Chronology, 1968-73

1968:

January: the Beatles filmed a cameo for the animated movie Yellow Submarine, which featured cartoon versions of the band members and a soundtrack with eleven of their songs, including four unreleased studio recordings that made their debut in the film. Released in June 1968, the film was praised by critics for its music, humour and innovative visual style. It would be seven months, however, before its soundtrack album appeared.

May: (8th) – at a meeting between Cecil King, Hugh Cudlipp (proprietor & editor of The Daily Mirror) and Lord Louis Mountbatten, King proposed an anti-Wilson ‘putsch’; Mountbatten rejected the idea and informed the Queen.

October: Widespread student discontent continued.

1969:

30 January: The Beatles’ final live performance was filmed on the rooftop of the Apple Corps building at 3 Savile Row, London (pictured left).

Voting age lowered to eighteen. Open University founded; maiden flight of Concorde. In the summer, union leaders (including Hugh Scanlon & Jack Jones of the TUC) were given a private dinner at Chequers to discuss In Place of Strife, the government’s plan, led by Barbara Castle, to reform industrial relations. The Labour cabinet split on the issue. A Gallup poll suggested 54% of electorate agreed with Powell’s plans on repatriating coloured immigrants.

Bernadette Devlin, civil rights campaigner and member of the radical Ulster Unity Party elected to the Commons, the youngest ever woman MP. James Chichester-Clarke replaced Terence O’Neill as Stormont PM. In the summer, the Apprentice Boys of Londonderry (a Loyalist & anti-Catholic organization) held their annual march for the same route as a civil rights demo. This was attacked by the police, including the ‘B-Specials’, an armed, 12,000-strong voluntary wing of the Royal Ulster Constabulary. Seventy-five marchers were injured, including leading, moderate political figures. At the beginning of August, there was a serious pitched battle between Catholic residents, Loyalist extremists and police in the middle of Belfast. Wilson & James Callaghan (Home Secretary) decided to send in British troops and abolish the B-specials. In November, at a Dublin meeting, the IRA split, bringing into being the pro-violence Provisional Army Council, or ‘Provos’ (PIRA).

1970:

January: Sir Edward Heath (Conservative leader of the Opposition since 1965) held a brainstorming session of the shadow cabinet at The Selsdon Park Hotel near Croydon, Surrey. The aim of the meeting was to formulate policies for the 1970 General Election manifesto. The result was a radical free-market agenda, condemned by the then Labour Prime Minister, Harold Wilson, as the work of “Selsdon Man”. Meanwhile, 66% of those polled said they were either more favourable to Powell than Heath.

Wilson called an election, confident despite the failure of ‘In Place of Strife’. Late in the campaign, Powell gave his backing to Heath, leading in a late surge in support of the Tories. Edward Heath won the General Election by an overall majority of thirty. He began negotiations with Pompidou for Britain to join the EEC. Over the next eighteen months, a deal was thrashed out in London, Paris and Brussels.

In Dublin, two Irish cabinet ministers, Charles Haughey & Neil Blaney were sacked for being Provo-sympathisers & arrested for smuggling guns into the Republic (they were later acquitted).

31 December 1970: Paul McCartney filed suit for the dissolution of the Beatles’ contractual partnership on  Legal disputes continued long after their break-up, and the dissolution was not formalised until 29 December 1974, when John Lennon signed the paperwork terminating the partnership.

1971:

First British soldier killed in Northern Ireland. Free milk for schoolchildren abolished (by Margaret Thatcher, Secretary of State for Education & Science, who became known as the ‘milk-snatcher’).

On May Day afternoon, the popular Kensington boutique Biba was the object of a bomb attack by ‘The Angry Brigade’, Britain’s own and only terror group, a bunch of anarchists.

Above: In 1971, the editors of the underground magazine ‘Oz‘ were prosecuted for obscenity. A libidinous cartoon Rupert Bear was at the centre of the case, but the significance of the whip is unclear.

At a press conference at the Élysée Palace, Pompidou revealed to the surprise of the media that, as far as France was concerned, Britain could now join the EEC. The Labour Opposition had become anti-EEC, a special conference in July voting five to one against joining (their MPs were two to one against). Heath won a Commons majority for going in, with 69 pro-European Labour MPs defying their party & voting with the Tories.

Expulsion of British Overseas Nationals (originally from Asia) from Uganda. Enoch Powell led an angry opposition to Heath’s decisive action to bring them into Britain. Airlifts were arranged and a resettlement board established to help the refugees; 28,000 arrived within a few weeks.

Also in 1971, ‘Decimilization’ replaced a coinage which had its origins in Anglo-Saxon times. This brought about a big change in everyday life, initially very unpopular and blamed (together with the decision to join the EEC) on Edward Heath, though it had first been agreed by the Wilson government in 1965.

1972:

‘Bloody Sunday’ – 30th January; troops from the Parachute Regiment killed thirteen unarmed civilians in Londonderry. An immediate upsurge in violence led to twenty-one further deaths in three days.  In Dublin, Irish ministers reacted with fury, and The British Embassy was burned to the ground during protests. Bombings and shootings in the first eight weeks of 1972 led to forty-nine people killed and 250 serious injured. Over four hundred people in the province had lost their lives as a result of political violence by the end of the year.

In Britain, the national Miners’ Strike, the first since 1926, led to power cuts; The miners were pursuing a pay demand of 45%. Arthur Scargill, a militant South Yorkshire pit agent organised a mass picket of 15,000 of the Saltley coke depot in Birmingham. An independent inquiry into miners’ wages led to a 20% wage increase, 50% higher than the average increase. The NUM accepted this, winning the most clear-cut defeat of any government by any British trade union ever. Heath was forced into a U-turn on incomes policy and industrial intervention after the Industry Act had given them unprecedented powers in this respect.

Cosmopolitan and Spare Rib published for the first time. Frederick Forsyth’s Day of the Jackal published.

The removal of lending limits for high street banks led to a surge of 37% in 1972, followed by a rise of 43% in 1973, the precondition for the credit boom of the Thatcher years. The old imperial sterling area was abandoned.

Also in 1972, the contraceptive pill was made freely available on the NHS, and local government was radically reorganised, with no fewer than eight hundred English councils disappearing and huge new authorities, much disliked, being created in their place.

1973:

1 January: The UK and the Republic of Ireland joined the EEC (European Economic Community).

British Prime Minister Edward Heath (centre) with Alec Douglas-Home (left) and Chief Negotiator Geoffrey Rippon sign the Common Market Accession in Brussels Photograph: POPPERFOTO/ Getty Images

July: Twenty bombs went off in Belfast, killing eleven people.

September: The “Selsdon Declaration”, to which all members must subscribe, was adopted at the Selsdon Group’s first meeting at the Selsdon Park Hotel. Folk-rock band The Strawbs reached number two with their anthem, Part of the Union. 

October: The Yom Kippur War, a short war between Israel and Egypt resulted in Israel’s decisive victory and a humiliation for the Arab world; it struck back, using oil, and placing a total embargo on the United States, Israel’s most passionate supporter.

OPEC (Organisation of oil-producing countries), dominated by the Saudis, raised the price of oil fourfold, leading to a crisis in Western countries and bringing to an end Britain’s Golden Age. School leaving age raised to sixteen; VAT (Value-Added Tax) introduced.

The Break-up of the Beatles:

During recording sessions for their Double White Album, which stretched from late May to mid-October 1968, relations between the Beatles grew openly divisive. Starr quit for two weeks, and McCartney took over the drum kit for Back in the U.S.S.R. (on which Harrison and Lennon drummed as well) and Dear Prudence. Lennon had lost interest in collaborating with McCartney, whose contribution Ob-La-Di, Ob-La-Da he scorned as “granny music shit”. Tensions were further aggravated by Lennon’s romantic preoccupation with avant-garde artist Yoko Ono, whom he insisted on bringing to the sessions despite the group’s well-established understanding that girlfriends were not allowed in the studio. Describing the double album, Lennon later said:

“Every track is an individual track; there isn’t any Beatles music on it. John and the band, Paul and the band, George and the band.”

McCartney has recalled that the album “wasn’t a pleasant one to make.” Both he and Lennon identified the sessions as the start of the band’s break-up. Issued in November, the White Album was the band’s first Apple Records album release, although EMI continued to own their recordings. The new label was a subsidiary of Apple Corps, which Epstein had formed as part of his plan to create a tax-effective business structure. The record attracted more than two million advance orders, selling nearly four million copies in the US in little over a month, and its tracks dominated the playlists of American radio stations. Despite its popularity, it did not receive flattering reviews at the time.

