I must have been eight years old when I first heard Waterloo Sunset, in the year of its release, and - like just about everyone else in the world - realised it was something special.
Perhaps for a child the fact that it wasn't, strictly speaking, a love song had something to do with it, even though lovers figure in it. Certainly Davies' late friend and mentor Ned Sherrin said that was what made it unique in the pop charts of the time.
For someone growing up in Scotland, however, the song's setting was enough to suggest something magical, even if the Engerland in my head may not have swung like a pendulum do. My childish notions of the country and its capital came largely from Ealing films on the telly, all decency and community spirit, tempered by odd glimpses in police series of a modern day city seemingly awash with criminals, spies and pyromaniacs like George Cole (below) in Gideon's Way.
