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b. 28 September
1946, Bethnal Green, London, England |
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Shapiro grew up in working-class East London where her Russian immigrant grandparents had worked in the garment industry. |
She played banjolele as a child and wanted to be a performer, even though her voice led classmates to call her "Fog Horn." She took singing lessons at "The Maurice Burman School of Modern Pop Singing" in Baker Street, London. |
Helen Shapiro: When I was ten years old and Marc Bolan was nine, we had a small group and we would sing Elvis Presley stuff in little cafes and at school. We were terrible, of course. I didn't make any money out of it although my brother would give me a few bob when I sang "On the Sunny Side of the Street" with his jazz band. I wanted to go to Maurice Burman's in Baker Street for singing lessons because I knew that people were discovered there. It cost my dad 25 shillings every Saturday which was something he could ill afford. Norrie Paramor's assistant, John Schroeder, came down to hear some of Maurice's pupils and I was selected. Maurice became my first manager. As I was / only 14. Norrie Paramor didn't want me to go out and sing any old song, so John came up with "Don't Treat Me Like a Child." I identified with it because I wanted to be grown up. It was a cry from the heart, the first protest song if you like. I was the only 14 year old girl singing what other girls my age wanted to hear. (Leigh 1996, 99-100) |
John Schroeder: The scenario began with a personal phone call to Norrie Paramor from Maurice Burman who ran a school for music and voice training in Baker Street. Norrie advised Maurice to call and ask me if I could spare the time to come and listen to some of his pupils, giving them advice, in particular with regard to recording. I or course agreed and Maurice ultimately selected seven pupils. I / suggested that each one sing one song of his or her own choice with piano accompaniment in a room by themselves, after which I would list my comments with any helpful or constructive advice. Maurice was really grateful for this and then casually mentioned he thought that there was one pupil who stood out from the rest but he wouldn't say who. |
Having heard four of them on the designated afternoon, the door opened and she confidently walked in, gave the sheet music to the pianist, and launched into "Birth of the Blues." I say launched because the performance was truly amazing. there was a touch of jazz and soul about her phrasing as though she had been singing for years. She sounded so professional and she was blessed with a voice that was totally incomparable, so deep and rich in tone and so full of emotion. The most astounding thing of all was that she was only thirteen and a half years old! I found it very hard not to show how impressed and excited I really was. Quite frankly I truly thought she might be the answer to Brenda Lee. |
I had coffee with Maurice after the event, having given him my notes. Before he could say anything, I said, "Helen Shapiro." He smiled knowingly. "I want her to come to E.M.I. Studios for a recorded audition which I will arrange. I want her to sing the same song but not to come before she feels one hundred per cent happy about her performance and interpretation since this time it will be recorded. I do not want her to fail this audition! If it is as good as I know it will be, I will personally play it to Norrie Paramor at an opportune moment. I hope to give him a big shock and for both you and Helen to have a nice big surprise. Is that a deal Maurice?" (Schroeder 2009, 57-58.) |
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1961 [Age 14-15] |
January. Shapiro begins
working with Norrie Paramour at EMI's Columbia Records. |
John Schroeder: I remember Norrie and I having an in-depth discussion just prior to us deciding on a release date for "Don't Treat Me Like a Child." Funny enough, the problem was Helen's name—Shapiro. Norrie particularly didn't like it but after some deliberation we decided that that was her name and that was how it should stay. I pointed out, if nothing else, it was a name that would certainly stick. (Schroeder 2009, 62) |
Helen Shapiro: Shapiro's a Jewish name and, in those days, you didn't keep a Jewish name. I thought I might get a lot of bad letters if I kept it but Norrie said it could stay because it sounds Italian anyway. I'm glad he did that because it save a lot of complications. (Leigh 1996, 96) |
10 February. "Don't Treat Me Like a Child" [/"When I'm with You] (Columbia DB
4589) |
23 March. "Don't Treat Me Like a Child" enters the UK charts. The recording reaches #3 and stays in the
charts for 20 weeks. |
John Schroeder: The initial response to the release of "Don't Treat Me Like a Child" was a little strange and disappointing, although it did manage to make the charts at number twenty eight. The turning point for Helen was her inclusion in the first programme of Thank Your Lucky Stars, thanks to Jack Good, the producer. After this, the sale started to escalate, finally putting the record in the charts at number three. It was a very proud and unbelievable moment for me. The sudden respect I had gained at Abbey road and Manchester Square was amazing. There were "good mornings" coming from all over the place! (Schroeder 2009, 62.) |
23 June. "You
Don't Know" [/"Marvellous Lie"] (Columbia DB 4670) |
29 June. "You
Don't Know" enters
the UK charts and reaches #1 for three weeks. The song stays in the charts for 23 weeks. |
10 August. "You
Don't Know" reaches #1 and stays for three weeks. The song stays in the charts for 23 weeks. |
22 September. "Walking Back to Happiness" [/"Kiss 'n' Run"] (Columbia DB 4715) |
28 September.
"Walking Back to Happiness" enters the UK charts. This is Shapiro's fifteenth birthday. |
19 October. "Walking Back to Happiness" reaches #1 and stays there for three weeks. The song stays in the charts for 19 weeks |
October. Walking Back to Happiness [Columbia ESDF 1389 EP release] |
December. Helen [Columbia ESG 7872 EP release] |
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1962 [Age 15-16] |