Category:Songs written by Tony Hatch
Songs written or co-written by Tony Hatch
Pages in category "Songs written by Tony Hatch"
The following 25 pages are in this category, out of 25 total, this list may not reflect recent changes (learn more).
Songs written or co-written by Tony Hatch
The following 25 pages are in this category, out of 25 total, this list may not reflect recent changes (learn more).
1. Tony Hatch – Anthony Peter Tony Hatch, also credited as Fred Nightingale and Mark Anthony, is an English composer for musical theatre and television. He is also a songwriter, pianist, arranger and producer. Hatch was born in Pinner, Middlesex, encouraged by his musical abilities, his mother – also a pianist – enrolled him in the London Choir School in Wansunt Road, Bexley, Kent when he was 10. Instead of continuing at the Royal Academy of Music, he left school in 1955, while he served his National Service, he became involved with the Band of the Coldstream Guards. In 1960, Garry Millss recording of Hatchs composition Look For A Star, featured in the film Circus of Horrors, four versions of the song charted simultaneously in the United States, including Mills original and a version by Garry Miles. Top Rank, despite some success with artists such as Jack Scott and The Fireballs. Hatch moved on to a job with Pye Records, where he assisted his new mentor, Alan A. Freeman, with the recording of Sailor. Hatch continued to write songs for Pye artists, sometimes under the pseudonym Mark Anthony, in 1964 he wrote the Searchers hit Sugar and Spice. His production of The Searchers entire Pye catalog was significant in that every song was issued in true stereo. The only other UK chart acts with so much stereo was George Martin producing The Beatles, Hatch also recorded various lounge style albums with his orchestra, he also made solo piano recordings and some tracks as a vocalist. After Valentino, the first of Hatchs compositions to be recorded by Petula Clark and they collaborated on a series of French language recordings for Vogue Records. Hatch became one of her regular songwriting partners, in addition to supplying English lyrics for songs she had composed with French lyricists, in 1964, Hatch made his first trip to New York City in search of new material for Clark. The visit inspired him to write Downtown, originally with The Drifters in mind, when Clark heard the still unfinished tune, she told him that if he could write lyrics to match the quality of the music, she would record the song as her next single. Its release transformed her into an international star, topping charts globally early in 1965. The year also yielded the remarkable series of hits I Know a Place, Youd Better Come Home and she and Hatch wrote Youre The One, which became a major hit for The Vogues. Tony Hatch and Petula Clark became established as the British equivalent of Burt Bacharach, in 1965 Hatchs first album under his own name was released. The Downtown Sound of Tony Hatch, features instrumental versions of some of his best known songs, the song Call Me, written for and recorded by Petula Clark in 1965, was recorded by Chris Montez later in the year. Petula Clarks run of hits continued with My Love, A Sign of the Times, colour My World, and I Couldnt Live Without Your Love
2. Call Me (Petula Clark song) – Call Me is a song composed by Tony Hatch for Petula Clark which became an easy listening standard via a hit version by Chris Montez. Call Me first appeared as the cut on a Petula Clark EP released in 1965 by Pye in the UK. Call Me and the three tracks on the EP, Heart, Everything in the Garden and Strangers and Lovers were also released on Clarks album I Know a Place. Also in 1965 Chris Montez, who had scored the hit Lets Dance in 1962 and subsequently dropped out of the music business, was invited to resume recording by A&M Records founder Herb Alpert. Montezs version of Call Me was released as a single in the UK on the Pye label in January 1966 but failed to chart, georgia Gibbs recorded Call Me as the title cut for her final album released in 1966. In October 2007, as part of his album Romancing the 60s, instrumental recordings of Call Me are often used as background music in radio and television. In 1973 Bell Telephone utilized the song Call Me as the advertising jingle. Eliane Elias included the song in her 2004 album Dreamer, Lyrics Lyrics of this song at MetroLyrics