Five weeks later after their last ‘concert’ on the rooftop in Savile Row, engineer Glyn Johns, Get Back’s “uncredited producer”, began work assembling what was to be the Beatles’ final album, Let it Be. He was given “free rein” as the band had “all but washed their hands of the entire project”. New strains developed among the band members regarding the appointment of a financial adviser, the need for which had become evident without Epstein to manage business affairs. Lennon, Harrison and Starr favoured Allen Klein, who had managed the Rolling Stones and Sam Cooke; McCartney wanted Lee and John Eastman – father and brother, respectively, of Linda Eastman, whom McCartney married on 12 March. Agreement could not be reached, so both Klein and the Eastmans were temporarily appointed: Klein as the Beatles’ business manager and the Eastmans as their lawyers. Further conflict ensued, however, and financial opportunities were lost. On 8 May, Klein was named sole manager of the band, the Eastmans having previously been dismissed as the Beatles’ attorneys. McCartney refused to sign the management contract with Klein, but he was out-voted by the other Beatles.

George Martin stated that he was surprised when McCartney asked him to produce another album, as the Get Back sessions had been “a miserable experience” and he had “thought it was the end of the road for all of us”. The primary recording sessions for Abbey Road began on 2 July 1969. Lennon, who rejected Martin’s proposed format of a “continuously moving piece of music”, wanted his and McCartney’s songs to occupy separate sides of the album. The eventual format, with individually composed songs on the first side and the second consisting largely of a medley, was McCartney’s suggested compromise. On 4 July, the first solo single by a Beatle was released: Lennon’s Give Peace a Chance, credited to the Plastic Ono Band. The completion and mixing of “I Want You (She’s So Heavy)” on 20 August 1969 was the last occasion on which all four Beatles were together in the same studio. Lennon announced his departure to the rest of the group on 20 September but agreed to withhold a public announcement to avoid undermining sales of the forthcoming album.

Released six days after Lennon’s declaration, Abbey Road sold 4 million copies within three months and topped the UK charts for a total of seventeen weeks. Its second track, the ballad Something, was issued as a single – the only Harrison composition ever to appear as a Beatles A-side. Abbey Road received mixed reviews, although the medley met with general acclaim. Unterberger considers it “a fitting swan song for the group”, containing “some of the greatest harmonies to be heard on any rock record”. George Martin has singled it out as his personal favourite of all the band’s albums; Lennon said it was “competent” but had “no life in it”. Recording engineer Emerick notes that the replacement of the studio’s valve mixing console with a transistorised one yielded a less punchy sound, leaving the group frustrated at the thinner tone and lack of impact but contributing to its “kinder, gentler” feel relative to their previous albums.

For the still unfinished Get Back album, one last song, Harrison’s I Me Mine, was recorded on 3 January 1970. Lennon, in Denmark at the time, did not participate. In March, rejecting the work Johns had done on the project, now retitled Let It Be, Klein gave the session tapes to American producer Phil Spector. In addition to remixing the material, Spector edited, spliced and overdubbed several of the recordings that had been intended as “live”. McCartney was unhappy with the producer’s approach and particularly dissatisfied with the lavish orchestration on The Long and Winding Road, which involved a fourteen-voice choir and 36-piece instrumental ensemble. McCartney’s demands that the alterations to the song be reverted were ignored, and he publicly announced his departure from the band on 10 April 1970, a week before the release of his first, self-titled solo album.

On 8 May, the Spector-produced Let It Be was released. Its accompanying single, The Long and Winding Road, was the Beatles’ last; it was released in the United States, but not in the UK. The Let It Be documentary film followed later that month, and would win the 1970 Academy Award for Best Original Song Score. Sunday Telegraph critic Penelope Gilliatt called it “a very bad film and a touching one … about the breaking apart of this reassuring, geometrically perfect, once apparently ageless family of siblings”. Several reviewers stated that some of the performances in the film sounded better than their analogous album tracks. Describing Let It Be as the “only Beatles album to occasion negative, even hostile reviews”, Unterberger calls it “on the whole underrated”; he singles out “some good moments of straight hard rock” in I’ve Got a Feeling and Dig a Pony, and praises Let It Be, Get Back, and “the folky” Two of Us, with John and Paul harmonising together.

McCartney filed suit for the dissolution of the Beatles’ contractual partnership on 31 December 1970. With Starr’s participation, Harrison staged the Concert for Bangladesh in New York City in August 1971, but the ‘fab four’ never recorded or performed as a group again. Legal disputes continued long after their break-up, and the dissolution was not formalised until 29 December 1974, when John Lennon signed the paperwork terminating the partnership.

Two double-LP sets of the Beatles’ greatest hits, compiled by Klein, 1962–1966 and 1967–1970, were released in 1973, at first under the Apple Records imprint. Commonly known as the “Red Album” and “Blue Album“, respectively, each has earned a Multi-Platinum certification in the United States and a Platinum certification in the United Kingdom.

The Troubles in Northern Ireland:

By the late 1960s, politics in Northern Ireland had moved onto the streets of Belfast, Londonderry (‘Derry’) and other cities and towns across ‘the Province’. The relatively peaceful civil rights demonstrations of the mid-sixties had campaigned in particular to end discrimination against the Catholic minority in employment and housing as well as against electoral ‘gerrymandering’ (changing constituency boundaries in order to ensure domination by the Ulster Unionists). By 1968-69, Terence O’Neill’s Stormont government had achieved little, torn between the more conservative fringes of unionism and the increasingly more radical Irish nationalism among the Catholic communities. The radicals may only have wanted a fully democratic society, but the majority of the province’s population increasingly saw this as a return to the ancient tribalistic power-struggles between unionism and nationalism. While the unionist governments under Chichester-Clark from 1969 to 1970 were trying to create a consensus by granting most of the civil rights demands, the revival of the latent violent sectarianism made the province ungovernable. The Westminster government of Harold Wilson, therefore, deployed troops in the province in 1969.

From 1970, Irish military forces were also involved in co-operation with the British in securing the Republic’s border with Northern Ireland. On coming to power in 1970, Edward Heath worked closely with the Taoiseach (Prime Minister of the Irish Republic), Jack Lynch, and the new Stormont leader, Brian Faulkner, a middle-class businessman by origin, was more in Heath’s image than the old Etonian landowner, Chichester-Clark had been. Eventually, he had even managed to get the leaders of the Republic and Northern Ireland to sit and negotiate at the same table, something which had not happened since ‘Partition’ in 1920. Chichester-Clark had simply demanded more and more troops, more and more repression, but Faulkner was open to a political solution. Inside Downing Street, three options were being considered. Northern Ireland could be carved into smaller, more intensely Protestant areas, with the rest surrendered to the Republic, thus effectively getting rid of many Catholics. Or it could be ruled by a power-sharing executive, giving Catholics a role in government. Or, finally, it could be governed jointly by Dublin and London, with its citizens losing their joint citizenship.

Though Edward Heath rejected the first option because it would be crude and leave too many people on the wrong side of the borders and the last one, because the Unionists would reject it, his second option would be taken up by successive British governments. A fourth option, advocated by Enoch Powell who later became an Ulster Unionist MP, was that the UK should fully incorporate Northern Ireland into British structures and treat it like Kent or Lincolnshire, but Heath never took this seriously. Nevertheless, his readiness to discuss other radical solutions gives the lie to the idea that his administration was pig-headed and unimaginative. But before he had a chance to open serious talks, the collapsing security situation had to be dealt with, and politics had to take a back seat. Ordered in from Belfast to put a stop to stone-throwing Bogside demonstrators, the Parachute Regiment began firing, as it turned out, on unarmed people, many of them teenagers. Some were killed with shots to the back when, clearly, they were running away. It was the climax of weeks of escalation. Reluctantly, Heath had introduced internment for suspected terrorists. Reprisals against informers and anti-British feeling meant that the normal process of law was entirely ineffective against the growing PIRA threat so, despite the damage it did to relations with other European countries and the United States, he authorised the arrest and imprisonment in Long Kesh of 337 IRA suspects. In dawn raids, three thousand troops had found three-quarters of the people they were looking for. Many of them were old or inactive, and many of the real, active ‘Provos’ escaped south across the border. Protests came in from around the world.

