“Winchester Cathedral” by the New Vaudeville Band stands as a unique entry in the annals of 1960s music. This Grammy-winning track, a novelty song steeped in the sounds of the 1920s, unexpectedly conquered global charts, becoming a defining tune of its era. But beyond its catchy melody and Rudy Vallee-esque megaphone vocals, “Winchester Cathedral” reflects a fascinating intersection of British cultural identity, the evolving music industry, and the enduring appeal of nostalgia. Let’s delve into the story behind this unforgettable song and explore why it resonated so profoundly with audiences worldwide.
The British Psychedelic Scene and a Nostalgic Look Back
To understand the context of “Winchester Cathedral”‘s success, it’s crucial to consider the broader cultural landscape of 1960s Britain. As Ian MacDonald notes in Revolution in the Head, British psychedelia often differed from its American counterpart. While American psychedelia frequently channeled rebellion and anxieties related to the Vietnam War, British psychedelia often exhibited a strain of nostalgia. This yearning for the past wasn’t simply regressive; it was a complex reflection on national identity in a post-empire world, grappling with perceived American cultural dominance and a desire to celebrate distinct British traditions.
This cultural undercurrent manifested in a renewed interest in the popular culture of the 1920s and 30s – the era of Britain’s global prominence. Even before the rise of Beatlemania, acts like the Alberts and the Temperance Seven had already tapped into this vein, reviving 1920s novelty songs with a postmodern twist. While the explosion of guitar-driven music inspired by American blues and rock and roll temporarily shifted the focus, the nostalgic thread remained, waiting for the right moment to resurface in the mainstream.
The Temperance Seven, a British band known for reviving 1920s novelty songs, reflecting a nostalgic trend in early 1960s British music.
Geoff Stephens: From Song Plugger to Novelty Hitmaker
Enter Geoff Stephens, the mastermind behind “Winchester Cathedral.” Stephens’ entry into the music business was unconventional. After careers ranging from teaching to air traffic control, his passion for amateur dramatics and songwriting led him to radio comedy and eventually Denmark Street, London’s Tin Pan Alley. He started as a song plugger before transitioning to professional songwriting. His early successes, often in collaboration with Les Reed, included hits like “Tell Me When” for the Applejacks and “The Crying Game” for Dave Berry. He even played a role in launching Donovan’s career, co-producing his initial albums and hit singles.
Stephens’ diverse experiences and keen ear for popular trends positioned him perfectly to identify and capitalize on the latent nostalgia within the British music scene. He conceived “Winchester Cathedral” as a novelty record, a deliberate throwback to the crooning style of Rudy Vallee, a 1920s icon known for singing through a megaphone before widespread electronic amplification. For the recording, Stephens enlisted John Carter of the Ivy League for lead vocals, perfectly capturing the Vallee imitation. Session musicians filled out the sound, and the project was christened “The New Vaudeville Band.”
The New Vaudeville Band: From Studio Creation to Real-Life Act
“Winchester Cathedral” was released and quickly ascended the charts, becoming a global phenomenon. Its success was staggering, selling millions of copies and even prompting a cover version by Rudy Vallee himself. However, the song’s unexpected popularity presented Stephens with a dilemma: The New Vaudeville Band was, at that point, merely a studio creation, not a touring ensemble. Demand for live performances was immense, and Stephens needed to assemble a band quickly.
His solution was both ingenious and somewhat controversial. Stephens approached Bob Kerr, trumpet player for the Bonzo Dog Doo-Dah Band, a dadaist comedy group renowned for their eccentric stage shows and repertoire of novelty tunes from the 1920s and 30s. Stephens offered Kerr and his bandmates the opportunity to become the touring New Vaudeville Band. While Kerr was enthusiastic, the rest of the Bonzos, considering themselves conceptual artists, balked at the idea of becoming a manufactured pop act.
Kerr, however, saw the financial and professional advantages and left the Bonzo Dog Doo-Dah Band. He joined forces with Stephens, taking elements of the Bonzos’ stage act – including comedic speech bubbles, washboard percussion, and even a gold lame suit – to create a live version of the New Vaudeville Band. This move forced the remaining Bonzos to reinvent their sound, pushing them towards a more modern rock direction.
The Temperance Seven, a British band known for reviving 1920s novelty songs, reflecting a nostalgic trend in early 1960s British music.
To complete the lineup, Stephens recruited Alan Klein as the lead singer. Klein, a seasoned musician with experience in Joe Meek productions and musical theatre, brought further depth to the band. With Klein fronting the group, the New Vaudeville Band became a genuine touring act, capitalizing on the enormous success of “Winchester Cathedral.”
“Winchester Cathedral”‘s Enduring Legacy and Grammy Triumph
The New Vaudeville Band, as a touring entity, enjoyed further chart success in the UK, though none matched the impact of their debut hit. Ironically, one of their most recognizable songs, “There’s a Kind of Hush,” written by Stephens and Reed, became a bigger hit for Herman’s Hermits. The New Vaudeville Band’s lifespan was relatively brief, and internal conflicts led to personnel changes. However, their initial hit, “Winchester Cathedral,” remained their defining achievement.
In a surprising turn of events, “Winchester Cathedral” garnered the Grammy Award for Best Contemporary (Rock & Roll) Recording in 1967. It triumphed over a formidable list of nominees, including iconic songs like “Eleanor Rigby,” “Monday Monday,” “Good Vibrations,” and “Last Train to Clarksville.” This unexpected win underscored the broad appeal of “Winchester Cathedral” and its ability to transcend genre boundaries. Whether or not it surpassed its fellow nominees in artistic merit remains a matter of subjective opinion, but its infectious charm and novelty were undeniable.
Beyond the Cathedral: Geoff Stephens’ Continued Success
While the New Vaudeville Band’s star eventually faded, Geoff Stephens continued to flourish as a songwriter. He penned numerous hits for a diverse range of artists, including Dana, Tom Jones, and Mary Hopkin. Although these artists and their music often fall outside the traditional scope of rock history, Stephens’ contributions to popular music were substantial and long-lasting. His career spanned decades, marked by consistent success and a knack for crafting memorable tunes across various styles. Sadly, Geoff Stephens passed away in 2020, leaving behind a rich legacy of songwriting and a testament to his enduring impact on the music world.
“Winchester Cathedral,” despite its novelty origins, remains a fascinating artifact of its time. It encapsulates the complexities of British cultural identity in the 1960s, the evolving dynamics of the music industry, and the timeless allure of musical nostalgia. The song’s unexpected Grammy win and enduring popularity serve as a reminder that sometimes, the most unconventional and lighthearted creations can leave the most indelible mark on music history.
