Bill Cotton - Double Bill (Text Only)

One day I called into the BBC studios when Dad was recording a programme and I ran into Johnny Johnston who had done well for himself master-minding the singing groups who provided the musical backing to radio comedies – he ran the Keynotes for Take it from Here, the Beaux and the Belles for Ray’s a Laugh and the Soupstains for Ignorance is Bliss. They were more or less the same singers, Johnny just changed the name for each show – he sang in the group, composed some of the music, arranged the rest and acted as manager. He was a multi-talented musician who, like my father, had come up the hard way, so they were soulmates.

Johnny had founded a company with a woman called Micky Michaels. It was called The Michael Reine Music Company, a combination of the surname of Micky Michaels and the maiden name of Nona, Johnny’s wife. Apparently, Micky Michaels wanted out, and Johnny asked me whether I would be interested in buying her share. I talked to my father and he lent me the money, which was fifteen hundred pounds. So I gave in my notice at Chappell’s and went off to make my fortune at Michael Reine’s.

The first project I was involved in was a song based on the old Irish folk ballad called The Bard of Armagh’, whose traditional tune had also been used for a couple of Western songs, ‘Streets of Laredo’ and ‘The Dying Cowboy’. Johnny Johnston adapted the tune, Tommy Connor wrote lyrics for it and they created a hit called ‘The Homing Waltz’. Because the original tune was out of copyright, we were able to register our song and as a bonus got a percentage when any of the other versions were played. Johnny took the song along to Vera Lynn who had just enjoyed a huge success with ‘Auf Wiedersehen, Sweetheart’. She sang it, Decca recorded it and the very first effort of Michael Reine reached the top of the pops.

Vera also recorded our next big hit, which was called ‘Forget Me Not’. This time, Johnny had written it with Bunny Lewis who was a successful agent. But on the way to the studio they still hadn’t managed to put lyrics to the middle four bars of the song. In a slightly inebriated state I burst out into poetry and suggested the six words: ‘Parting brings sorrow; hope for tomorrow’. ‘That’s it!’ they cried. It didn’t win me an entry in the Oxford Book of Poetry but I ended up securing for myself the royalty on a third of the song, which proved to be a nice little earner.

We published ‘Forget Me Not’ in the run-up to Christmas and put in a lot of graft publicising it. One morning I read in the newspaper that the children in a spina bifida ward at Carshalton Hospital intended to sing it on Christmas Day in a programme presented by Wilfred Pickles who was a big radio star at the time. I showed the article to Johnny Johnston and we agreed that we’ve have to spend a fortune entertaining any singer we were trying to persuade to plug it, hence we ought to offer the same amount in kind to the children in hospital. We set off for Carshalton loaded down with toys, sweets and books.

When we arrived, the ward sister was fulsome in her gratitude. She explained that the children were from very poor homes and would probably be in hospital for a very long time. Johnny noticed a piano near the ward and was soon belting out popular songs, including, of course, ‘Forget Me Not’. All the children joined in except for one little girl who was lying on a kind of board to keep her spine straight. She just looked on wistfully, and the sister told us that she never spoke; she had been virtually abandoned by her parents. After we’d done our round of the wards, we went up to the little girl and told her we’d be back again after Christmas and we’d expect her to join in the singing. We duly went back and she did join in. The presents were piled up round the Christmas tree and I was glad I wasn’t there to see them opened – I’d have cried my eyes out.

At Christmas, the BBC often asked the old man to present a week of Housewives’ Choice, the enormously popular record programme on what in those days was the Light Programme. He passed on to me the job of picking the records and writing his script in return for my being able to keep the fee as a Christmas present.

On one occasion, I included a Sophie Tucker record in the show and with eight million other listeners heard him announce, ‘And now for all Sophie Fucker tans …’ ‘Do you think anyone noticed?’ he asked me anxiously after the transmission. Dad was no mumbler, he spoke always at a near shout. ‘Naw,’ I said, ‘I only just caught it and I was listening very carefully.’ The listeners obviously realised it was a slip of the tongue and didn’t hold it against him.

When he was invited to appear as a guest on Roy Plomley’s Desert Island Discs, Dad asked me to sort out the records he should choose. When I showed him the list he was indignant. He’d assumed all eight would feature the Billy Cotton Band. He obviously had never listened to the programme.

Johnny and I imported a novelty song from America called ‘Bell Bottom Blues’ which brought me for the first time into contact with a lovely girl, Alma Cogan, who was to remain a firm friend of mine for the rest of her tragically short life. She recorded three of our songs – ‘Bell Bottom Blues’, ‘I Can’t Tell a Waltz from a Tango’ and ‘Never Do a Tango with an Eskimo’ – all of which did very well at the sales counter. One day I met Alma in the street and invited her up for a cup of tea with Johnny and myself in our office, which was a pretty tatty back room in Denmark Street. I asked our factotum, Ronnie, to go out and get some tea. Meanwhile, Alma looked round the office and somewhat sniffily commented on the state of our sofa. I pointed out that it was actually very useful and doubled as a put-you-up bed, which I demonstrated by pulling it apart – whereupon a rat the size of a small cat jumped out and vanished into the back room. All three of us fought to be the first to get up on the desk. We were all standing on the desk when Ronnie came back. He looked up at us and said, ‘I didn’t realise you wanted high tea.’ We moved out of the office very soon after that and got better premises on Denmark Street.

Our next stroke of luck had to do with a television series called Friends and Neighbours. Its theme tune was written by an excellent musician called Malcolm Lockyer. He’d been under contract to one of our competitors, David Platt of Southern Music, whose reaction to the song was, ‘Don’t bring me this sort of rubbish. Write me something decent.’ Upset, Malcolm withdrew the song and offered it to us. It was perfect for The Billy Cotton Band Show, and shot into the Top Ten. We hit on a novel idea to plug it. There was a busking group called The Happy Wanderers who used to perform in Oxford Street, so we paid them a fiver to march up and down Denmark Street playing ‘Friends and Neighbours’. It drove the other publishers crazy, though our visiting celebrities thought it a hoot. This wheeze got the Happy Wanderers an appearance on television, and it also got one of their number into plenty of trouble when his wife saw him on the box. When he went back home, she threw his supper at him: she’d never told the neighbours he was a busker; they thought he had a job in the city.

As well as my song-plugging, I had a sideline as a journalist writing a gossip column, ‘The Alley Cat’, for the New Musical Express. I enjoyed being the Nigel Dempster of Denmark Street and it confirmed my opinion that nearly everyone loves to see his or her name in print even if the story isn’t particularly complimentary, just so long as the name isn’t misspelled. My journalism helped our business along because a steady flow of performers came into the office with tidbits of gossip about show business in general and themselves in particular, and this mine of information produced all kinds of good business contacts.