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.
Twilight Time
Billy J. Kramer & The Dakotas Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Out of the mist your voice is calling it's twilight time
When purple-covered curtains mark the end of day
I'll hear you my dear at twilight time
Deepening shadows gather splendor as day is done
Fingers of night will soon surrender the setting sun
I count the moments darling till you're here with me
Together at last at twilight time
Here in the afterglow of day we keep our rendez-vous beneath the blue
Here in the same and sweet old way I fall in love again as I did then
Deep in the dark your kiss will thrill me like days of old
Lighting the spark of love that fills me with dreams untold
Each day I pray for everything just to be with you
Together at last at twilight time
Here in the afterglow of day we keep our rendez-vous beneath the blue
Here in the same and sweet old way I fall in love again as I did then
Deep in the dark your kiss will thrill me like days of old
Lighting the spark of love that fills me with dreams untold
Each day I pray for evening just to be with you
Together at last at twilight time together at last at twilight time
The song "Twilight Time" by Billy J. Kramer & The Dakotas portrays the romantic anticipation of being reunited with a loved one at dusk, known as twilight time. The beginning of the song describes the transition from day to night as the "heavenly shades of night" are falling and the "purple-covered curtains mark the end of day." The singer longs to hear their lover's voice calling out to them in this magical time of day. As the shadows deepen, they eagerly await being together at last.
In the chorus, the singer expresses the joy and excitement of being able to meet their lover in the afterglow of the day. They fall in love all over again "in the same and sweet old way" as they did before. They describe how their lover's kiss in the darkness will bring back memories of days gone by, reigniting the spark of love that fills them with "dreams untold." Every day, they pray for evening, just to be with their loved one again.
Overall, "Twilight Time" is a beautiful and romantic song that captures the essence of the magic of love and the anticipation of being reunited with a loved one.
Line by Line Meaning
Heavenly shades of night are falling it's twilight time
As the night sky slowly envelops us, we enter twilight time
Out of the mist your voice is calling it's twilight time
I hear your voice calling out to me as we enter twilight time
When purple-covered curtains mark the end of day
As the sky turns purple, the day is coming to an end
I'll hear you my dear at twilight time
I know I'll hear your voice dear, as we enter the quiet and peaceful twilight time
Deepening shadows gather splendor as day is done
As the sun sets, the shadows deepen and the world becomes more beautiful
Fingers of night will soon surrender the setting sun
Night will soon come and the sun will disappear, but we will still have each other
I count the moments darling till you're here with me
I eagerly await the moment when we can be together during this tranquil time
Together at last at twilight time
Finally we will be together during the quiet and serene moments of twilight time
Here in the afterglow of day we keep our rendez-vous beneath the blue
Together we meet in the peaceful moments that follow the day, beneath the blue sky
Here in the same and sweet old way I fall in love again as I did then
Our love remains the same and just as sweet as it was when we first fell in love
Deep in the dark your kiss will thrill me like days of old
Your kiss in the dark will always thrill me, like it did when our love was new
Lighting the spark of love that fills me with dreams untold
Your kiss will rekindle the love that fills me with hope and endless dreams
Each day I pray for everything just to be with you
Every day I wish for nothing more than to be with you, and enjoy the peaceful moments of twilight time
Together at last at twilight time
Finally, we will be together during the tranquil and serene moments of twilight time
Lyrics © OBO APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
Carolyn Triance
I always loved Billy's version of this because it shows the contrast between his sweet and vulnerable higher register and the harder, more powerful lower notes.
flatop47
+Carolyn Triance ..Thanks For Looking
Vels Vivard
His higher notes can be very strong actually, it's gritty but very powerful.
SANDY PRICE
Love Billy's version of this song. Thank you.
flatop47
Thank You For Looking
John Robertson
One of his finest vocals
John Robertson
Superb version, controlled vocal,atmospheric too...shame it never charted
TonyHickschick
I didn't know this song until I found this video a few days ago. I now think it is a really lovely tune and glad you uploaded it.
Teresita Pachejo
Beautiful version..
SANDY PRICE
Hi flatop47 I love Billy J Kramer's voice. Thank you again.