Tommy Steele

Tommy Steele b. Thomas Hicks, December 1936, Bermondsey, London: vocals and guitar Steele is the first major British rock and pop star who modeled himself after American rock stars of the time, particularly Elvis. As such, the publicity developed to promote him purposely infused his history with romantic stories about an inspired but naive working-class lad whose natural talents were already inherent but unspoken until an insightful manager "discovers" him and turns him into a star. The reality is much harsher. Tommy Hicks labored at menial jobs, playing American covers for years before trying to make it as a comedy writer.   1940s As a child, Hicks learned to play the guitar during convalescence from illness.   1952 [15 yrs] Hicks took a job as a cabin boy to earn his keep, and earned extra money entertaining crewmembers and passengers with comic skits and music hall numbers (notably copying Norman Wisdom). He also began to learn American material during his trips to New York and other eastern port cities. He particularly enjoyed American country (notably Hank Williams), but also learned American folk music (e.g., the Weavers) and Caribbean calypso.

1954 - 1955 [16-17 yrs]

Hicks applied his imitative skills to copying American country singers. Hicks worked with Jack Fallon (a Canadian residing in the UK) and "the Sons of the Saddle" at US bases in the UK. In these contexts, Fallon often introduced him as "Chick Hicks, all the way from the Grand Old Oprey."

1955 [17 yrs]

Between shipboard duty, Hicks often lived in London and found musical work accompanying American folk performers (for example playing rhythm guitar for Josh White). He also found some work playing solo in London's burgeoning coffee bars, clubs, and/or jazz cellars. These jobs included playing skiffle with Wally Whyton (who soon after formed the Vipers skiffle group). However, Hicks did not give up his day job and continued working on board ships, effectively preventing him from forming any long-term performance commitments, although working in London did give him ideas and contacts.

1956 [18 years]

Hicks officially began his performance career as a comedian performing with two songwriters: Lionel Bart (later of Oliver) and Mike Pratt. Their repertoire was eclectic and included music in the style of the new rock and roll, country and western, and folk music, and they combined this original comedy material. One of their first steady engagements (calling themselves the Cavemen) was at a pub near Waterloo Station where, as part of their act, they the put together a rock pastiche, "Rock with the Caveman." Given the skyrocketing success of Elvis Presley this spring and of Bill Haley and the Comets in previous months, theirs was as much a parody of rock and roll as it was a celebration. The whole idea of a "caveman" suggests that they thought of the genre as decidedly "low brow."

Hicks continued to audition as a comedian, auditioning unsuccessfully for Charing Cross' agents. He hired photographer and publicity agent John Kennedy as his agent who in turn, convinced a successful clothier to enter into a management deal. Larry Parnes was eager to become an English Col. Tom Parker (Elvis's manager). Eventually he became the major British manager of British rock. Parnes and Kennedy began by booking Hicks with the Harold Fielding Agency (for engagements) and with Peter Maurice Music (for publishing).

Parnes began a pattern that he repeated with other singers. First, he changed Tommy Hicks' into Tommy Steele ("Steel" was a family name). He and Kennedy also invented a story of their "discovering" Steele in the cellar club below the Two I's coffee bar (Old Compton Street, Soho), an early venue for British skiffle and rock. They were successful. Between October and November, Steele (a) released a charting record, (b) played some of London's best-known clubs, (c) appeared on national radio and TV, and (d) made a cameo appearance [as a coffee bar singer] in the British movie, Kill Me Tomorrow. Within another six weeks he began a tour of the UK as the headlining act and had been contacted to appear in an autobiographical movie. The process was not entirely smooth. Parnes and Kennedy first had to find a record producer for Steele. One of their prospects was the young George Martin at Parlophone. At the time, Martin was a producer of comedy recordings. This seemed a good choice for Steele who still projected himself as a comedian. However, Martin was more interested in a band that could perform skiffle, hoping to cash in on the wave of interest in that genre. Steele was probably not serious enough for Martin who rejected him in favor of his backup band: the Vipers. Steele's next stop was Decca and Hugh Mendl's office in West Hampstead. Mendl saw potential in Steele and found two producers, Geoff Wright and Roy Tuvey, for a demo and release.

26 October. "Rock with the Caveman" (Steele, Bart, and Pratt) [enters UK charts] recorded 24 September 1956; released in early October; UK #13.

November. "Doomsday Rock" / "Elevator Rock" (Decca F 10808). [No chart action.]

4 December. Finsbury Park Empire, London: Tommy Steele makes his Variety debut.

Melody Maker (8 December 1956): "What a phenomenon Rock-'n'-Roll singer and guitarist Tommy Steele is! A phenomenon because, on Monday, in his London Variety debut at Finsbury Park Empire, it seemed little short of a miracle that this 19-year-old youth could receive such a rapturous ovation for the little musical talent he displayed" (8).

14 December. "Singing the Blues" (Endsley) [enters charts] released in late October 1956 as Decca F 10795; eventually hits UK #1.

With Steele's success, Parnes, Kennedy, Wright, and Tuvey hired Leo Pollini (drums) to form the Steelmen for live performances. The band would include Pollini, Alan Stuart (sax), Dennis Price (piano), and Allan Weighell (bass). As Steele became more successful, Parnes and Kennedy began to transform him into what they would have described as an "all-round entertainer." In essence, they believed that success lay in making Steele acceptable to both teenagers and their parents. As part of this plan, they booked him on the music hall circuit (or what was left of it). Indeed, like Lonnie Donegan, Steele increasingly turned to music hall tunes as part of his performance repertoire.

Steele served as an example for other working class males who begin to see pop as a way to improve their social status. Parnes and Kennedy used Tommy Steele as a template for the development of other performers, all of who have Dickensian names of promising sexuality: Marty Wilde, Johnnie Gentle, Tommy Quickly, Billy Fury, Rory Storm, Johnny Eager. Their marketing did suffer a major setback when the government conscripted singer, Terry Dene, into the army. Dene had a nervous breakdown shortly after entering the service and, suddenly, Parnes and Kennedy's singers seemed less than virile. All of this was parallel with (and probably in imitation of) American boy singers (Fabian, Paul Anka, Everly Brothers, etc.).

1957

15 February. "Knee Deep in the Blues" [Decca F 10849] enters UK charts; UK #15.

Tommy Steel at the 2i's, 25 February 1957

3 May. "Butterfingers" [Decca F 10877] enters UK charts; UK #25.

16 August. "Water Water" / "Handful of Songs" [Decca F 10923] enters UK charts; UK #5

30 August. "Shiralee" [Decca F 10896] enters UK charts; UK #11

22 November. "Hey You" [Decca F 10941]; enters UK charts; UK #28

Tommy Steele at the Bread Basket

1958

7 March. "Nairobi" [Decca F10991]; enters UK charts; UK #3.

25 April. "Happy Guitar" [Decca F 10976]; enters UK charts; UK #20.

18 July. "The Only Man on the Island" [Decca F 11041]; enters UK charts; UK #16.

14 November. "Come On Let's Go" [Decca F 11072]; enters UK charts; UK #10.

Tommy Steele at the Cat's Whisker

1959

14 August. "Tallahasee Lassie" [Decca F 1152]; enters UK charts; UK #16.

28 August. "Give Give Give" [Decca F 1152]; enters UK charts; UK #28.

4 December. "Little White Bull" [Decca F 11177]; enters UK charts; UK #6.

1960

23 June. "What a Mouth" [Decca F 11245]; enters UK charts; UK #5.

(See Dopson 1990)

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