3. Colour My World (Petula Clark song) – Colour My World is a song written by Tony Hatch and Jackie Trent recorded by Petula Clark in 1966. The album named for this failed UK single, Colour My World was similarly overlooked upon its January 1967 release and this boosted the Colour My World album to a #16 UK chart peak. In addition Colour My World gained a high UK profile by virtue of being used by BBC Television as the song for the July 1967 launch of colour service on BBC2. Billboard magazines original review of the song predicted it would make the top 20 of the Hot 100, chalk up another chart topper in this intriguing Hatch-Trent rhythm number featuring the popular Indian sitar sound and exceptional Clark vocal work. The Two of Each version of Colour My World was issued in January 1970 on a single featuring a version of Here Comes the Sun with neither track charting, UK furniture retailer DFS used the Petula Clark version in a UK television commercial campaign run in 2008. Colour My World is featured - with some additional lyrics - in the stage musical Priscilla Queen of the Desert which debuted 6 October 2006, the song appears on the 2007 cast recording performed by Daniel Scott, Tony Sheldon, Jeremy Stanford and the Company. Colour My World was used as the title for a BBC Radio 2 documentary on Tony Hatch broadcast in June 2009
4. Crossroads Theme – Crossroads was a British television soap opera that ran on ITV over two periods – the original 1964 to 1988 run, followed by a short revival from 2001 to 2003. Set in a motel in the Midlands in England, Crossroads became a byword for cheap production values, particularly in the 1970s. Despite this, the series attracted huge audiences during this time. It was created by Hazel Adair and Peter Ling and produced by ATV and then by ATVs successor, the series was revived by Carlton Television in 2001, however due to low ratings it was cancelled again in 2003. The original premise of Crossroads was based around two feuding sisters, Kitty Jarvis and Meg Richardson, the Crossroads Motel was located on the outskirts of the small village of Kings Oak, which was on the outskirts of Birmingham. With Charles, Meg had two children, the elder was a girl named Jill followed by Alexander in 1950. Kitty, on the hand, was married to the unemployed Dick and was not wealthy. Dick and Kitty bought a newsagents and tobacconists shop in the town of Heathbury a few years after the show started. Kitty and Dick had a son called Brian, born in 1945, the idea of the sisters feuding was soon dropped. The show had several characters in its early years and they included Meg and Kittys brother, Andy Fraser, who became engaged and later married to motel secretary Ruth Bailey in 1965. Hotel chef Carlos Raphael and his wife Josefina who was a waitress along with Marilyn Gates, kitchen assistant Amy Turtle, later briefly arrested as a suspected Soviet spy, joined the series in 1965 as did postmistress Miss Edith Tatum. Also featured was motel handyman and groundsman Philip Winter, long running character Diane Lawton arrived in 1966. Lovejoy, Mr. Perhaps the most memorable character proved to be the village idiot Benny Hawkins and his fans included British troops serving in the Falklands War in 1982, who nicknamed the Falkland Islanders Bennies after the character. Instructed to stop using the name, the troops came up with Stills for locals - because they were still Bennies, over the years the series dealt with storylines which were controversial for the times. This permanent character development was made to accommodate actor Roger Tonge who had been developing increasing ill health, in the months running up to the characters accident, Tonge had become increasingly immobile and was limited in scenes to sitting, lying in bed or standing rigidly still. Rather than lose the character, the accident storyline allowed the actor to use his wheelchair on screen, the series also saw black characters appearing regularly - a follow-on from the 1960s BBC soap Compact, also created by Hazel Adair and Peter Ling. Melanie Harper arrived at the motel in 1970 as Megs foster daughter, cleo was given the role by producer Reg Watson after press coverage of racial tensions in the Birmingham area at that time. In 1978, garage mechanic Joe MacDonald arrived, the year before, an inter-racial summer romance took place between Cockney garage mechanic, Dennis Harper, and motel receptionist Meena Chaudri
