Cliff Richard in the cab of a London Transport RT Bus 1962
Its 1962 and London faces a shortage of Bus drivers and Cliff Richard and The Shadows are the top selling group in the British music scene - this spectacular collision of circumstances perhaps provided the ideal recruiting vehicle for London Transport and another Cliff film that would only increase his fame. So, how has society changed 60 years on?
By the end of 1959, the early rockers that Cliff had idolised were now mostly gone or in decline. Elvis was in the Army, Buddy Holly died in a plane crash, Little Richard had found religion, Jerry Lee Lewis had married his 13 year old cousin causing opprobrium when he toured England and Chuck Berry had his own minor problems, so to speak.
Apart from Bill Haley, most of the artists were in decline and out of the charts, music was changing from the 'old' Rock n' Roll and the new, slick, 'Booby' style was here. Bobby Vee was the personification of that new era, a young college-educated man in a smart sport coat, neatly cut hair, with a smart car and an adoring girlfriend from a white picket fence house in middle class America.
America was on the ascendant, buoyed by years of solid, commercial growth, with WW2 and the Korean war having made seemingly little impact on it financially.
In Britain, the post-war economy was starting to grow, but the nation was still heavily laden with debt from the recent last war and adding further debt by the purchase of Atlas missiles it could really ill afford, from America as part of the Cold War nuclear deterrent.
From 1956 in Britain, the economy did start to lift and by 1960 it was certainly on the up.
In 1960, Eddie Cochran and Gene Vincent were on part of a package deal in Britain, it would end tragically, as did Buddy Holly's similar part of a package band travelling show would in 1959. Gene Vincent's US career was on the decline and Eddie agreed to go to buoy it up (and make it perhaps more marketable) by being an act and a draw as their music was still popular with British audiences.
Supported by British musicians, due to a Musician's Union embargo, for Eddie this included a backing band with Joe Brown on guitar and a pre-Shadows Brian Bennett on drums. On the way back to London, the car they were travelling in with Gene and Sharon Sheelley (Eddie's girlfriend) as passengers, was involved in an accident at Chippenham and Eddie died shortly after in hospital. Perhaps that is when the original music died commercially.
This seemed like the coda for the original American rockers.
On their US tour in 1960, Cliff and the Shadows saw a lot on their tour that influenced their music, including the segregation in some of the US states which shocked them, something that they never saw in Britain which had a mixed race society.
They did pickup the way the performers were dressing, watched their stagecraft, studied the whole presentation of the artist and the direction the music was going. It was a tremendous head start they could implement when they returned to Britain.
Although Cliff and the Shadows had remained popular since 1958, other artists of the time slowly lost ground and often through poorly chosen material by management and record companies, suffered poor chart placings and eventual obscurity that even a hardcore fan base could not provide sufficient record sales to help them with.
Thus many artists of the '2I's' era of the late 1950's through no real fault of their own gradually faded from the charts over the next few years, artists and bands like Billy Fury, Marty Wilde, Terry Dene, Wee Willie Harris, The Vipers, to name but a few waned, whilst Cliff and his Shadows rocketed.
Theirs was a clever mix, a backing band who could perform in their own right and with Cliff, made them more marketable. With their No1 hit Apache, the Shadows set the tone for millions of guitarists to follow and as a result, many bands ditched their singers and went instrumental.
With chart hit after hit with Man of Mystery, The Frightened City, Kon Tiki for the Shadows, their success looked rosy. Cliff was reportedly paid £1000 a week, when the average wage in Britain was about £10. Heavily taxed on this by the British Government, Cliff was still doing very nicely. Plus the songwriting royalties were a bonus for the band too.
Through 1961 and 1962, Cliff and the Shadows both as individual units and collectively, had the British music scene just about sewn up. To the effect that the Beatles could not get a look in until at least 1963 and not gaining any real foothold until 1964, much to the chagrin of some of the Beatles members!
John Lennon did say though that before them (Cliff and the Shadows) that 'there hadn't been much British music worth listening too'. 'Move it' really hit the spot musically and still sounds exciting and fresh today. With the gift of a Fender Stratocaster to Hank Marvin, the music just developed beyond expectation.
