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Nine years, 35 singles, 24 chart entries, 15 EPs and seven albums later he finally decided to leave the record industry to concentrate fully on fulfilling his thespian dream. Over the next 34 years Faith was to achieve at least the major part of this long-held ambition by becoming one of Britain's most popular stars of stage and screen. He attended John Perryn secondary modern school in Acton and from the age of 12 was able to demonstrate his entrepreneurial skills by means of a series of paper rounds, which enabled him to finance his own clothes budget.
This was augmented further when he started selling papers from a pitch to enable him to pay for more than pounds worth of other "gear", including a record player and an impressive bicycle, both costing around 28 pounds--a large sum indeed by s standards. All this was achieved before he left school, at which point he embarked on his first full-time employment as an odd job boy for a silk screen printer close to his home.
After only a few weeks with this company he heard of a vacancy for a messenger boy at Rank Screen Services and was taken on at the princely sum of 3 pounds ten shillings per week, dedicating himself to the task of obtaining a transfer to the studios. However, after a year elapsed without any sign of his move, he left to join a company Boat Problems Aptitude Video in Wardour Street, Soho, known as TV Advertising Ltd.
This was a period when he, like many of his peers, was bitten by the skiffle bug which was then sweeping Britain.
His first great idol was Lonnie Donegan , who inspired him to form his first group with colleagues from work. Nelhams was becoming exhausted, which was not surprising in view of his extra-curricular activities. He had been promoted to assistant cutter at TV Advertising and not only did he combine evening performances with his day job, but he also decided to take managerial responsibility for the group's affairs.
One idea was to broadcast a show direct from the Two Is. Naturally, as the resident band, The Worried Men opened and closed the program--valuable exposure and, ultimately, Nelham's first big break. Good was impressed with Nelhams' performance but not necessarily with the group as a whole. He invited Nelhams back on the show as a solo singer, convinced of his potential as Britain's answer to James Dean.
Nelhams, encouraged by this optimism, gave up his job as a film cutter and turned professional. It received very little publicity, either in the form of music press coverage or from EMI's own advertising department. Not surprisingly, it failed to make any impression on the charts. Despite all Good's confidence in him, Faith also failed to make any immediate impression on television, but Good gave him another opportunity when he booked him to appear in his stage show version of "Six Five Special" The John Barry Seven were also on the bill and this brief first meeting with composer John Barry was later to prove of vital importance.
However, the stage show wasn't the success Good envisaged, and after just four performances Faith found himself out of work. Faith, ever the survivor, swallowed his pride and made the painful decision to abandon his show-biz career by returning to the film cutting world.
Despite this, HMV released his second single in December of the same year, a cover of Jerry Lee Lewis ' "High School Confidential", backed with "Country Music Holiday" Apart from scant attention in the music press, mainly to the effect that he was covering a Jerry Lee song, it attracted no publicity whatsoever. After a couple of temporary jobs back in the business, he found a job as a cutter at National Studios at Elstree. It was while he was there he received a phone call from John Barry in March of , inviting him to audition for Drumbeat After sufficiently impressing producer Stewart Morris , Faith landed an initial contract for three shows, which was later extended to the full week run.
Fortune once again smiled on Faith when Barry introduced him to his own manager, the redoubtable Eve Taylor. Taylor, whose father was a show-business impresario of some renown, was steeped in the tradition and was herself part of a comedy and tap-dancing act during the s. Since becoming an agent she had established a reputation for never accepting anything less than the best for her clients, and many an errant theater manager had experienced the lash of her biting tongue!
She readily agreed to take him on, and immediately set about changing his image and appearance, securing him another recording contract, initially with Top Rank.
Unfortunately, this record also failed to attract the attention of pop pundits, but on this occasion Faith was clearly hindered by a total absence of publicity caused by the release date--unluckily coinciding with a national printing strike!
Despite the failure of his first three records, Faith was becoming very well known and popular through his 'Drumbeat" appearances. Acting still had a hold on him, and in August he announced his intention to take drama and elocution classes in order to enhance his acting potential.
It was about halfway through the "Drumbeat" series when Faith attracted the attention of film producer George Willoughby , who was searching for a young pop singer to appear in his new film, Wild for Kicks , then in pre-production. Although Faith had little record success up 'til then, Willoughby was struck by the young man's stage presence and signed him on the strength of this.
The script called for Faith to sing only a couple of songs. As Barry was by then arranging not only Faith's recordings but also his live "Drumbeat" material, it came as no surprise when the film company asked him to write the score to accompany Faith's big-screen debut--Barry's own very first steps into the world of film music composing. Faith's success on "Drumbeat" enabled Eve Taylor to secure him another recording contract, this time with Parlophone.
The quest for suitable material to launch the Parlophone debut began in earnest and was eventually resolved out of a friendship built up on "Drumbeat". A study of the "Drumbeat" scripts reveal how Faith had initially concentrated on singing a large proportion of cover versions; the majority, up-tempo slices of American rock 'n' roll.
A significant turning point ensued when he asked to perform his own version of the current Cliff Richard hit "Living Doll". It became apparent to Barry that Faith's vocal delivery was more attractive in a gentler mode and, as a result of this discovery, he decided to concentrate on delivering this kind of material. Nevertheless, before this first Parlophone single was issued, Faith made his label debut on the live "Drumbeat" album, recorded on May 10 at Abbey Road Studios, London, and released two months later.
On this LP, the rock 'n' roll influence remained. Worth was to become the final piece in the Parlophone backroom jigsaw that catapulted Faith from contender to champion in the pop market place. Worth, born in Battersea, London, on June 21, , began working as a draughtsman prior to his compulsory two-year hitch in the army. On returning to civvy life he was determined to stay out of office work and make his name as a singer.