At the beginning of 1972, the most violent year of the ‘Troubles’, Heath was forced to take over the government of Northern Ireland through Direct Rule. The British government had become involved very reluctantly and its subsequent policies were aimed at finding a political solution by creating a middle ground in which the liberal wings of nationalism and unionism could find a consensus that would eventually marginalise the militants on both sides of the sectarian divide and make them redundant. This strategy proved unsuccessful at first, due mainly to the nature of Direct Rule. Denied access to power, both sides could attack British policies as inappropriate and blame the government for failing to deliver their respective demands. At the same time, paramilitaries on both sides could drive these point home by the use of violence which was justifiable in the eyes of their respective communities. This was the background to the events of ‘Bloody Sunday’ which, despite endless inquiries and arguments, and more recent government apologies, remain hotly disputed. Who shot first? How involved were the IRA involved in provoking the confrontation? Why did the peaceful march split and stone-throwing begin? Why did the paratroopers suddenly appear to lose control?

Whatever the answers, this was an appaling day when Britain’s reputation was burned to the ground along with its embassy in Dublin. ‘Bloody Sunday’ made it far easier for the PIRA to raise funds abroad, particularly in the USA. The Provos hit back with an attack on the Parachute Regiment’s Aldershot headquarters, killing seven people, none of whom were soldiers. The violence led to yet more violence and the imposition by degrees of direct rule by London and trials without juries in the ‘Diplock Courts’. Besides the Belfast bombs of the same year, mainland Britain became the main Provo target. In October 1974, five people were killed and sixty injured in attacks on pubs in Guildford, and in December twenty-one people were killed in pub bombings in Birmingham city centre. Those responsible, although known to both the British and Irish governments, have never been brought to justice, while innocent Irishmen served lengthy terms in jail. But that’s a sad, subsequent narrative which deserves to be told separately, as I have done previously on this site.

Nonetheless, the level of political violence on the island of Ireland itself subsided considerably after 1972; in most subsequent years more people died in road accidents in Northern Ireland. However, in 1973, the Sunningdale power-sharing agreement failed to restore government to Stormont because the majority of unionists would not accept an ‘Irish dimension’ in the form of the proposed Council of Ireland that nationalists demanded.  While the British government’s approach became more nuanced towards unionist concerns, a formula that was acceptable to both sides was to remain elusive for the next thirty years, until the Good Friday Agreement of 1998.

Paranoia, Plots & Politics under Wilson:

Fifty years on, the paranoid atmosphere which existed only a few years of Wilson’s first administration is difficult to fathom. Nonetheless, there was a rising conviction among some in business and the media that democracy itself had failed. Cecil King, the megalomaniac nephew of those original press barons of interwar Britain, Lords Rothermere and Harmsworth, and the effective owner of The Daily Mirror was at the centre of the plotting and attempted coup which followed. He had originally supported Wilson but was offended when the egalitarian PM declined to offer him a hereditary title. However, Wilson did make him a life peer as well as a director of the Bank of England and gave him seats on the National Coal Board and the National Parks Commission. King was also offered a number of junior government jobs, but he attacked Wison as a dud, a liar and an incompetent who was ruining the country and should be replaced as soon as possible. King’s theme, which was not uncommon in business circles, was that Britain was coming near to the failure of parliamentary government and now needed professional administrators and managers in charge rather than ‘dodgy’ politicians who had made…

… such a hash of our affairs that people must be brought into government from outside the rank of professional politicians.

His private views came close to a call for insurrection or a coup, to be fronted by himself and other business leaders. This culminated in a clumsily attempted plot which sought to inveigle Lord Louis Mountbatten, former last Viceroy of India, Chief of the Defence Staff and close member of the Royal Family. He stood above politics, though many believed he liked to be thought of as a man of destiny and looked up to by those who dreamed of an anti-Wilson ‘putsch’. He had voiced his concerns about the country but had denied that he was advocating or supporting any notion of a Right Wing dictatorship – or any nonsense of that sort. In fact, his candidate to replace Wilson was Barbara Castle. Nevertheless, King’s conversation during a meeting in May 1968 was wild. He told Mountbatten that, in the coming crisis…

… the government would disintegrate, there would be bloodshed in the streets; the armed forces would be involved.

He then asked Mountbatten to agree to become the titular head of a new administration. According to Cudlipp, Mountbatten then asked Sir Solly Zuckerman, the government’s chief scientific advisor (who had also been present at the meeting) what he made of this discussion. The scientist rose, walked to the door and replied:

This is rank treachery. All this talk of machine guns at street corners is appalling. I am a public servant and will have nothing to do with it. Nor should you, Dickie.

Mountbatten agreed and later recorded that it was he who had told King that the idea was ‘rank treason’ and had booted him out. King, for his part, claimed that Mountbatten himself had said that morale in the armed forces was low and that the Queen was worried and had asked for advice. He had simply replied that…

There might be a stage in the future when the Crown would have to intervene: there might be a stage when the armed forces were important. Dickie should keep himself out of public view so as to have clean hands…

That the meeting took place is beyond doubt, even if what was actually said is. Mountbatten then reported the conversation to the Queen, while King unleashed a full front page attack on Wilson in The Daily Mirror under the headline, Enough is Enough, calling for a new leader. Shortly afterwards, he himself faced a putsch by his severely embarrassed board. Of course, there is no evidence that the ‘plot’ ever got further than this conversation, or that the security services were involved, as has since been asserted. But the Cecil King conspiracy counts in two ways. First, it gives some indication of the fevered and at times almost hysterical mood about Wilson and the condition of the country which had built up by the late sixties, a time more generally remembered as a golden age. Alongside the obvious cultural successes of the period, a heady cocktail of rising and organised crime, student protest, inflation, and violence in Northern Ireland had convinced some that the United Kingdom as a whole was becoming ungovernable. The suggestion that British democracy, which had survived through the post-war period, was ever threatened, seems with retrospect to be an outlandish suggestion. Yet there were small but significant groups of conspiracy theorists on the left and fantasists on the right who emerged in the transition from the discredited old Etonian guard of Macmillan-era Britain and the new cliques of Wilsonian Britain.

Wilson himself was a genuine outsider so far as the old Establishment was concerned, and he seemed to run a court full of outsiders. The old Tory style of government by cliques and clubs gave way to government by faction and feud, a continued weakness of Labour politics since the inception of the party through trade union patronage. Wilson had emerged as what we would now call a populist leader, hopping from group to group, without a settled philosophical view or strong body of popular support in any particular faction within the party. Instead, he relied on a small gang of personal supporters, including Peter Shore, Gerald Kaufman and, in the early years, Tony Benn. Added to these were outside advisors, such as the Hungarian-born economists Thomas Balogh and Nicholas Kaldor, who acquired the nicknames of ‘Buddha’ and ‘Pest’!  The elder son of a wealthy Budapest Jewish family (his father was head of public transport, his mother the daughter of a professor), Balogh studied at the city ‘Gimnázium’, considered ‘the Eton of Hungarian youth’, then at the Eötvös Loránd University of Budapest and then in Berlin. He took a two-year research position at Harvard University as a Rockefeller Fellow in 1928. Following this, Balogh worked in banking in Paris, Berlin and Washington before arriving in England. He acquired British citizenship in 1938, he became a lecturer at Balliol College, Oxford, and was elected to a Fellowship in 1945, then became Reader in 1960. He was also the economic correspondent for the New Statesman,  becoming an economic adviser to Harold Wilson’s Cabinet office following the 1964 Labour Party victory. He was a critic of consumption- and profit-orientated tax policies, arguing that…

… profit can be earned not merely by satisfying long felt wants more efficiently and in a better fashion, but also by creating new wants through artificially engendered satisfaction and the suggestion of status symbols.

He argued that nationalisation was a better means of securing wage restraint and a more equitable tax system as a whole. He later opposed Britain’s entry to the EEC. Balogh was created a life peer as Baron Balogh, “of Hampstead in Greater London” on 20 June 1968.

Nicholas Kaldor, Baron Kaldor (12 May 1908 – 30 September 1986), pictured right, born Káldor Miklós in Hungary, was a Cambridge economist in the post-war period. He developed the “compensation” criteria called Kaldor–Hicks efficiency for welfare comparisons (1939), derived the cobweb model, and argued for certain regularities observable in economic growth, which are called Kaldor’s growth laws.

From 1964, Kaldor was an advisor to the Labour government of the UK and also advised several other countries, producing some of the earliest memoranda regarding the creation of value-added tax.

Kaldor was considered, with his fellow-Hungarian Thomas Balogh, to be one of the intellectual authors of the Harold Wilson’s 1964–70 government’s short-lived Selective Employment Tax (SET) designed to tax employment in service sectors while subsidising employment in manufacturing. On 9 July 1974, Kaldor was made a life peer as Baron Kaldor, of Newnham in the City of Cambridge.

