We love digging up little glimpses of the old world and nuggets of what Greater Manchester used to be like back in the day, but unearthing a song all about how wonderful Stockport is might just be up there with one of the best things we’ve ever come discovered.
Yes, we fully appreciate how surprising and potentially funny that sentence alone might be to a lot of you, but please just bear with us.
We’ll confess that finding this gem of a track came from nothing more than a stroke of sheer luck and the whims of the YouTube algorithm during one of the late-night scrolling on our phones, at which we point we stumbled across what appeared to be an ode to the town of Stockport.
Simply entitled, ‘Stockport’, the song was performed by Liverpool-born easy-listening star and all-round crooner, Frankie Vaughan, who was a big recording artist throughout the 1950s and, without further ado, here’s what it sounds like. Are you ready?
The best and likely only song about how great Stockport is. Simply glorious.
Yes, that is a real single that was genuinely recorded in the old Cheshire borough back in 1983, and not at the legendary Strawberry Studios as you might have expected, but in the equally iconic Plaza Theatre located in the town centre.
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Believed to have been recorded as a bit of a wink and a nod by Vaughan and lyricist Geoff Morrow, a songwriter and businessman from London, the tune came about as a response to an article by the Mail on Sunday which essentially dragged Stockport’s name through the dirt.
While the details surrounding exactly how that article led to this collaboration are equally muddy, it’s thought that the Mail set up a competition for someone to write about how great the area was as a kind of apology — i.e. giving the locals a chance to paint it in a better light like no one else could.
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However, perhaps because SK residents weren’t overly keen to shout about the region themselves, it turned out Morrow asked Vaughan to do it as the two were friends and (tongue firmly in cheeky, we expect), the 60s/70s cabaret singer gave it his full big band best. It was a big story at the time, too.
The result is an almost Sinatra-esque soliloquy all about the place that has gone on to be dubbed ‘the new Berlin’ by some and was voted Greater Manchester’s town of culture in 2023, but we dare say few would have expected it to have such a reputation today — including the blokes who created it.
From the almost Coronation Street-like opening second or two, to Frankie Vaughan’s insistence upon occasionally letting loose a laugh at the end or even sometimes in the middle of a lyric, there are moments when this song very much feels like a bit of a parody, but I guess we’ll never know.
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As someone born in Stockport myself, I feel I have some authority to assume that lines like “there’s nowhere that can beat it”, “the houses seem to say ‘come in'”, and “there’s nowhere finer” were sung at least a little bit sarcastically but, regardless, we’re very happy to have pulled this love letter out from the very back of the Manc music draw.
Nevertheless, in all seriousness, the Stockport of the mid to late-20th century is very different from the one we’ve come to know of today, boasting plenty of new cultural hotspots, highly-regarded restaurants and bars, not to mention a new wave of local artists like Blossoms, Fuzzy Sun, Findlay and more.
Fellow Stopfordians might smirk at the suggestion of their town being “where it’s at”, as Frankie Vaughan puts it with such questionable sincerity, but the honest truth is that it’s still one of our favourite places to go in and around Manchester and has a special place in our hearts.
The only difference is that we’re fairly sure our love comes from a very different place than the songs did. Exhibit A through Z.
Featured Images — Helder Rock (via YouTube)/Stockport Library Archive Footage/The Manc Group
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Unknown Mortal Orchestra at the Albert Hall Manchester – groovy, hazy and effortlessly cool
Clementine Hall
Unknown Mortal Orchestra at the Albert Hall proved exactly why they’ve built such a cult following over the past decade.
Formed in 2010 by frontman Ruban Nielson, the band first broke through with their scrappy, lo-fi self-titled debut and since then, they’ve become known for their signature blend of psychedelic rock, funk, and warped pop.
I first saw the band back in 2023 at Glastonbury, and yes sorry I am one of those annoying people that bring it up all the time.
They’re the perfect band to close your eyes, sway your head and tap your foot to – and that’s exactly what the crowd were doing in unison last night at the Albert Hall.
Image: The Manc Group
From the second they stepped on stage, there was no rush – just that signature hazy groove met with enough stage lights to sink a ship.
You could barely see them on stage, but that made it even cooler. And you can only imagine how gorgeous the Albert Hall looked with hundreds of spotlights in different colours whizzing all over it.
Early tracks simmered and pulled us in before the band stretched out into crowd pleasers like ‘Multi-Love’ and ‘Hunnybee’. What an absolute tune by the way.
Image: The Manc Group
There wasn’t much crowd interaction but, again, there didn’t need to be. They let the music do the talking and by treating us to some of the most epic guitar solos we’ve ever heard (no, seriously), we’ll forgive them for not talking to us.
Each song melted into each other as the band oozed effortless charm and talent throughout the almost two hour set, which is no mean feat.
Of course, a sea of phones shot up for ‘So Good at Being in Trouble‘, their most popular track which prompted a harmonious audience singalong. Not very harmonious by me, admittedly.
It was a fantastic ending that left the audience feeling united by the laidback brilliance of Unknown Mortal Orchestra, and I hope they don’t leave it too long to come back this time.
Review | Leon Thomas at Manchester Academy – ‘Mutts Don’t Heel’ but this gig healed me
Thomas Melia
American singer-songwriter Leon Thomas visited Manchester Academy last night, performing hits from his deluxe album to a sold-out crowd of more than 2,600.
One year after an exclusive London MUTT Live date, Mr Thomas returns to the UK with the ‘MUTTS DON’T HEEL’ Tour, venturing to five cities, including the music capital of the North: Manchester.
The night started off just how it should’ve done with ‘HEEL’, as the audience were welcomed by the drum-loop and a chill atmosphere from the start.
Now, it wouldn’t be a Leon Thomas gig without at least one Ty Dolla $ign collaboration making the setlist, and there’s plenty to choose from with a new one dropping just over a month ago, ‘miss u 2’.
Leon Thomas performing hits at Manchester Academy (Credit: Audio North)
The funk-influenced musician opted for ‘FAR FETCHED’, and the audience was in the palm of his hand. No matter which of the four link-ups he chose, it was always going to go down well – Manchester never disappoints.
Leon didn’t even have to ask the crowd to bring more energy; they already matched him. When he sings, “For someone who don’t ask for favours, I’ve done way too many favours”, on ‘PARTY FAVORS’, he really meant it.
Last year, Leon Thomas dropped PHOLKS, a project which saw him exploring old-school funk and soul sounds even further and ‘Just How You Are’ had even the shyest dancer pulling out a little two step.
This isn’t the only hit that sent the crowd into a frenzy; ‘Baccarat’ and its impressive psychedelic guitar solo had jaws literally falling to the floor at Manchester Academy.
His songs might not be dramatic or extravagant, but they don’t need to be. Leon’s artistry prevails when he’s softly singing, and you’re still able to detect each instrument.
Leon Thomas brought the MUTTS DON’T HEEL Tour to Manchester Academy (Credit: The Manc)
‘Breaking Point’ is an easy-listening soul track that had all 2,600 Leon Thomas fans in our feelings as we realised we were coming to the end of a phenomenal concert.
And of course, ‘Mutt’ – his biggest single to date: a bouncy and swag-filled number that sticks in your head for weeks on end – sounded even better when backed by a live band as I discovered last night.
There was some insane musicality, distinct bangers and impeccable live arrangements that elevated the original studio recordings. Maybe ‘Mutts Don’t Heel’, but Leon Thomas definitely healed me.
He wasn’t the only cool cat playing last night either: