Singer
Before landing a singing career, Steele tried his hand at a number of odd jobs and had a brief spell as a merchant seaman. Like many singers of his era he never did National Service, having failed the medical examination because, at 18 years old, he was diagnosed as suffering with Cardiomyopathy. While on leave or during Dock strikes, he played guitar and banjo and sang in The 2i's Coffee Bar in Soho, both as a solo performer and with Wally Whyton's Vipers Skiffle Group. He was discovered by manager Larry Parnes, who believed Steele could be Britain's answer to Elvis Presley. Parnes is widely credited with creating the stage name 'Tommy Steele.'
Steele shot quickly to fame in the UK as the frontman for a skiffle band, The Steelmen. Steele and other British singers would pick known hits from the United States, record their cover versions of these songs and release them in the UK before the American versions could enter the charts. Most of Steele's 1950s recordings were covers of American hits, such as "Singin' the Blues" and "Knee Deep in the Blues". Although Steele never proved a serious threat to Elvis's popularity in the UK, he did admirably well on the 1950s British pop charts and "Singing the Blues" got to Number 1. Guy Mitchell was no. 1 with "Singing the Blues" on 7/12/56 and Tommy Steele on 14/12/56.
Discography
Partial discography.
Singles
With the Steelemen
Rock With the Caveman/ Rock Around the Town - UK charts no.13 (Decca 1956)
Doomsday Rock/ Elevator Rock (Decca 1956)
Singing The Blues/ Rebel Rock - UK charts no. 1 (Decca 1956)
Knee Deep in the Blues/ Teenage Party. - UK charts no.15 (Decca 1957)
Butterfingers/ Cannibal Pot - UK charts no. 8 (Decca 1957)
Shiralee/ Grandad’s Rock - UK charts no.11 (Decca 1957)
Water, Water/ A Handful of Songs. - UK charts no. 5 (Decca 1957)
Hey You!/ Plant A Kiss - UK charts no.28 (Decca 1957)
Happy Guitar/ Princess - UK charts no.20 (Decca 1958)
Nairobi/ Neon Sign - UK charts no. 3 (Decca 1958)
Only Man on the Island/ I Puts the Lightie On. - UK charts no.16 (Decca 1958)
Solo
It’s All Happening/ What Do You Do? (Decca 1958 )
Come On, Let’s Go/ Put a Ring on Her Finger. - UK charts no.10 (Decca 1958)
A Lovely Night/ Marriage Type Love (Decca 1958)
Hiawatha/ The Trial (Decca 1959)
Tallahassee Lassie/ Give, Give, Give - UK. charts no.16 (Decca 1959)
You Were Mine/ Young Ideas (Decca 1959)
Little White Bull/ Singing Time. - UK charts no. 6 (Decca 1959)
What A Mouth/ Kookaburra - UK charts no. 5 (Decca 1960)
Happy Go Lucky Blues/ Girl with the Long Black Hair (Decca 1960)
Must Be Santa/ Boys and Girls. - UK charts no.40 (Decca 1960)
My Big Best Shoes/ The Dit Dit Song (Decca 1961)
Writing on the Wall/ Drunken Guitar - UK charts no.30 .(Decca 1961)
Hit Record/ What A Little Darling (Decca 1962)
Where Have All the Flowers Gone?/ Butter Wouldn’t Melt in Your Mouth (Decca 1963)
He’s Got Love/ Green Eye (Decca 1963 )
Flash Bang Wallop/ She’s Too Far Above Me (Decca 1963)
Egg and Chips/ The Dream Maker (Columbia 1963)
Half A Sixpence/ If the Rain’s Got to Fall (RCA 1965)
Fortuosity/ I’m a Brass Band (Vista 1967)
King’s New Clothes/ Wonderful Copenhagen (Pye 1974)
Half A Sixpence/ If the Rain’s Got to Fall (Safari 1984)
Singing the Blues/ Come On, Let’s Go (Old Gold 1985)
Actor
With Petula Clark in Finian's RainbowThe increase in home-grown musical talent during the 1960s allowed Steele to progress to a career in stage and film musicals, leaving behind his pop idol identity. In the West End he appeared in the title role of Hans Christian Andersen. On film, he recreated his London and Broadway stage role in Half A Sixpence, and played character roles in The Happiest Millionaire and Finian's Rainbow, although many critics found his personality to be somewhat overwhelming on screen. In this latter film, probably his best known appearance in the movies, he co-starred with Petula Clark and Fred Astaire.
In 1983, Steele directed and starred in the West End stage production of Singin' in the Rain at the famed London Palladium. In 1991 he toured with Some Like It Hot the stage version of the Jack Lemmon and Marilyn Monroe film. In 2003, after a decade-long hiatus, save his one man shows An Evening With Tommy Steele and What A Show!, he toured as Ebenezer Scrooge in a production of Scrooge: The Musical, an adaptation of A Christmas Carol. Following this triumphant return, he reprised his role at the Palace Theatre, Manchester over Christmas 2004, and brought the production to the London Palladium for Christmas 2005.
Filmography
The Tommy Steele Story (1957)
The Duke Wore Jeans (1957)
Tommy the Toreador (1959)
Light Up the Sky! (1960) known as Skywatch in the US
It's All Happening (1963) known as The Dream Maker in the US
Half a Sixpence (1967)
The Happiest Millionaire (1967)
Finian's Rainbow (1968)
Twelfth Night (1969) (made for TV)
Where's Jack? (1969)
The Yeomen of the Guard (1978)
Quincy's Quest (1979)
Author and Other Talents
In the early 1980s, Steele wrote and published a book titled The Final Run, a novel about World War II and the evacuation of Dunkirk.