Other members of Wilson’s ‘gang’ came from business, such as the Gannex raincoat manufacturer Joseph Kagan, or from the law, such as the arch-fixer of the sixties, Lord Goodman. Suspicious of the Whitehall Establishment, with some justification, and cut off from the right-wing former Gaitskillites and the old Bevanites, Wilson felt forced to create his own gang. A Tory in that position might have automatically turned to old school tie connections, or family ones, as Macmillan had done. Wilson turned to an eclectic group of individuals, producing a peculiarly neurotic little court, riven by jealousy and misunderstanding. This gave ammunition to Wilson’s snobbish enemies in the press, especially Private Eye, which constantly displayed its xenophobia towards insiders with foreign-sounding names. Many in the old Establishment struggled to accept that Wilson was a legitimately elected leader of the United Kingdom. Wilson was indeed paranoid, but, as the saying goes, that didn’t mean that there were not plenty of powerful people who were out to get him, or at least to get him out.

‘In Place of Strife’: Labour and the Trade Unions:

Until the end of the decade, the sixties had not been particularly strike-prone compared to the fifties. Strikes tended to be local, unofficial and easily settled. Inflation was still below four per cent for most years and, being voluntary, incomes policies rarely caused national confrontation. But by 1968-9 inflation was rising sharply. Wilson had pioneered the matey ‘beer and sandwiches’ approach to dealing with union leaders. But after the seamen’s strike of 1966, he was becoming increasingly disillusioned with attempts to moderate the activities of the union ‘rank and file’ shop stewards through their leadership. He was supported by an unlikely ‘hammer’ of the unions, the left-winger Barbara Castle (pictured above in 1965), the then Secretary of State for Employment.

In an act of homage to her early hero, Nye Bevan, and his book In Place of Fear, she called her plan for industrial harmony, In Place of Strife. She proposed new government powers to order pre-strike ballots, and a 28-day pause before strikes took place. The government would be able in the last resort to impose settlements for wildcat strikes. There would be fines if the rules were broken. This was a package of measures which now looks gentle by the standards of the laws which would come in the Thatcher years, but at the time men like Jack Jones and Hugh Scanlon saw it as a return to the legal curbs of the twenties and thirties which they had fought for decades to lift.

The battle which followed nearly ended the careers of both Wilson and Castle, and made the Thatcher revolution inevitable. The failure of In Place of Strife is one of the great lost opportunities of modern British politics. Castle’s angry harangues put the backs up of male MPs, trade union leaders and newspaper journalists and editors, who compared her to a fishwife and a nag, just as they would Margaret Thatcher. Her penchant for luxury yachting holidays in the Mediterranean at the height of the conflict did not help her cause among ‘the brothers’. That same summer of ’69, at a dinner at Chequers, Scanlon warned both ministers that he would not accept any legal penalties or even any new legislation. Wilson replied that he found such a position unacceptable, as he would be running a government that was not allowed to govern. If the unions mobilised their sponsored MPs to vote against him,

… it would clearly mean that the TUC, a state within a state, was putting itself above the government in deciding what a government could and could not do. 

This was just the sort of language which would be heard in more public arenas first from Ted Heath and then, more starkly, from Margaret Thatcher. Scanlon rounded on Wilson, denouncing him as an arch turncoat, another Ramsay MacDonald. Wilson hotly denied this and referred to the Czech reformist leader of 1968, who had been crushed by the Red Army:

Nor do I intend to be another Dubcek. Get your tanks off my lawn, Hughie!

But, just as in Prague, the tanks stayed resolutely parked under Wilson’s nose. Wilson and Castle contemplated a joint resignation, for if the PM walked away then the Tories would almost certainly be returned, and would no doubt introduce even tougher measures to control the trade unions. As the stand-off continued, the unions suggested a simple series of voluntary agreements and letters of intent. They had decided to tough it out since they knew that Wilson and Castle were isolated in the cabinet and on the back benches, and on both wings of the party. Jim Callaghan, the Home Secretary and a former trade union official, voted against the measures at a meeting of the party’s ruling National Executive Committee. His enemies were now fully convinced that the failure of In Place of Strife would finish Wilson off and become a question of who would become the leader ‘In Place of Harold’. In a bitter cabinet meeting, Richard Crossman made a plea that they must all sink or swim together, to which Callaghan retorted with the phrase “sink or sink…” George Thomas, Callaghan’s fellow Cardiff MP, described him as ‘our Judas Iscariot’. Ten years later, following ‘the Winter of Discontent’ I passed up on the opportunity to vote for Callaghan as a student in the Welsh capital. By then, he was seen as the Prime Minister who had betrayed us all by failing to support labour relations reform and enabling Margaret Thatcher to sweep to power. Tony Crosland and Roy Jenkins, two other big-hitters on the right of the party also ratted on Wilson, and Tony Benn, having previously supported Castle on the left, also changed his mind.

It is possible to argue that Castle’s plans were too hardline for 1969, though Callaghan himself later admitted that penal sanctions had been necessary. At the time, he and other ministers left Wilson with no option but to give way. His earlier threats to resign were swiftly forgotten, and it was Barbara Castle who was now isolated, even from Wilson himself. He cruelly joked about her:

Poor Barbara. She hangs around like someone with a still-born child. She can’t believe it’s dead.

She made a ‘solemn and binding’ agreement with the TUC under which the unions agreed to accept  TUC advice on unofficial strikes. ‘Solomon Binding’ became a national figure of speech, and of fun. Roy Jenkins admitted that both Wilson and Castle emerged from the debacle with more credit than the rest of the cabinet. Andrew Marr poses a great background question about the Labour governments of the sixties:

… whether with a stronger leader they could have gripped the country’s big problems and dealt with them. How did it happen that a cabinet of such brilliant, such clever and self-confident people achieved so little? In part, it was the effect of the whirling court politics demonstrated by ‘In Place of Strife’.

In the end, however, it was not the wild-eyed plotters which destroyed the Wilson government, but the electorate. There were good reasons for Labour to think that, in spite of the cabinet split over In Place of Strife, they would see off the Tories again. The opinion polls were onside and the press was generally predicting an easy Labour victory. Even the right-wing commentators lavished praise on Wilson’s television performances and mastery of debate, though he pursued an avowedly presidential style and tried to avoid controversy. Just before the campaign had begun, Jenkins learnt, too late, that more bad balance of payments figures were about to be published along with bad inflation figures. This helped tip things away from Wilson and gave Heath his thirty-seat majority. Polls afterwards, however, scotched the idea that Jenkins’ pre-election budget had lost Labour the election. In fact, it had been quite popular.

(to be continued… )

Sexual Freedom & Women’s Liberation:

The ‘cultural revolution’ had a profound effect on sexual behaviour in general, and on women in particular. Sex before marriage became less taboo (one-third of young women were pregnant when they married), and there was a general feeling of increasing sexual freedom at various levels in society, which was made a reality through the advent and growing availability of the contraceptive pill from 1962. Women’s liberation also took off, leading to the victory of the Equal Pay Act in 1970. Until that, equal rights and feminism only really touched the surface. There was still a long road to travel on this, however. Too many workplaces were utterly unwelcoming of women wanting work. Too many memoirs recount the gross sexism of the new rock stars, not to mention the abuse of young women and children by a small number of prominent pop celebrities, more recently uncovered in police investigations. ‘The Pill’ might have arrived, and the Abortion Act became law in 1967, but this was still a time of ‘unwanted’ pregnancies, ‘unmarried’ mothers and gross domestic violence being administered by drunken men. Yet the philosophical principles of egalitarianism were gradually weaving their way into social change. Traditions of submission and obedience, together with hierarchies of class and gender based on medieval property rights, industrial capital and imperial administration, began to wobble and dissolve into a society which was more dilute and porous. This was not so much because ‘revolutionaries’ ushered in an age of personal freedom, but more generally because it suited a new economic system based on consumer choices.

In domestic life, two-thirds of families acquired labour-saving devices such as refrigerators and washing-machines. There was a growing ‘snappiness’ and lightness of design, in everything from the cut of clothing to the shape of cars, an aesthetic escape from the gravitas of the post-war period of austerity. But among the population as a whole this was a gradual transformation, experienced in a continuum, not as a revolution. The process was somewhat accelerated among the younger generation.  The real earnings of young manual workers had grown rapidly in the early sixties, creating a generation who had money to spend on leisure and ‘luxury’ goods. The average British teenager was spending eight pounds a week on clothes, cosmetics, records and cigarettes. In London, King’s Road and Carnaby Street became the haunts of this generation. Their attitude is summed up by the designer Mary Quant, whose shop Bazaar in King’s Road, provided clothes…

… that allowed people to run, to jump, to leap, to retain their precious freedom. 