5. Don't Sleep in the Subway – Dont Sleep in the Subway is a song written by Tony Hatch and Jackie Trent and recorded by Petula Clark, for whom it was an April 1967 single release. The song was constructed from three different sections of previously composed by Hatch, it changes in musical style from pop to symphonic and then, for the chorus. In the lyrics the narrator advises her sweetheart against storming out after an argument due to his foolish pride, if he does, he will sleep in the subway or stand in the pouring rain merely to prove his point. Although in Scotland there has existed the Glasgow Subway metro line. Hatch employed the term in the North American sense, according to the songs co-writer Jackie Trent the title lyric was suggested by the 1961-62 Broadway musical Subways Are For Sleeping. Dont Sleep in the Subway reached #3 in Rhodesia, #5 in Canada, #7 in New Zealand, #10 in South Africa and #16 in Germany. In Australia, it was at #1 on the charts dated 16 and 23 September 1967, a Spanish rendering, No duermas en el metro, was recorded by both Gelu and Los Stop. Siw Malmkvist recorded the Swedish rendering Sov Inte På Tunnelbanan in 1970 and it also makes a brief appearance in the Malcolm in the Middle episode Emancipation—Lois blasts the song on her car stereo to avoid confronting Francis about his legal emancipation. The song was performed by Rachel Berry and Artie Abrams in the 2014 Glee episode New New York, list of number-one adult contemporary singles of 1967 Lyrics of this song at MetroLyrics
6. Down Town – Downtown is a term primarily used in North America by English speakers to refer to a citys core or central business district, often in a geographical or commercial sense. The term is not generally used in British English, whose speakers use the term city centre. The term downtown is thought to have been coined in New York City, uptown also spread, but to a much lesser extent. In both cases, though, the directionality of both words was lost, so that a Bostonian might refer to going downtown, even though it was north of where they were. Downtown lay to the south in Detroit, but to the north in Cleveland, to the east in St. Louis, in Boston, a resident pointed out in 1880, downtown was in the center of the city. Uptown was north of downtown in Cincinnati, but south of downtown in New Orleans, notably, downtown was not included in dictionaries as late as the 1880s. It was the location of the department stores and hotels, as well as the theatres, clubs, cabarets, and dance halls. It was also frequently, at first, the part of a city that was electrified. It was also the place where street congestion was the worst, but most of all, downtown was the place where the city did its business. Inside its small precincts, sometimes as small as several hundred acres, the majority of the trading, selling, there were hubs of business in other places around the city and its environs, but the downtown area was the chief one, truly the central business district. And as more and more business was done downtown, those who had their homes there were gradually pushed out, selling their property, the skyscraper would become the hallmark of the downtown area. What limited them then was the thickness of the masonry needed at the base to hold the weight of the building above it. As the buildings got taller, the thickness of the masonry, although first used in Chicago, the steel-framed skyscraper caught on most quickly in New York City in the 1880s, and from there spread to most other American cities in the 1890s and 1900s. In the short run, the proponents of height limits were successful in their efforts, what was worse, at least to real estate interests, the building dumped 1.2 million square feet of office space on what was a sluggish real estate market. To many in the real estate industry, the law was an example of a reasonable restriction. This was the time when the central business district began to appear as more-or-less synonymous with the downtown area. The phrase acknowledged the existence of business districts in the city. Real estate interests were concerned about the tendency of downtown to move because the downtown area had by far the highest land values in each city
7. Downtown (Petula Clark song) – Downtown is a song composed by Tony Hatch which, as recorded by Petula Clark in 1964, became an international hit, reaching No.1 in Billboard Hot 100 and No.2 in UK Singles Chart. Hatch received the 1981 Ivor Novello award for Best Song Musically and Lyrically, the song has been covered by many singers, including Dolly Parton and Emma Bunton. Tony Hatch had first worked with Petula Clark when he assisted her regular producer Alan A. Freeman on her 1961 #1 hit Sailor. In 1963 Freeman had asked Hatch to take over as Clarks regular producer, in the autumn of 1964 Hatch had made his first visit to New York City, the purpose being to seek material from music publishers for the artists he was producing. Hatch would recall, I was staying at a hotel on Central Park and I wandered down to Broadway and to Times Square and, naively, forgetting that in New York especially, downtown is a lot further downtown getting on towards Battery Park. I loved the atmosphere there and the came to me very, very