. Because the rhythm guitarist who wrote that middle eight was John Lennon,

and Gentle's backing band on that tour was The Beatles. We've just heard, the story of the first ever commercial recording of a John Lennon song and we'll pick up on that next week. A history of rock music in 500 songs is brought to you by the generosity of my backers on Patreon. Each week Patreon backers will get a 10-minute bonus podcast. This week's is on San Francisco Bay Blues by Jesse Fuller. pate patreon.com slash Andrew Hickey to sign up for as little

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