Cliff's 1961 film extravaganza 'The young ones' had been a great success, they continued as a unit recording and touring and in 1962, Summer Holiday was created as their next film project.
The opening sequence of a small brass ensemble playing on a bandstand in some godforsaken British coastal town (playing the Summer Holiday theme tune) before having to abandon the performance due to driving rain, summed up a lot of things in Britain.
The 'old guard' was on the wane. In Britain, national military service for 2 years had been abandoned in 1960 largely as a waste of time, although the reality was it was necessary to have troops in Germany in large numbers in case of the Cold War starting another military fracas and also to assist the West German nation to rebuild and restructure, the denazification of Germany as fares it went had to an extent been done.
By 1960, the teenager had been identified in Britain as a marketable commodity that could be marketed to and exploited financially. With disposable income, hire purchase finance and new found freedom, the teenager of 1960 had in some cases a life that their parents and grandparents, some from the Victorian and Edwardian eras certainly never had.
Modernity through design was now changing the face of Britain, modern looking cars, modern buildings, house furnishings, interior design, paint colours, all these were echoing post war America about 10 years earlier and casting aside the dusty and the old hat way of things.
Cliff and the Shadows did have one thing extra, they appealed to both the Bikers and the Mods. The guitar driven music appealed to the more working class Biker types, often to be found at the Ace Cafe in Willesden, North London and also to the suited and booted Mods, as the Shads and Cliff dressed in sharp, modern design stage clothing.
Summer Holiday also ushered in the era of the package holiday. Aviation had now made great steps in jet flight technology possible, with passenger jets able to reach many parts of the world in a few hours or less.
This opened up the 'package tour' era with flights and hotel accommodation combined in one deal price by Travel Agents.
Summer Holiday's premise of 4 London Transport mechanics from the Aldenham bus overhaul works taking an older London bus across Europe to Greece on a self-contained package tour seemed the ideal vehicle as such for the basis of a film and perhaps to attract badly need drivers.
The late Lionel Blair put forward Una Stubbs for the role of Sandy, leading to a life long friendship and also to one that she had with Cliff until her death sadly this year. Although she was 5 years older than Cliff in real life in the film, she looked around the same age as he did then.
To serve the American market, American actress Laurie Peters was brought in so that the film might be saleable in that country, although she seems to have faded off the performing scene since and the film did not enjoy the success it did in Europe. A young Peter Yates is on the credit, famous later for his Directing role in the 1968 Steve McQueen film Bullitt, with its iconic car chase (in 1967, Yates directed a film with Stanely Baker called 'Robbery' where a precursor of the Bullitt car chase was filmed, leading to Yates's role in Bullitt).
Factor in the Shadows to provide musical support providing some great instrumentals and songs for the film and you have success all round.
Summer Holiday featured the third Shadows lineup with Brian Bennett on Drums and Brian 'Licorice' Locking on Bass, a group of three Brians and a Bruce - as Hank B Marvin's name was originally Brian Robson Rankin!
The Shadows musical performance sequences could have been longer and the film's plot was very tame and perhaps syrupy by today's standards. The appeal of the film and the group was what sold it, the young women wanted Cliff to be their boyfriend or husband and the young wanted to be the Shadows players.
It was only in 1963 it seemed that Britain discovered sex, in the Lady Chatterley's lover obscenity trial. Perhaps, it was the point when things started to go downhill with morals and standards diminishing by the day, some believed? With the events of the Profumo affair only adding more Petrol to the flames of discord.
Undoubtedly, the Cliff and the Shadows combination ensured that their joint and individual success due to their wide fan base would let them continue to be charting and successful years after more modern and different music formed most of the charts.
By the 1962 Summer Holiday era, Britain was really starting to prosper again for many. It was by no way out of the woods financially and the problems set in after the middle of the decade with trade unions demanding more pay and better conditions which helped to make Britain uneconomic as a manufacturing base, ultimately driving jobs abroad.
But from 1960 to 1968, Britain was the place to be, London was again on the map and even the Americans had to take notice. Thanks to Summer holiday, the package tour era had arrived!