Like many singers, he also aspired towards song writing, although his first three attempts were rejected out of hand by music publishers. However, when Faith, striking up a friendship with him on the "Drumbeat" set, asked if he had any material suitable for recording, Worth approached JB7 pianist Les Reed to help him arrange a demo of one of these initial songs, "What Do You Want? Barry has always been credited with the idea of using pizzicato strings inspired by Buddy Holly 's "It Doesn't Matter Anymore" but according to Worth, this was entirely his own brainchild.
Because he was still under contract to Oriole, Worth felt the need to adopt a pseudonym while writing songs, and so was born Les Vandyke. This was derived by combining Reed's own first name with Worth's London telephone exchange!
Barry was impressed enough with the demo to commence working on an arrangement for the song, using that same Buddy Holly-influenced pizzicato style.
According to Faith, the singing style he adopted for this now legendary recording was based on coaching he received from Roy Young, another "Drumbeat" cast member. Having heard Faith rehearsing it during a shared car journey, Young made a number of suggestions, in particular persuading him to alter his pronunciation of "baby" to "bay-beh".
As a result, assistant John Burgess took the helm in his absence, and was to do so for the remainder of Faith's EMI career. According to Barry, on hearing the record, Newell publicly declared his disapproval, vowing that Barry would on no account ever be allowed to take part in any more sessions!
After the recording Barry admitted that both he and Faith were despondent following previous commercial failures. This time they were determined to impose their own personal tastes far more emphatically than they had done previously, when the flavor of the day tended to override aesthetic considerations.
Despite favorable reviews of "What Do You Want? Keith Fordyce, writing in the former, praised Barry's arrangement and choice of instrumentation --Jack Good, columnist in its rival, applauded the production, tipping chart success on both sides of the Atlantic.
EMI, perhaps scenting success, mounted a strong advertising campaign promoting the single far more vigorously than either of Faith's first two HMV releases. In the following issue of "Disc", Eve Taylor, recognizing good copy when she saw it, claimed Faith had definitely made his last record to concentrate on acting, citing his appearance in a minute drama for Rediffusion TV at the end of year as evidence. Despite this, "What Do You Want? Clearly, interest was growing, to a point when it entered the NME charts at 18 the following week.
Adam Faith, singer, had clearly arrived. His mentor, Jack Good, while applauding his success, claimed his acting actually improved his singing. He also mentioned that the song was initially rejected by Johnny Kidd , although Worth denied this, maintaining that he had refused permission for Kidd to use it when the singer had wanted to give it a rock 'n' roll treatment.
Another surprise arrived with the revelation that the orchestral backing consisted of just four strings, with two tenor saxes suggesting the sound of a cello. He confessed to being terrified of becoming just another overnight sensation and was therefore determined to continue to develop his acting skills by way of special training at the Royal Court Theatre. He admitted to enjoying Frank Sinatra , Peter Gunn , Jean Sibelius ' "1st Symphony" and playing golf--tastes considered rather esoteric and sophisticated for a typical teenager of the period!
Any one-hit wonder will tell you of the problems associated with finding an equally memorable follow-up. At the recording session John Burgess again took charge of production, since Norman Newell was afraid of upsetting a winning formula. Faith had finished recording his "Beat Girl" songs just three days previously and had signed to appear in another film - "Moment Of Truth".
This song, another originally rejected by several music publishers in its original incarnation as "Poor Man", shot to 1 on the UK charts. After the success of "Poor Me", Faith--the "reluctant" pop-singer--revealed how much he wanted to sustain his chart success. With his newly acquired wealth generated from two 1 singles, Faith announced his plan to buy a new car, a new house for his parents and to invest the rest a significant move in light of his subsequent financial success.
His albums were successful, too. Though this was in the main a John Barry instrumental album, three songs were sung by Faith and this fact alone could only have enhanced sales. December brought two more significant events in the ever-changing world of Adam Faith. First he bought a Hampton Court house for pounds, where he moved with the rest of his family from the Acton council house.
Transmitted live on December 11, Faith surprised many a viewer by dint of his resolution and alertness in the face of some tough questioning from presenter John Freeman. Faith's third film, the comedy What a Whopper , premiered during the summer, although the title song was not considered strong enough for single release.
Instead, he chose a song from the film, entitled "The Time Has Come". This reached 4 on the charts and fared better than the film, which opened at the Rialto, London, on September 28 to a terrible pasting from the press.
In March of Faith undertook an day nature cure at a Surrey rest home. He had not stopped touring and recording for eight months and was completely fatigued. At the Surrey retreat he read the script for his next film project, Mix Me a Person , which was due to start filming immediately after this short period of recuperation.
August dawned with good reviews for the film, which opened in London. This, his fourth picture, was a thriller in which his character Harry Jukes spent a great deal of time behind bars.
He did manage to sing a couple of songs, however, en route: the title song and a version of "La Bamba". One of the biggest news items in the music industry that autumn stemmed from the surprise decision from the Barry and Faith camp to sever musical links--a purely amicable arrangement designed to enable both parties to develop alternative projects. Barry explained the motives behind this move more fully in an interview with Record Mirror's Peter Jones: "In the early days Johnny Worth, Adam and I were concentrating on one thing, Adam's records.
We were after bread. We were all starting in the business and we were all ambitious. But towards one end only. We were all in the same boat but eventually you reach a climax in all that channeled activity. I'd say it is impossible for three people to stick together permanently in this way. You are bound to develop into different adult channels. We wanted financial gains.
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