Quant had been cutting up lengths of cloth bought over the counter and selling them at Bazaar since the mid-fifties. Her iconoclastic style involved drawing, slicing and sewing up a uniform that parodied the pleated, padded, extravagant clothes of the Old New Look designers. In doing so, she was taking on the fashion industry of Paris and the West End from her bedsit and tiny shop. Quant’s shockingly short mini-skirts, named after the car she loved, were offensive enough for the occasional brick to be lobbed at her window. She always claimed that she was trying to free women to be able to run for a bus. But it was the sexual allure that shocked. Michael Caine later recalled taking his mother down the King’s Road to see what all the fuss was about:

I said, “here’s one now”, and this girl walks by with a mini up to here. She goes by and my mother looked at her. So, we walk on a bit. She never said a word. So I said, what do you think, mum? She said: “If it’s not for sale, you shouldn’t put it in the window.”

Clothes became the outward symbols of the ‘Chelsea Set’ of which Caine was a fully paid-up member, as was Quant. But Quant’s fashions were as exclusively priced as the ‘Set’ itself. ‘Biba’, an iconic symbol, promised liberation for women and girls, but liberation through spending. Its founder, Barbara Hulanicki was a girl from an exiled family, born before the war, brought up in British-controlled Palestine and then raised by a ‘bohemian’ aunt in Brighton, before going to art school. She then launched a mail order company with her husband. Biba, named after her younger sister, aimed to offer glamorous clothing at cheap prices. She had been mesmerised by Audrey Hepburn (above and below), her shape; long neck, small head, practically jointless, and her first top-selling design was a pink gingham dress like the one worn by Brigitte Bardot at her wedding.

Her succession of boutiques were dark, chaotic spaces in which customers could lose themselves, pick up and try on, discard and collect, and sometimes steal, a great gush of new designs which seemed to change every week. The clothes were run up at high-speed in the East End and ferried to the boutique (below) several times a week. Turnover was spectacular and soon celebrities were beating a path its door, mixing with shorthand typists and schoolgirls to buy Biba designs – Mia Farrow, Yoko Ono, Princess Anne, Raquel Welch and even Bardot herself. As one Biba admirer said, it was helping to create the concept of shopping as an experience, a leisure activity for the young. George Melley, jazz singer, writer and professional flamboyant called it a democratic version of Mary Quant. Hulancki herself said that she always wanted to get prices down, down, down, to the bare minimum. The cheapness and disposability of the clothes was shocking to an older Britain in which millions of families had been used to make do and mend, followed by making their own clothes, buying patterns from Woolworth’s and sewing them by hand, or using a new electric sewing machine, or knitting woollen dresses and jerseys. Biba was the beginning of the throw-away consumer culture applied to clothing, and though it would present moral dilemma later, in the sixties it simply provided freedom for millions of young single women, career girls about town, who, as yet, had not been shaped by motherhood.

Pop Music and Popular Culture:

Another symbol was popular music. Before ‘pop’ the dominant popular music styles produced low profits. Most public music was live; piano and banjo players on music-hall stages, the star singers and then eventually the big bands of the dance halls and the smoky subculture of ‘jazz’. Sheet-music made big money for talented composers like Ivor Novello and stage stars like Harry Lauder. Gramophone record sales had kicked off with recordings of early twentieth-century opera stars but the invention of the modern microphone in the twenties had then changed popular singing, allowing intimacy and variety of a new kind. The recording industry brought Louis Armstrong, the Ink Spots, Vera Lynn and the crooners of many West End musicals to millions of homes before pop. By the end of the fifties there were four major British recording companies: EMI, Decca, Pye and Philips. Most of their profits came from classical music or comic recordings, like those of Flanders and Swann. It was with the spread of seven-inch forty-fives that records had become something that teenagers could afford to buy. Though first produced in the US as early as 1948, for working-class British youngsters they were still formidably expensive by the late fifties.

The other essential technological changes arrived at around the same time. First, loud electric guitars, invented by radio repairman Leo Fender in 1948. Then transistor radios, originally invented in the mid-fifties to help Americans keep in touch after the coming nuclear war with Russia, and becoming popular for other purposes at the end of the decade. Without the mike, the electric guitar and the seventh-inch record, rock and pop would not have happened. Without the radio, the vital cross-cultural currents would have been unheard. The post-austerity economic boom was putting money in the pockets of teenagers and young workers, and the post-war baby-boom had increased their numbers. Better nutrition meant that they reached puberty earlier, and the mechanisms for the mass-marketing were already in place. By the early sixties, all the essential ingredients of the new market for this were also in place.

Most histories of golden-age sixties rock groups begin with a similar narrative, with the kids discovering Chuck Berry and Elvis Presley under their bedclothes, covertly listening on frequency 208 on their transistor radio to Radio Luxembourg, which broadcast to the UK from 7.00 p.m. onwards every night. They then go on to describe the formation of a ‘skiffle’ band, like that of Lonnie Donegan, using simple chords and home-made instruments like washboards or slatted wardrobe doors, mouth organs and ‘kazoos’. Then the coffee bar or burger bar would make an appearance, a place where teenagers could go to socialize and listen to jukeboxes. The local art college would also, often, be part of this formative, group experience. Many of these were associated with local technical colleges, which before the university expansion of the seventies was where bright, imaginative and often rebellious teenagers would end up after leaving ‘academia’ behind at fifteen. The art schools were the true factories of popular culture, for musicians, painters and sculptors.

By the later fifties, art students were not only listening to skiffle, but the US rock ‘n’ roll stars, and also to British ‘Elvis copies’ like first Tommy Steel, then Harry Webb, ‘reincarnated’ as Cliff Richard, then Tom Jones. John Lennon went to Liverpool Art College, while Ray Davies, who formed The Kinks attended Hornsey, Keith Richard of The Rolling Stones went to Sidcup, and Pete Townsend of The Who went to Ealing Art College. The RAF-style roundels and bold black arrows which appeared on the band’s clothes and became part of the Mods’ insignia, had been swiped from graphic designers and pop painters. Of course, no band was more important in the sixties, and arguably since, than The Beatles. They expressed both youthful rebellion and commercialism, providing British teenagers with an identity that cut across the barriers of class, accent and region. The Beatles had been formed, originally as The Quarrymen, in July 1957 and in 1962 Love Me Do reached #17 in the charts. But it wasn’t until April 1963, that From Me to You became their first number one hit single.

‘Beatlemania’ & the Radio Revolution:

The key to their initial breakthrough, and their continued success, was not studio recordings, but radio performances. Between 1957 and 1970 they performed live in eighty-four different venues in England, fifteen in Scotland, six in Wales and two in Ireland. Many people in the establishment regarded ‘pop’ music with disdain. The BBC held a monopoly over the radio waves and, in a deal with the Musicians’ Union and record manufacturers, ensured that popular music was not given airtime. The Beatles, however, were too popular for the BBC to resist, and between March 1962 and June 1965, no fewer than 275 unique musical performances were recorded in their studios and broadcast throughout the UK. The group played eighty-eight different songs on national radio, some recorded many times. As well as their own songs, these recordings also included rock ‘n’ roll numbers by Chuck Berry and Little Richard. They worked like dogs, once recording eighteen songs in one day on 16 July 1963. Derek Taylor has written about how …

… they became our cheeky chappies, our Elvis, took up residence on the front page, and in the zeitgeist of the age, helped to establish the booming creative potential of provincial England.

The Beatles gave us a continuing soundtrack of unparalleled charm and reassurance. As long as they kept on delivering fresh songs along with the morning milk, everything was right in our optimistic world. Quite quickly, the Beatles became an institution all of their own, with all sorts of attendants – fanatics and detractors, revisionists and archivists, accountants and lawyers, scribes and Pharisees.

That the Beatles were woven into the fabric of British life was due in large part to the regularity of their attention to good habits – the Christmas message to the fans, the package tours, the visits home to Liverpool families, an honest paying of all the expected dues and in no small measure to the BBC, who provided that unparalleled broadcasting expertise to keep the nation in touch with ‘the boys’ through fifty-three broadcasts. Radio allowed them to ‘be themselves’ and that was always enough for the Beatles and their followers.