quickly. According to Hatch he was standing on the corner of 48th St waiting for the lights to change, looking towards Times Square when the melody first came to me. Hatch said of the meeting, she was not very enthusiastic about, Clark, who first heard Downtown from her kitchen having stepped away to make a pot of tea, told Hatch, Thats the one I want to record – Get that finished. Get a great arrangement and I think we’ll at least have a song we’re proud to record if it isn’t a hit. Downtown was recorded 16 October 1964 at the Pye Studios in Marble Arch, thirty minutes before the session was scheduled, Hatch was still touching up the songs lyrics in the studios washroom. Hatchs assistant Bob Leaper acted as conductor, according to Petula Clark, the session for Downtown consisted of three takes with the second take ultimately chosen as the completed track. Tony Hatch would recall playing the completed Downtown track for Pye Records executives saying, Nobody knew what to make of it, then Pyes general manager called and said Joe Smith – Warner Bros. head of A&R – was in London looking for British material. When Joe heard Pets record, he loved it and scheduled the single for urgent release in the States, when Hatch, surprised by Smiths enthusiasm for releasing Downtown in the US, asked if Smith didnt consider Downtown to be a very English record Smith replied, Its perfect. Its just an observation from outside of America and its just beautiful, in the wake of Smiths interest Downtown was released in the UK in November 1964. Downtown rose to No.2 UK in December 1964, remaining there for three weeks, kept out of the #1 position by the Beatles I Feel Fine, Downtown debuted at #87 on the Hot 100 chart in the Billboard issue dated 19 December 1964. The song became the first #1 hit for the year 1965, Downtown also made Clark the first UK female artist to have a single certified as a Gold record for US sales of one million units. In addition, the original 1964 recording was remixed and released in 1988 as Downtown 88, a Top Ten UK hit, Clark would recall, The first time I heard the 88 remix of Downtown I was in my car. And it turned out to be me, theyd wiped out the orchestra and put on some kind of ticka-ticka-tick thing
8. I Could Be the One (Marti Webb song) – The Card is a musical with a book by Keith Waterhouse and Willis Hall and music and lyrics by Tony Hatch and Jackie Trent. Based on Arnold Bennetts 1911 comedic novel of the name, it chronicles the rise of Denry Machin from washerwomans son to Mayor of Bursley through initiative, guile. Cameron Mackintoshs West End production opened on 24 July 1973 at the Queens Theatre where it ran for 130 performances, directed by Val May and choreographed by Gillian Lynne, it starred Jim Dale, Millicent Martin, Joan Hickson, Marti Webb, and Eleanor Bron. Amendments were made to the libretto, existing songs were re-written and others dropped, at age 12, Denry begins his career by altering his grade in a class enough to earn him a scholarship to grammar school. At 16, he leaves school to work for Mr. Duncalf, the town clerk, Duncalf is responsible for organizing an exclusive ball, Denry invites himself and a few others in exchange for favors, among them Ruth Earp, a dance instructor. On a bet, he asks the energetic, beautiful Countess of Chell to dance. Later, when Duncalf treats a disgruntled client brusquely, Denry leaves his employ after persuading the client to hire him as a rent collector, when some of the tenants fall behind, he begins loaning them money. Ruth herself is several months in arrears and tries to sneak away in the middle of the night, Denry catches her by accident, but rather than being angry, he admires her audacity and starts courting her. While on vacation at the resort town of Llandudno with Ruth and her friend Nellie Cotterill, he witnesses a shipwreck. Noting the interest generated, he buys a lifeboat, hires some of the mariners as rowers. However, Ruths spendthrift nature becomes apparent during the trip. By the end of the summer, Denry has made a profit from the sightseers. He starts up the Five Towns Universal Thrift Club, Denry makes money by getting a discount from the vendors in return for access to his large customer base. When his capital starts to run out, he arranges an accident for the Countesss coach and he drives conveniently by and gives her a lift to an urgent appointment. On the way there, he talks her into becoming the clubs sponsor and this proves to be the making of Denrys fortune. With his great success, he is appointed a town councillor and he also backs a new daily newspaper and tricks his obstinate mother into moving into a luxurious new house. At this point, Ruth reappears in Denrys life, now the widow of an older man. He considers renewing their relationship, but at the last moment, realizes that Nellie is the one for him, the crowning achievement comes when Denry decides to become the youngest mayor in the history of Bursley
