Billy J. Kramer (born William Howard Ashton, 19 August 1943, in Bootle, Liverpool, England) was a British Invasion / Merseybeat singer. He is known today primarily as the singer of various Lennon-McCartney compositions that The Beatles did not use.
The performing name Kramer was chosen at random from a telephone directory. It was John Lennon's suggestion that the "J" be added to the name to further distinguish him by adding a 'tougher edge'. Billy soon came to the attention of Brian Epstein, ever on the look-out for new talent to add to his expanding roster of local artists. Kramer turned professional but his then backing band, The Coasters were less keen, so Epstein sought out the services of a Manchester based band, The Dakotas, a well-respected combo then backing Pete MacLaine.
Even then, The Dakotas would not join Kramer without a recording deal of their own. Once in place, the deal was set and both acts signed to Parlophone under George Martin. Collectively, they were named Billy J. Kramer with The Dakotas to keep their own identities within the act. Once the Beatles broke through, the way was paved for a tide of "Merseybeat" and Kramer was offered the chance to cover a song first released by the Beatles on their own debut album, Please Please Me. The track had been allegedly turned down by Shane Fenton (later Alvin Stardust) who was looking for a career reviving hit.
With record producer George Martin, the song "Do You Want to Know a Secret?" was a number two UK Singles Chart hit in 1963, and was backed by another tune otherwise unreleased by The Beatles, "I'll Be on My Way". After this impressive breakthrough another Lennon/McCartney pairing "Bad To Me" c/w "I Call Your Name" reached number one. "I'll Keep You Satisfied" ended the year with a respectable number four placing.
Billy was given a series of songs specially written for him by the John Lennon and Paul McCartney which launched him into stardom and a proper place in the history of Rock and Roll. I'll Keep You Satisfied, From A Window, I Call Your Name and Bad To Me all became international million sellers for Billy, and won him appearances on the TV shows Shindig!, Hullabaloo and The Ed Sullivan Show.
The Dakotas, meanwhile, enjoyed Top 20 success in 1963 on their own with Mike Maxfield's composition "The Cruel Sea", an instrumental retitled "The Cruel Surf" in the U.S., which was subsequently covered by The Ventures. This was followed by a George Martin creation, "Magic Carpet", evoking a dreamy atmosphere with a subtle echo laden piano, playing the melody alongside Maxfield's guitar. But it missed out altogether and it was a year before their next release. All four tracks appeared on a highly-collectable EP later that year.
The three big hits penned by Lennon and McCartney meant that Kramer was always seemingly in the Beatles' shadow, unless he tried something different. Despite being advised against it, he insisted on recording the Stateside chart hit "Little Children" - the lyrics were allegedly about getting his girlfriend's brothers and sisters out of the way so they could make love. It became his second chart topper and biggest hit. It was Kramer's only major hit outside of the UK. In the U.S., this was followed up with "Bad to Me" which reached number nine. Despite this success Kramer went backwards with his second and last UK single of 1964; another Lennon/McCartney cast-off "From A Window", which only became a Top Ten hit.
The year 1965 saw the end for the Merseybeat boom, and the next Kramer single was "It's Gotta Last Forever", which harked back to a ballad approach. In a year where mod-related music from the likes of The Who prevailed, the single missed completely. Kramer's cover of "Trains and Boats and Planes" saw off Anita Harris' cover version only to find itself in direct competition with its composer, Burt Bacharach's effort, which won the day. Kramer's effort still reached a respectable number 12, but was the group's swansong, as all future cuts missed the chart.
The Dakotas ranks were then strengthened by the inclusion of Mick Green, the ex-guitarist with the London band the Pirates who backed Johnny Kidd. This line-up cut a few tracks which were at odds with the balladeer's usual fare. These included a take on "When You Walk in the Room" and "Sneakin' Around". The Dakotas final outing whilst with Kramer was the blues driven "Oyeh!" - but this also flopped.
After releasing "We're Doing Fine", it too missed the charts leaving singer and group to part company. Kramer had a brief solo career which took him eventually to live in America.
The Dakotas re-formed in the late 1980s and recruited vocalist Eddie Mooney and session musician Toni Baker. They still tour and record today. Drummer Pete Hilton joined the band in 1996 replacing Tony Bookbinder and after Mike maxfield sufferred a stroke in 2004 guitarist Alan Clare along. In January 2008 Eddie was asked to replace Rod Allen, the Fortunes frontman who had sadly died in Dec 2007. Another new face now fronts The Dakotas - Paul Rafferty.
In 2005, Kramer recorded the song "Cow Planet" for Sandra Boynton's children's album, Dog Train. A long-time fan of Kramer's, Boynton had sought him out for her project: in 1964, at age 11, she had bought Little Children as the first album she ever owned.
Forgive Me
Billy J. Kramer & The Dakotas Lyrics
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Taking you for granted, treating you like a kid
Forgive me, forgive me, forgive me, forgive me, forgive me
'Cause girl, you're the reason I work my life way
When you see me coming, you turn your back the other way
We played and ? at everyone who had to pay
I hope and pray, you'll be back again with me someday
I don't know the reason, it's always been so hard
I only know I'll miss you, 'specially now we're apart
Forgive me, forgive me, forgive me, forgive me, forgive me
'Cause girl, you're the reason I work my life way
When you see me coming, you turn your back the other way
We played and ? at everyone who had to pay
I hope and pray, you'll be back again with me someday
In Billy J. Kramer & The Dakotas's song "Forgive Me," the singer openly admits to mistreating his partner and taking her for granted. He apologizes for his behavior and begs for forgiveness through the chorus, emphasizing the importance of his partner in his life. The verses reveal the extent of the singer's regret, and how he wishes he had treated his partner better. He believes she is the reason he works hard, and he hopes she will return to him one day despite his mistakes.
The lyrics in this song can be interpreted in different ways. On the one hand, the singer may represent someone who has realized the errors of his ways and is genuinely remorseful. On the other hand, it can be argued that the singer is only apologizing to try to win his partner back without necessarily changing his behavior. Regardless of the interpretation, it's clear that the singer acknowledges the damage he has done to the relationship and feels guilty about it.
Overall, "Forgive Me" is a heartfelt plea for forgiveness from someone who has hurt their partner. The lyrics reveal the singer's regret and hope for reconciliation. Even though the song was released in 1964, it still resonates with listeners today who have experienced similar situations in their own relationships.
Line by Line Meaning
I know I've been wrong, girl, acting like I did
I am aware of my mistakes, treating you poorly and taking you for granted.
Taking you for granted, treating you like a kid
I didn't realize how much I valued you and treated you poorly like you were unimportant.
Forgive me, forgive me, forgive me, forgive me, forgive me
I am pleading for your forgiveness for my past behavior.
'Cause girl, you're the reason I work my life way
You are the motivation behind everything I do in my life.
When you see me coming, you turn your back the other way
You are avoiding me because of my past mistakes.
We played and ? at everyone who had to pay
We joked and made fun of those who were affected by our behavior.
I hope and pray, you'll be back again with me someday
I am hoping and praying that you will return to me and give me another chance.
I don't know the reason, it's always been so hard
I am unsure why it is so difficult for me to treat you the way you deserve.
I only know I'll miss you, 'specially now we're apart
I realize how much I miss you, especially since we are no longer together.
Lyrics © Universal Music Publishing Group, Kobalt Music Publishing Ltd.
Written by: ROBIN F. MCDONALD, MICHAEL ROBERT GREEN
Lyrics Licensed & Provided by LyricFind