The Beatles’ frequent access to the BBC’s studios and airwaves was the consequence of an age of wireless innocence. Although millions were hungry for rock ‘n’ roll, on the radio it was severely rationed. When you tuned in during the day, there was only the choice of the BBC’s three national networks and, of those, only the Light Programme might occasionally allow Elvis or Buddy Holly into your house. There was no local radio or commercial radio. The only alternative was a crackling, phasing Radio Luxembourg beamed across Europe at night. When ‘the Light’ did feature ‘pop’, due to the Musicians’ Union restriction, records were frequently side-lined by emasculated renditions of hits from dance orchestras. But without competition, BBC radio programmes were guaranteed huge audiences. The Beatles’ manager, Brian Epstein, had understood this opportunity and sent an application for a radio audition to the BBC’s Manchester outpost early in 1962. Producer Peter Pilbeam had auditioned them and, despite his note on his report about the singers – John Lennon, yes; Paul McCartney, no – both had featured on their BBC debut in front of an audience at Manchester Playhouse in March 1962. This regional radio breakthrough had come seven months before the release of their first single on ‘Parlophone’, Love Me Do, and no recording exists of the concert or any of their other three broadcasts of 1962. It remains ‘pre-history’ in terms of the Beatlemania years, especially when compared to their ‘meteoric’ rise to fame in 1963.

At the beginning of 1963, Britain was experiencing its worst winter weather since 1947. The country shivered through freezing temperatures at a time when few houses had the luxury of central heating. Most of the land was covered in deep snow making transport difficult. Undaunted, The Beatles spent many hours during those cold early months of 1963 in a van driven by a friend, journeying up and down the country to appear onstage at theatres and ballrooms and to perform in radio and TV studios. Before this breakthrough year, the group had worked hard at their craft, including hundreds of hours spent entertaining the rowdy clientele of a Hamburg nightclub and the friendly regulars at the Cavern Club in Liverpool, enabling the development of an extensive and varied repertoire. Their musical expertise combined with discipline and stamina proved to be an unbeatable formula.

Though the stories of British rock and pop bands follow a predictable trajectory, the stories of the earlier bands are more interesting simply because the story had not occurred before. Though pop was a business it was also narrative about class and morality; almost every band’s story described the tension between the marketing of the music and the attempt by the band to stay in some way ‘authentic’, true to themselves. Many never tried to be authentic in the first place, but the groundbreaking ones did but didn’t find it easy. The Kinks were four north London boys who affected a camp look and played rough, hard pop were put into the most extraordinary pink hunting jackets, ruffs and thigh-high suede boots. The Beatles were bullied and cajoled by Epstein into ditching the rough jeans and leather Luftwaffe jackets they had learned in Hamburg. To get their first recording contract with EMI, the Beatles were told to stop smoking on stage, stop swearing, turning up late, and making spontaneous decisions about which songs they would play at their gigs. They also had to learn to bow smartly to the audience, all together, after every song. They agreed. It was only later in their successful sixties that they felt they could tell their managers where to get off.

The BBC’s Saturday Club presenter, Brian Matthew (above), commented, following their appearance on his show on 26th January 1963:

At the moment, the majority of ‘The Beatles’ fans are in their home town of Liverpool and I have a very strong suspicion it won’t be long before they’re all over the country.

Brian Matthew’s belief was quickly confirmed. From ten o’clock to twelve noon every Saturday, the show reached an enormous audience of around ten to twelve million. The Beatles were featured ten times on the programme and quickly established a rapport with Matthew and producer Bernie Andrews, who supervised the music sessions.  Six numbers were recorded in sessions lasting no more than three and a half hours; sometimes as short as ninety minutes. Throughout 1963 number one records followed in quick succession: Please Please Me, From me to You, She Loves You and I Want to Hold Your Hand. The debut album, Please Please Me, the Twist and Shout EP, and the With the Beatles LP were also released within that year. While those releases kept them high in the charts, the pressure of The Beatles schedule never eased for a moment, but they were match-fit. They performed music in thirty-nine radio shows in 1963 and, most importantly, fifteen of those programmes were editions of their own radio series Pop Go the Beatles which the BBC invited them to host during the summer of 1963. Tuesday evening became an essential date with the radio for millions of fans. They were encouraged by the presenter to let their humour shine between the songs, and producer Terry Henebery remembers this ‘zaniness’ not being confined to the recorded speech links:

They’d come to the studio and horse about. You had to crack the whip and get on the loudspeaker talk-back key quite a lot and say “Come on, chaps!” They’d be lying all over the floor, giggling. And I can remember afternoons down at the Paris Cinema studio, where you were just looking at the clock, throwing your hands up in horror and thinking, ‘will they ever settle down?’ I mean, people would go and get locked in the toilets and fool about. But you were, at the end of the day, getting some nice material out of them.

No one would have predicted it in 1963, but the songs The Beatles chose to perform for their radio series constitute the most fascinating aspect of their music sessions for the BBC. The New Musical Express reported that R-and-B material will be strongly featured. The shows certainly lived up to that promise. Required to record six songs for every show, to avoid undue repetition, the group would often romp through an old favourite or work on a new number. As Ringo observed:

It was fine when doing the repertoire we knew, but some weeks it’d be real hard. We’d rehearse two or three songs in the lunch break and then go and record them in the afternoon.

For some groups, a series that demanded six new recordings every weeknight might have been daunting; but it allowed The Beatles to air their influences and try out some new favourites. They performed fifty-six new songs in all, twenty-five of which had not and would not be released on any of their records. The choice of material in these and other programmes clearly reveals the artists who had inspired the group. They recorded nine cover versions of Chuck Berry songs which, except for Roll Over Beethoven were all belted out by John. In addition, they covered six Carl Perkins and four Elvis Presley songs, while the four Little Richard rockers were the exclusive vocal property of Paul and his throat-ripping ‘whoops’ and ‘hollers’. In gentler moments, Paul sang A Taste of Honey and Till There Was You, but his most unusual ballad was The Honeymoon Song. John produced a real gem in Ann-Margret’s I Just Don’t Understand. The four were adept at digging out unusual material, often beating rival Liverpool groups to sought-after American records and learning the B-side. As Paul commented in 2013,

You will find stuff in our repertoire that came off little odd-ball records. We had started off going onstage and playing songs that we liked, but then we would find that on the same bill as us in the Liverpool clubs, there might be another band that would play exactly the same songs. If they were on before us, it made us look a bit silly. We started to look further afield, study the American charts and see what was there. We’d listen to radio a lot and find out if there was anything up and coming. We would also flip records and listen to the B-sides; see if we could find anything that way. In fact, that’s what started John and I writing, because this was the only foolproof way that other bands couldn’t have our songs. There was no great artistic muse that came out of the heavens and said, ‘Ye shall be a songwriting partnership!’ It was really just we had better do this or everyone is going to have our act. …

In addition to the night-time broadcasts of Radio Luxembourg, the other sources for rock ‘n’ roll music on discs were coffee-bar jukeboxes, fairgrounds and record shops. Fortunately, this era was a golden era for record stores. Hundreds of family-run concerns, like Brian Epstein’s NEMS in Liverpool, would take pride in stocking at least one copy of everything released. Many Liverpool musicians spent hours in listening booths at NEMS while records were played to them. Occasionally, they might even buy one! At the time of their BBC sessions, The Beatles were seeking out the latest Rhythm and Blues records from the States. Although many of these by groups such as The Miracles did not, at first, make the British charts, they were a key influence on The Beatles. Again, Paul McCartney explains:

With our manager Brian Epstein having a record shop – NEMS – we did have the opportunity to look around a bit more than the casual buyer. …

Ringo would get stuff from the sailors. … he happened to have a few mates who’d been to New Orleans or New York and had picked up some nice blues or country and western. … But it was really a question of looking harder than the next guy. We made it our full-time job to research all these things; to go for the road less travelled.

These records, and those by The Shirelles, who did have some UK hits, had sophisticated vocal, string and horn parts. Rearranging them for a four-piece line-up helped to create the Beatle sound just as much as the earlier singles by the rock ‘n’ roll pioneers. Current R&B records were not easy to get hold of or hear in Britain. But in 1963, records released on the Tamla and Motown labels were distributed in the UK by Oriole. Radio Luxembourg also featured the latest records by Mary Wells, The Miracles, Marvin Gaye, Martha & the Vandellas and Little Stevie Wonder. Although none of them was a hit at the time, The Beatles’ love of the records from Detroit was demonstrated when they included three Motown songs on With the Beatles. Their devotion to black soul music proved crucial to its wider acceptance.

The significance of The Beatles’ BBC radio sessions also stems from the way the sound of the group was captured for their broadcasts. At that time, artists were not given large amounts of studio time. At EMI studios, on 11th February 1963, The Beatles had to record ten songs for their debut album, Please Please Me. The fact that this was achieved in under ten hours subsequently became regarded as a remarkable achievement. This was seen as especially true when the quality of the tracks was considered. It was common practice in 1963 to complete a minimum of two songs in a standard three-hour session. As Paul has pointed out,

It was just the rate people worked at. … Looking at it now, it seems so fast, but then it seemed very sensible.