9. I Couldn't Live Without Your Love – I Couldnt Live Without Your Love is a 1966 single written by Tony Hatch and Jackie Trent and recorded by Petula Clark. It was inspired by the affair the songwriters were having at the time, Clark has cited I Couldnt Live Without Your Love and Dont Sleep in the Subway as her favorites of her hits. The single peaked at #6 on the UK Singles Chart and #9 on the Billboard Hot 100 chart, I Couldnt Live Without Your Love was the first single by Clark to reach #1 on the US Easy Listening chart. I Couldnt Live Without Your Love has also recorded by Patti Brooks, John Davidson, Freda Payne. The 1967 album release Pet Project by the Bob Florence Big Band features a version of I Couldnt Live Without Your Love. The French rendering Jaimerais vieillir avec toi was recorded by Dave for his 2004 album Doux Tam-Tam, the song was also recorded in 1976 by Jugular Vein, a UK jug band, on their album Waterloo Road released on the Plastic Fantastic label, PFLR3001. List of number-one adult contemporary singles of 1966 The Billboard Book of Top 40 Hits, 6th Edition,1996, Billboard Books, ISBN 978-0823076321 Lyrics of this song at MetroLyrics
10. I Know a Place – I Know a Place is a song with music and lyrics by Tony Hatch. It was recorded in 1965 by Petula Clark at the Pye Studios in Marble Arch in a session which featured drummer Bobby Graham and the Breakaways vocal group. Released as the follow-up to Downtown, I Know a Place became Clarks second consecutive Top Ten hit in the United States, remaining on the charts for twelve weeks and peaking at #3. Its UK success was moderate with a #17 peak, establishing the mid-60s pattern of Clark generally having more hit impact in the US than in her homeland. Talking about I Know a Place, Clark told The Boston Globe in 1966 that No matter what anyone tells you, to make it in the United States is still the dream of every transatlantic performer. And I cant tell you how ecstatic I was when I Know a Place was nearly as big a hit as Downtown, the recording reached #1 in Canada and South Africa, #3 in Rhodesia, #7 in Australia, and #10 in India. Viens Avec Moi, Clarks French recording of the song, charted in France, the song is the opening theme for Bill Whittles weekly podcast, The Stratosphere Lounge. The song is featured in the film The Anniversary Party, the song is featured in a number of episodes of Heres Lucy including Mod, Mod Lucy. The song is used as the music to the Mike Jittlov animated short Animato. The song appeared on the CBS soap As the World Turns in 2000, a version of this song, with slightly altered lyrics, was used to promote the Pizza Hut restaurants in Australia during the 1970s. Julian Cope sampled I Know a Place as part of his remake of Five OClock World in 1990, live at Birdland as I Know a Place/ Downtown. The 1967 album release Pet Project by the Bob Florence Big Band features a version of I Know a Place. Vocal group Something Big also include I Know a Place on their 2012 Tony Hatch tribute EP Hatched, lyrics of this song at MetroLyrics
11. Joanna (Scott Walker song) – Joanna is a song written by the English husband and wife song-writing team Tony Hatch and Jackie Trent which was first a song for the American singer-songwriter Scott Walker in 1968. The song was Walkers second solo single in the UK, the accompaniment was directed by Peter Knight. While credited to Hatch and Trent journalist Joe Jackson writes in his article The Fugitive Kind that Walker wrote a significant proportion of the lyric. Jackson quotes Walker as follows, that whole verse about lived in your eyes completely is mine and I wrote the last line in the song, you may remember me and change your mind. Joanna was a hit and is one of Walkers most popular recordings spending eleven weeks on the UK Singles Chart. An instrumental arrangement on the song was used as the theme for Walkers BBC TV series, the single was backed with the 1967 Scott album track Always Coming Back to You. The accompaniment of the b-side was directed by Reg Guest, japanese editions are backed with The Plague, which was previously released as the b-side to Jackie in 1967