He also wrote a children's novel, entitled Quincy, about a reject toy trying to save himself and his fellow rejects in the basement of a toy store from the furnace the day after Christmas. This was turned into a film in 1979, which Tommy played Quincy and Mel Martin playing Quincy's girlfriend doll, Rebecca.
He has developed a talent as a sculptor and two of his major works are on public display; Bermondsey Boy at the Rotherhithe Civic Centre and Eleanor Rigby which he sculpted and gave to the City of Liverpool as a tribute to The Beatles.
A UK Daily Mail article 26 Aug. 2006 previewing Tommy's new autobiography (see below) states that Tommy has another sculpture featuring two rugby players on display at England's rugby stadium at Twickenham. Also that Tommy is an artist of some note and has exhibited at the Royal Academy.
His autobiography came out in September 2006 and is entitled 'Bermondsey Boy: Memories of a Forgotten World.' (London: Joseph)
Credit: wikipedia
hey you
Tommy Steele Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Yes, it's you I'm talkin' to, yeah
Yes, it's me you're lookin' through, yeah
Oh, no, I know, I know that you know
So, why'nt you quit your stallin'
Can't you hear me callin' you, yea-heh you
I'm blue!
You know, you know I want no other, no
Why do you treat me like a brother, yeah
You gotta quit your stallin'
Can't you hear me callin' you, yea-heh you
I'd like to know just what you're tryin' to hide
So deep inside your mind
I'm gonna go and then I wanna see
You follow me real close behind, yeah you
Stop a-lookin' over your shoulder, yeah
'Cause before you're very much older, yeah
I'm gonna get so much harder, yeah
If you don't quit your stallin'
Baby, hear me callin' you, heh-heh-heh you
YEAH!
(Instrumental Break)
He-e-e-ey, hey you!
Yes, it's you I'm talkin' to
Yes, it's me you're lookin' through, yeah
Oh, I know, I know that you know
So, why'nt you quit your stallin'
Can't you hear me callin' you,
Y-E-E-A-A YOU!
The song "Hey You" by Tommy Steele is a classic rock and roll tune about a guy expressing his feelings to a girl he likes. The song starts with the singer addressing the girl directly, asking her to stop ignoring him and pay attention. He confesses that he is blue because he wants to be her lover, but she seems to see him only as a friend or brother. He urges her to be honest and quit her stallin', implying that he wants her to reciprocate his feelings. In the chorus, he repeats his plea and asserts that he is serious about his intentions.
The verses also reveal the singer's frustration and confusion about the girl's behavior. He wants to know what she is hiding in her mind and asks her to follow him. He warns her that he will get harder if she doesn't quit her stallin', suggesting that he may become more aggressive or impatient. The song ends on an upbeat note with the singer repeating the title and urging the girl to listen to his call.
Overall, the song captures the classic theme of unrequited love and the struggle to overcome communication barriers between romantic partners. Steele's energetic vocals and the catchy guitar riffs make this song a timeless classic that still resonates with audiences today.
Line by Line Meaning
Hey you!
The singer is addressing someone and wants to communicate with them.
Yes, it's you I'm talkin' to, yeah
The singer is confirming that they are talking to the person they are addressing.
Yes, it's me you're lookin' through, yeah
The singer is saying that the person is seeing through them or is not being honest with them.
Oh, no, I know, I know that you know
The singer knows that the person they're addressing is aware of the situation.
So, why'nt you quit your stallin', Can't you hear me callin' you, yea-heh you
The singer is asking the person why they are stalling and not responding to their communication.
I'm blue!
The singer is feeling sad and wants the person to notice his feelings.
Don't you want me for your lover
The singer wants to be the person's lover and is asking if they want the same.
You know, you know I want no other, no
The singer is confirming that they only want to be with the person they are addressing.
Why do you treat me like a brother, yeah
The singer is feeling frustrated and confused that the person treats them like a brother instead of a lover.
You gotta quit your stallin'
The singer is asking the person to stop stalling and make a decision about their relationship.
Can't you hear me callin' you, yea-heh you
The singer is frustrated that the person is not responding to their calls or messages.
I'd like to know just what you're tryin' to hide
The singer is suspicious and wants to know what the person is hiding from them.
So deep inside your mind
The singer thinks that the person is hiding something important and personal.
I'm gonna go and then I wanna see
The singer is planning to leave and wants to see if the person follows them.
You follow me real close behind, yeah you
The singer wants the person to follow them closely.
Stop a-lookin' over your shoulder, yeah
The singer is asking the person to stop looking back and focus on their relationship.
'Cause before you're very much older, yeah
The singer thinks that time is running out for them to be together.
I'm gonna get so much harder, yeah
The singer is going to be more assertive if the person does not reciprocate their feelings.
If you don't quit your stallin', Baby, hear me callin' you, heh-heh-heh you
The singer is warning the person that they need to make a decision about their relationship or the singer will become more assertive.
YEAH! (Instrumental Break)
There is an instrumental break in the song.
He-e-e-ey, hey you! Yes, it's you I'm talkin' to
The singer is reiterating that they are talking to the person they are addressing.
Oh, I know, I know that you know
The singer reiterates that the person they're addressing is aware of the situation.
So, why'nt you quit your stallin', Can't you hear me callin' you, Y-E-E-A-A YOU!
The singer is emphasizing their frustration and asking the person to make a decision about their relationship.
Lyrics © Sony/ATV Music Publishing LLC
Written by: LIONEL BART, TOMMY STEELE
Lyrics Licensed & Provided by LyricFind