At the BBC, the work-rate was even higher. Apart from when they were performing in front of an audience for a broadcast, The Beatles had to record five or six songs in a short session so they were not fazed by this requirement. The recordings were made onto a four-track tape machine at EMI in October 1963, but multi-tracking did not begin at the BBC until a decade later. This meant that the mono recordings could not be edited, except by editing different takes of a song onto the same tape. Otherwise, there was the option to ‘overdub’ by copying the first recording to another tape, while at the same time adding more instruments or vocals. Both of these processes could be very time-consuming, so what we hear on the BBC tapes is the sound of the group performing ‘live’, direct to tape, as if to an immediate audience, but without the noisy hysteria which accompanied their public concerts. The pop songs of the early Beatles were not neatly produced commodities as all pop songs later became. You can hear the fun involved in their creation.

When Pop Go The Beatles finished its run, they were once more at the top of the charts with She Loves You. From that point on, things went crazy and pretty much stayed that way. Their unassailable popularity was reflected by the press who applied the epithet Beatlemania to the hysteria that surrounded their every move. In February 1964, the States surrendered to the magic and Brian Epstein’s bold boast that his group would be ‘bigger than Elvis’ proved to be true. Having ‘hit the business jackpot’, as Brian Matthew expressed it in Saturday Club, the number of times The Beatles came to the BBC was greatly reduced; compared to the thirty-four programmes recorded in 1963, from October 1963 to June 1965 there were just fifteen specially recorded sessions. Having once been prepared to rush from one end of the country to the other for a radio show, global success now made the group less available. Their last BBC radio performance was the solitary one of 1965, on Whit Monday, entitled The Beatles Invite You to Take a Ticket to Ride. It was understandable that they now had real need of this particular kind of radio exposure. But most of the sessions at the BBC had been exciting and fun. DJ Alan ‘Fluff’ Freeman worked with the Beatles in 1964. He remembered that:

Their music and persona freed me from middle age … because the things that were coming from The Beatles made me feel like a ten-year-old! They made us all feel tremendously happy.

Just before The Beatles made their last BBC recording, at Easter 1964 the first illegal ‘pirate’ radio station, Radio Caroline, began broadcasting from a ship just off the Sussex coast. Within months, millions of young people were listening to Radio Caroline North and Radio Caroline South, Radio London and other pirate stations that sprung up. Not only did they broadcast popular music records, but they also reminded their listeners that any attempt to silence them would constitute a direct ‘attack on youth’. With the advent of these radio stations, the BBC monopoly on airtime was broken, and bands were able to get heard beyond their concerts. Eventually, the Government acted to bring an end to its cold war with the British record industry. The BBC set up Radio One to broadcast popular records and in August 1967, the Marine Offences Act outlawed the pirate ships.

The Rock Generation:

In the early days of pop and rock, it was not always quite as obvious that money would always trump vitality. There were still battles to be fought between the two. The Who (pictured below) were a west London band which had, like so many others, emerged from skiffle, and had been kick-started by the early successes of The Beatles. They were encouraged by their manager, Peter Meadon, to dress stylishly and address themselves to the new audience of ‘Mods’. Their first single, I Can’t Explain was self-consciously derivative of The Kinks, and was released in January 1965. It made it to #8 in the charts, but it was their second single, My Generation which really caught the mood of the times and the imaginations of pop fans, later became the first British rock ‘anthem’. It was recorded at the Pye Studios in London in October 1965 and released as a single on 5th November. Just before its release, Roger Daltry was fired from the band for fighting with the other members, but he was quickly reinstated when it reached #2. The fighting and onstage antics continued throughout their early career, though, including the smashing up of guitars by the band’s leader, Pete Townsend. While delighting their live audiences, their guitar-smashing kept them away from mainstream venues.

A string of top ten hits followed in 1965-67, from Substitute to Pictures of Lily and I Can See for Miles. Pete was disappointed that the last of these only reached #10 in the UK charts compared with #9 in the US, commenting shortly afterwards that to him, that was the ultimate Who record yet it didn’t sell and I spat on the British record buyer. Throughout a stellar career during which some think, with their concept albums, eclipsed The Beatles after the break-up of the ‘fab four’, The Who, though, far from revolutionary in politics, were never properly ‘tamed’.  Nor were The Kinks, whose song-writing genius Ray Davies became involved in a punch-up with an American television union official who had called them a bunch of commie wimps. That altercation got them banned from the States for four crucial years.

The big battle lines, however, were drawn over the content of the songs, which quickly moved beyond the easy American boy-meets-girl themes of Buddy Holly and the Everly Brothers. By 1968, rock was beginning to escape from the urban and suburban Britain of its young consumers. For most of them, their teenage years would end in a more conventional working life and marriage, which was (perhaps somewhat conversely) more popular than ever in the late sixties, with marriage rates peaking in 1972. But drugs, mysticism, gangs and sexual experimentation were some of the alternatives celebrated by pop culture, much to the discomfort of record companies, the BBC, politicians and the newspapers. Songs such as Lola by The Kinks and I’m a Boy by The Who challenged existing sexual stereotypes, and there was a ‘libertine’ element in The Rolling Stones songs which shocked those parents who could follow the lyrics.

Above all, the rate of experimentation and change in sixties pop itself was astonishing, as a new sound, instrument, length of song and sexually explicit album cover image seemed to come along every few weeks in 1966-68. It was a classic, market-driven competition between the top bands and artists, measured by sales of records. Lennon and McCartney remained at the forefront of this experimentation, feeding back discoveries about tape loops, modern composers and Bach into the music of The Beatles, retreating more and more into their Abbey Road studio to produce more complex sounds. The Stones’ blues-rock challenged the ‘Mersey Beat’ and the ‘Mods’ began to produce early versions of the ‘heavy metal’ genre, followed by Led Zeppelin at the end of 1968, who made it their own. But, at this stage, The Beatles were still seen as the pioneers, the first big stars to fall for Indian mysticism, sitars, or the next drug craze, and the first to break up under the strain. Their trajectory, like their output, seemed impossible to beat. As Andrew Marr concludes,

A band’s success was based on its members’ skills but also on their authentic claim to be the kids from the streets whose anger, enthusiasm, boredom and wit reflected the actual Britain all around them, the lives of the people who would save up and buy their songs. Pop was music from below or it was nothing. Yet the successful musicians would be cut off from the world they came from by the money and the security needed to keep fans at bay until they were fated to sound introspective and irrelevant.  

By 1968, other forms of music were receding before the ear-splitting tidal advance of rock and pop, driven by radio. In painting, pop art and the pleasure principle were on the attack. Simpler and more digestible art forms, suitable for mass market consumption, were replacing élite art which assumed an educated and concentrated viewer, listener or reader. Throughout these years there were self-conscious moves to create new élites, to keep the masses out. They came from the portentous theories of modern art or the avowedly difficult atonal Classical music arriving from France and America, but these were eddies against the main cultural current.  Similarly, when Mary Quant set up her shop she was a rotten businesswoman. The fun was in the clothes. No business with so little grasp of cash could afford to be cynical. Of course, the King’s Road was a foreign country to most Britons in the mid-sixties. The majority of those who lived through that period have personal memories of rather conventional and suburban lives. Most working-class people were still living in Edwardian and Victorian red-brick terraces in the English and Welsh industrial cities, and in tenements in Glasgow, Dundee and other Scottish towns.

For this vast majority, the early sixties were experienced as a continuation of the fifties, not as a break with that decade. Britain remained an industrial society, though more prosperous, whose future was believed still to depend on factories producing cars, engines, washing machines and electrical goods, both for the ‘domestic’ market and for export. The older generation of authority figures – teachers, judges and above all parents – still derived their clothes and morality from their wartime experience, and were the butt of widespread mockery, especially by the cartoonist Giles of The Daily Express (commemorated by the statue shown above, located in Ipswich town centre) and on TV by David Frost. Television also gave further mass exposure to the pop industry, with regular editions of  ‘Jukebox Jury’, ‘Ready, Steady, Go’, and ‘Top of the Pops’ attracting huge young audiences. The radio, TV and magazine publicity machine was up and going. The equipment was in every second home, radios and record players turned out by Britain’s booming electronics industry. But the men with moustaches and ‘short back and sides’ haircuts were visibly still in power. As Andrew Marr has written,

The Britain which proudly displayed volumes of Churchill’s war memoirs on bookshelves, and stood up in cinemas for the national anthem, did not disappear when Ringo Starr grew his first luxuriant moustache.   