12. My Love (Petula Clark song) – In casual conversation with the American sitting next to him Hatch was advised that this songs title would be meaningless to the American public. My Love was recorded at Western Studios and featured the backing of the Wrecking Crew. Petula Clark would recall, We recorded three songs on that session. I liked the two other songs quite a lot, but I really didnt like My Love. I thought it was a bit ordinary. I had got so used to these songs that Tony had been writing with all these different moods. Clark would describe her discouraging Warner Bros a&r man Joe Smith from issuing My Love as a single, hes a very small man physically. about the right height for me. I was able to get hold of his lapels, and I said to him, Joe, I dont care which you put out, and he said, Trust me, baby. Also a #1 hit in Canada, My Love returned Clark to the UK Top Ten for the first time since Downtown two years previous with a March 1966 peak of #4, in the UK the single earned a Silver disc for sales of 200,000 units. My Love also provided Clark with a hit in Australia, Finland, New Zealand, Rhodesia and South Africa, in Germany My Love became a hit first in its original English version and then again when rendered in German as Verzeih die dummen Tränen. Translated recordings by Clark also made My Love a hit in France and Italy, respectively as Mon amour, rakkauteni was also recorded by Laila Kinnunen whose version appears on the 2002 compilation Kadonneet Helmet. John Davidson covered it in 1966 for his album Time of My Life, the 1967 album release Pet Project by the Bob Florence Big Band features an instrumental version of My Love, the album being devoted to songs associated with Petula Clark. Sonny James covered My Love in 1970 and his version reached No.1 that May on the Billboard magazine Hot Country Singles chart, in the midst of his then-record string of 16-straight No.1 singles in as many releases. Also in 1970 C&W singer Barbara Fairchild recorded My Love for her debut album Someone Special, Nancy Boyd remade My Love for her 1987 album of classic hit songs Lets Hang On credited to Nancy Boyd & Cappellos. Florence Henderson performed the song as a serenade on the famous 1969 Tonight Show segment in which Tiny Tim married Miss Vicky, lyrics of this song at MetroLyrics
13. The Other Man's Grass Is Always Greener – The Other Mans Grass Is Always Greener is a song written by Tony Hatch and Jackie Trent which was a 1967-68 hit for Petula Clark. The resultant These Are My Songs album was produced by Burke with Hatch contributing only one track albeit the one selected as the follow-up single. This track, The Other Mans Grass is Always Greener — which Hatch says contains a lot of thought a lot of philosophy. In the UK The Other Mans Grass - so entitled - spend six weeks in the Top 30 with a #20 peak on the UK chart dated January 16,1968. The original Billboard magazine review of the song raved that The team of Clark-Hatch, well written material and winning performance. Clark would again bypass Hatch for her single, Kiss Me Goodbye. Conversely in the UK, The Other Mans Grass would remain Clarks final Top 20 hit 1 as Kiss Me Goodbye would just reach #50, in Australia, The Other Mans Grass Is Always Greener reached #30 while in South Africa the track achieved a #19 chart peak. The song has also recorded by Ed Ames and Vikki Carr. 1except for the #10 remix re-issue of Downtown in 1988, lyrics of this song at MetroLyrics
14. Round Every Corner – Round Every Corner, with words and music by Tony Hatch, is a single release by Petula Clark recorded in July 1965 at the Pye Studios in Marble Arch. The personnel on the session, produced by Hatch, included guitarist Big Jim Sullivan, described by Clark herself as an anti-protest song, Round Every Corner employs the musical structure of a childrens singing game to present its message of optimism. Clark recorded versions of Round Every Corner in French, Va Toujours Plus Loin and Italian, although Clark had been recording successfully in German regularly since 1962, no German version of Round Every Corner was recorded by herself. Instead, Israeli singer and actress Carmela Corren recorded the song in German as Heut oder morgen, the previous Petula Clark single Youd Better Come Home had evinced a sharp decline in the chart fortunes established by her breakout hit Downtown. Round Every Corner would virtually duplicate the precedent singles chart placings in both the US, where Youd Better Come Home and Round Every Corner respectively peaked at #22 and #21, and in the UK. The 1967 album release Pet Project by the Bob Florence Big Band features a version of Round Every Corner. Lyrics of this song at MetroLyrics
