Sandie Shaw’s German recordings

Sandie Shaw was one of the UK’s most successful singers of the 1960s, enjoying three number one hits in Britain. She also found fame in Germany, where her 1967 Eurovision song contest winner, Puppet on a string, in particular, was a massive hit. She re-recorded some of her material in German too and her accented delivery charmed record buyers.

She was born Sandra Goodrich in Dagenham, Essex, east of London, on 26 February 1947.

After leaving school she worked at the nearby Ford factory and did some part-time modelling. However, as a result of finishing second in a talent contest, she got to appear at a charity concert in London at which singer Adam Faith was singing. He spotted her potential and introduced her to his manager, Eve Taylor.

Within a fortnight, the singer had a contract – and a stage name – with the Pye record label.

Sandie’s second UK single, (There’s) always something there to remind me – written by Burt Bacharach and Hal David – topped the UK charts for three weeks in October 1964. Having seen the success enjoyed by label mate Petula Clark in particular in the rest of Europe, bosses at Pye were keen to push Sandie in a similar direction. Many of her songs would be released in mainland Europe in their original English versions, but Sandie was also encouraged to re-record a number in French, German, Italian and Spanish.

Re-recorded as Einmal glücklich sein wie die Andern, her UK chart topper, it was decided, would become her debut German-language release. It was issued with Ohne dich (originally Don’t you know) on the B-side, but it failed to attract much interest from record buyers.

She fared better with her second UK chart topper, the calypso-styled Long live love, however. The song gave the singer her first German hit, both in English and in its translated version, Du weißt nichts von deinem Glück, and the two versions made the top 30 in the late summer of 1965. (The flip of the German-language release was a translation of You can’t blame him, retitled Das ist unmöglich.)

As the coolest of the Brit girl singers, Sandie’s trademark barefoot performances endeared her to the public in Germany, just as they did in the UK.

However, 1966 proved a difficult year for the singer. Some poor choices of singles saw her career falter.

I don’t need that kind of lovin’, issued as an album track in the UK, was re-recorded as Und so was nennst du nun Liebe and issued as a single in March 1966. Arguably, record buyers might have shown more interest if the record had been flipped to make Mir ist alles klar – originally Message understood, a top ten hit at home – the top side.

Similarly, Ich denke an morgen, the German version of Tomorrow, which had gave Sandie another top ten UK hit, was relegated to the B-side of the so-so original composition Wir seh’n uns ja wieder. The release proved a minor success, managing only to scrape into the top 40 in late 1966.

It reflected a fall from favour, both in Germany and in Britain, and by the end of the year Sandie’s career was in the doldrums.

The chance to represent the UK at the 1967 Eurovision song contest proved an offer she couldn’t refuse – although she would have preferred to. She recognised that she needed the exposure and was guaranteed another hit.

All five entries for the UK selection were great songs that showcased Sandie’s vocal strengths. The public picked the Bill Martin and Phil Coulter composition Puppet on a string to go on to the final in Vienna. Sandie, however, was disappointed, as the song was the least representative of her material.