Swinging London and its New Celebrities:

The new culture was far from elitist; it was meritocratic, but it could be just as exclusive as the older forms. It was shaped by upper-working-class and lower-middle-class people who had never enjoyed this level of cultural influence before. The northern cities of England, especially Liverpool, but also Newcastle and Manchester, that were sending their sons and daughters south to conquer, even if it was only on radio and television shows. The older Britain with its regimental traditions, its racism and clear divisions in terms of class, geography and dialect. The ‘scouse’ voices of The Beatles and the ‘Geordie’ accents of the Animals had been rarely heard on the radio before 1963, and for many metropolitan and Home Counties listeners, they came as something of a shock. By the summer of 1965, however, what was called Swinging London, or the Scene, was a small number of restaurants, shops and clubs where a small number of people were repeatedly photographed and written about. In Chelsea, Biba, ‘Granny Takes a Trip’, ‘Bazaar’ and ‘Hung on You’ were honeypots for the fashionable. They spent their evenings and nights at clubs like ‘Annabel’s’, ‘Showboat’ and ‘Talk of the Town’.

There were perhaps no more than twenty ‘celebrities’ at the heart of Swinging London. They included The Beatles and Mick Jagger, among eight pop singers, the model Jean Shrimpton, the designer Mary Quant, painter David Hockney, actors Michael Caine and Terence Stamp, and photographers Lord Snowdon, David Bailey and Terence Donovan. The ‘list’ compiled and published by Private Eye journalist Christopher Booker in 1969, also included an interior decorator, a creative advertiser, a film producer, a discotheque manager, a ballet dancer and the Kray brothers from the East End who could only be described as connected with the underworld. These New Aristocrats, as Christopher Booker called them, were all concerned with the creation of images. Following the Profumo affair of a few years earlier, old money, big business, the traditional arts and politics were being marginalised and replaced by working-class ‘upstarts’. Among the photographers, Bailey was a tailor’s son and Donovan a lorry driver’s son, both from the East End. Michael Caine was a Billingsgate fish porter’s son and Stamp the son of a tug-boat captain. The female aristocrats included Lesley Hornby of Neasden, better known as ‘Twiggy’, a carpenter’s daughter, and Priscilla White, better known as ‘Cilla Black’, another (originally) ‘scruffy Scouser’. A few were there entirely because of their looks, like ‘supermodel’ Jean Shrimpton, a description first used in 1968. Very few of these men and women would have made it in the London of previous decades. The intertwining of this aristocracy of pop was as sinuous as the old Tory cliques of the fifties. But their significance was that they represented the increased mobility of talented people from working-class backgrounds.

These ‘celebrities’ were joined by footballers, who in 1966-68 were raised from tradesmen and servants to the level of golden gods, sometimes behaving badly too. England’s victory in the 1966 World Cup, with its dramatic finale at Wembley and the team’s 4-2 defeat of West Germany was the stuff that dreams are made of, leading to ritual disappointed expectations every four years ever since. Despite reaching the semi-finals on two occasions since, in 1990 and 2018, the nation has not yet been able to repeat the dressing up and dancing in the streets that went on then, with every English man, woman and child joining in. Alf Ramsey, the English team manager, had been part of the team who had lost 3-6 to Hungary at Wembley in 1953. Now he and his lions had brought football home at last. The three ‘Eastenders’, West Ham’s Bobby Moore, Martin Peters and Geoff Hurst outshone the Charlton brothers on this occasion, but Bobby Charlton was himself part of Manchester United’s ‘home’ international trio together with George Best and Denis Law who won the European Cup, beating Eusebio and Benfica 4-1 in 1968. This was a remarkable achievement, coming just a decade after Busby’s ‘babes’ were all but wiped out in the Munich air disaster of 1958. Glasgow Celtic had been the first British team to win the European Cup in the previous year, under the management of Jock Stein in 1967. Some of these soccer celebrities, like George Best, were later to struggle with the limelight, but for now they could do no wrong as far as the British public were concerned. The articles and photos below are from a facsimile of the Sunday Mirror from 31 July 1966:

The new celebrities were not just fascinated by images, but quickly colonised the entire new media of pop music, radio, television, fashion, advertising, colour magazines, and hairdressing. These were not the property of the City or of old money. Linguistic diversity was as important as imagery in this democratisation of society and culture. It was the breakthrough lead given by Lennon and McCartney in singing their own material that persuaded scores of other British bands to follow suit. Others chose to mimic the accents and vocabulary of the American rockers who had inspired them, even when producing their own compositions. There are few songs in the ‘transatlantic’ repertoire of The Rolling Stones which sound particularly English, unlike those of other iconic London bands such as The Kinks and The Who. Banned from the US while others were breaking into the American market, Ray Davies turned back to local subjects. He had always written pop songs about everything from the death of the dance-halls to the joys of an autumn sunset over Waterloo Bridge, but The Kinks Are The Village Green Preservation Society of 1968 was on an entirely different scale. As Ray Davies commented himself:

While everybody else thought the hip thing to do was to drop acid, take as many drugs as possible and listen to music in a coma, the Kinks were singing songs about lost friends, draught beer, motorbike riders, wicked witches and flying cats.

The title song of their album calls for the ‘preservation’ of Desperate Dan, strawberry jam, the George Cross, the ‘Sherlock Holmes English-speaking vernacular’, little shops, china cups, virginity, Tudor houses and antique tables while attacking the new skyscrapers and office blocks. The album, which sold in tiny numbers compared with Sergeant Pepper, with its equally nostalgic Liverpudlian and Lancastrian-themed lyrics, confused contemporary critics who could not decide whether the group were being serious or satirical. The simple answer, with the benefit of a critical hindsight which regards the disc as one of the greatest achievements of British pop in the sixties, “both”. The band showed that it was possible to write inspiring rock music about what was around you, rather than posturing as a boy from Alabama or pretending to be an Afro-American. On the other hand, in listening to Dusty Springfield, who had one of the ‘purest’, most spell-binding voices of the decade, you could be forgiven for thinking she was from Detroit or Paris. Few of the songs she sang, if any, had British themes and British English vocabulary. But then, ‘son of a preacher man’ scans better! The English folk-song revival of the early sixties also played into this democratic, eclectic mix, with the founding of Fairport Convention in 1967, named after the house in which they practised in North London. Their folk-rock genre took themes and dialects from all parts of the British Isles. By 1968, regional accents had become commonplace in radio and television programmes, especially the perennial ‘soap operas’, though it took much longer for the provincial presenters of news, views and features to be accepted onto the national broadcasts of the BBC, not to mention those from ethnic minorities. This reflected the slow progress in British society in general towards genuine devolution, diversity and gender equality.

Despite the dramatic increase in wealth, coupled with the emergence of distinctive subcultures, technological advances (including television) and unprecedented shifts in popular culture, by the end of the sixties, there was a general sense of dissatisfaction and disillusionment with society and politics in Britain. In the early seventies, when John Lennon was asked to assess the impact of The Beatles by Rolling Stone magazine, he commented that…

Nothing happened, except we all dressed up. The same bastards are in control, the same people are running everything, it’s exactly the same.

Conclusion: A Real Counter-cultural Revolution?

The counter-cultural ‘revolution’ in Britain had no organisation and no practical agenda. It was largely middle class in its amorphous leadership, without any real or effective links to the working-class socialists who wanted higher wages and perhaps even workers’ cooperatives, but were less keen on long-haired students taking drugs, or indeed on angry black people. The counter-cultural currents influenced pop and rock music, but it did not immediately create an indigenous, autonomous British movement. It was dependent on passing American fads and voices, like that of Bob Dylan and Allen Ginsberg. Like both Dylan and John Lennon in the early seventies, The Who questioned revolutionary values and violent methods in their second great ‘anthem’, Won’t Get Fooled Again, written by Pete Townsend in 1970 and recorded and released the next year. It ends with the line, Meet the new boss; he’s the same as the old boss! Townsend wrote,

It’s really a bit of a weird song. The first verse sounds like a revolution song and the second like somebody getting tired of it. It’s an anti-establishment song. It’s ‘anti’ people who are negative. A song against the revolution because … a revolution is not going to change anything at all in the long run, and a lot of people are going to get hurt.

Symbolically, perhaps, the group has usually played the full eight-and-a-half minute version of the song at the end of its concert. More than any other song, it sums up the relationship between pop music and sixties’ counter-culture.

Sources:

Joanna Bourke, Shompa Lahiri, et. al. (eds.) (2001), The Penguin Atlas of British & Irish History. London: Penguin Books.

Andrew Marr (2007), A History of Modern Britain. London: Macmillan.

Kevin Howlett (2014), The Beatles: The BBC Archives, 1962-1970.