15. Sign of the Times (Petula Clark song) – Sign of the Times, also known as A Sign of the Times, is a song performed by Petula Clark and released from her album My Love in March of 1966. However, A Sign of the Times had a percussive sound than had been evident on Clarks previous singles. The song was recorded at the Pye Studios in Marble Arch in a session which featured guitarist Big Jim Sullivan, Clark introduced A Sign of the Times on The Ed Sullivan Show broadcast of February 27,1966. The single would debut on the Billboard Hot 100 dated March 26,1966 and it peaked at #2 on Billboards Easy Listening survey. Beginning with her American breakout, Downtown, Clarks singles had all had higher chart peaks in the US than the UK. A Sign of the Times became the most extreme example of this discrepancy by spending one week – that of April 23,1966 – in the UK Top 50 at #49. Although this trend was reversed with Clarks next single, I Couldnt Live Without Your Love, a Sign of the Times was a hit in Australia and South Africa. In 1969 B. F. Goodrich utilized the tune to A Sign of the Times for TV commercials advertising radial tires, in 1986, A Sign of the Times was played in the video documentary An Amazin Era, The New York Mets. The song was heard over films of Mets baseball fans carrying banners with messages on them, in 1999 Target department store ran a series of television commercials featuring A Sign of the Times. A brief clip of A Sign of the Times was used on Dickie Goodmans 1966 novelty record Batman, michèle Richard recorded a French rendering of the song, Si Tu Prenais Le Temps, for her 1966 album Action 66. Jazz guitarist Joe Pass recorded a version on his 1966 album A Sign of the Times
16. Who Am I? (Petula Clark song) – Who Am I. was a 1966 single by Petula Clark written by Tony Hatch & Jackie Trent and produced by Tony Hatch. Who Am I. acknowledges the mid-1960s baroque vogue in its incorporation of a harpsichord in its instrumentation, the follow-up to Who Am I. Colour My World, also missed the UK charts leaving Clark in need of a comeback in her native land - which her next release This Is My Song effected. In Australia Who Am I. reached #42, despite not being one of Clarks biggest hits, Who Am I. by virtue of its title has long been the standard opening number for Clarks concerts. It also served as the centerpiece for the Who Am I Medley, shirley Bassey recorded Who Am I. for her 1968 album This is My Life. Billboard magazines original review predicted the song would make the top 20 of the Hot 100, more powerhouse hit material from the dynamic duo, Clark and Hatch. Will have no trouble picking up where I Couldnt Live Without Your Love left off, the 1967 album release Pet Project by the Bob Florence Big Band features an instrumental version of Who Am I. the album being devoted to songs associated with Petula Clark. Also Canadian flautist and saxophonist Moe Koffman recorded a version for his 1996 album Devils Brew
17. You're the One (Petula Clark song) – Youre the One is a song by Petula Clark. It was later included on the 1965 album I Know a Place. Petula Clark thus describes the genesis of Youre the One, we were making yet another LP, hed written twelve, and he said, Listen, I havent got a number thirteen in me at all. And I wrote the melody of Youre the One, as was standard with Clarks tracks produced by Hatch, Youre the One was recorded at Pye Studios in Marble Arch. Hatch also conducted for the session whose personnel featured Bobby Graham on drums, Big Jim Sullivan on guitar, both singles were substantially more successful in the US where each neared the Top 20 in respectively the summer and autumn of 1965. Recorded at Gate Way Studios in Pittsburgh, Youre the One was the first track to be credited to the Vogues although the group had recorded as the Val-Aires. Accordingly, DiNunzios vocals were erased from the master, so that Burkette could record a vocal over the instrumentation played by the Racket Squads members. Prior to breaking nationally that September, the Vogues version did have a UK release on London Records but did not garner enough interest to share the UK charts with Clarks version. In the autumn of 1965 four versions of Youre the One charted in Australia with that by Petula Clark becoming the major hit at No.4, besides the Vogues version, which reached No. 55, two covers of Youre the One charted with that by Col Joye reaching No.41 while that by Yvonne Barrett—charting in tandem with its B-side Little People—reached No.58. A No.30 hit for Petula Clark in the Netherlands, Youre the One also afforded the Vogues a top ten hit in Canada, Clark performed the song live in the 1965 concert film The Big TNT Show. The 1967 album release Pet Project by the Bob Florence Big Band features a version of Youre the One. Rocky Sharpe and the Replays remade Youre the One on their 1981 album release Come On Lets Go, a Finnish rendering of Youre the One, Sinä Vain, was a 1966 single release for Eero