You probably know the melody. It’s that breezy, sophisticated slice of 1960s pop that feels like a sunset drive in a convertible. But if you ask the average person who sang it, they might say Chris Montez. Or maybe they’ll hum the Frank Sinatra version. Honestly, though? The story of Petula Clark Call Me starts in a much more specific place: a London recording studio with a man named Tony Hatch.
Most people don't realize that "Call Me" wasn't originally intended to be a global easy-listening standard. It was just another track for "Pet"—the British sweetheart who had recently conquered America with "Downtown."
How Tony Hatch Created a Classic
Tony Hatch was basically the architect of Petula Clark’s 1960s peak. He didn't just write the songs; he lived them. After the monster success of "Downtown" and "I Know a Place," the pressure was on to keep the momentum. In 1965, Hatch penned "Call Me."
It’s a simple song, really.
The lyrics are essentially an open invitation to a lonely friend (or maybe something more). "If you're feeling sad and lonely, there's a service I can render." It sounds a bit formal, doesn't it? But Clark’s delivery made it warm. She had this way of sounding like she was whispering a secret to you through the radio while a full orchestra swelled in the background.
The song first appeared on a UK EP (Extended Play) titled Call Me in late 1965. In the US, Warner Bros. tucked it onto the I Know a Place album. It wasn’t the "big" single. It was a sleeper.
The Chris Montez Connection
Here’s where the history of Petula Clark Call Me gets a little messy. Most music historians point to 1966 as the year the song actually "arrived" in the public consciousness, but not because of Petula.
Herb Alpert, the legend behind A&M Records, was looking for a new sound for Chris Montez. Montez had been a rock-and-roller, but Alpert wanted something softer. He heard the Petula Clark version and thought, "That’s it."
Montez’s version became a Top 40 hit, peaking at #22 on the Billboard Hot 100. It overshadowed Clark’s original recording so much that many people forget she did it first. It’s one of those weird pop culture quirks—like how people forget Otis Redding wrote "Respect" before Aretha Franklin turned it into an anthem.
Why Petula’s Version Still Hits Different
If you listen to the two versions back-to-back, the vibe is totally different.
- Montez: Bossa nova, light, almost like background music for a cocktail party.
- Clark: Dramatic, slightly melancholic, and deeply British.
Petula Clark brought a certain "theatre" to the track. When she sings "Maybe it's late, but just call me," you actually believe it's 2:00 AM and she's sitting by a rotary phone.
The 1965-1966 Pop Landscape
The mid-60s were a wild time for artists like Petula Clark. You had the Beatles and the Stones tearing up the charts with gritty rock, but there was still this massive appetite for "sophisticated" pop. Clark occupied this middle ground. She was cool enough for the kids but polished enough for their parents.
"Call Me" fit that "International Style" perfectly. It felt European. It felt expensive.
Why We Still Talk About This Song in 2026
Believe it or not, the song has a massive legacy in advertising and film. In 1973, Bell Telephone used it as a jingle. It’s been in Austin Powers. It’s been covered by Frank Sinatra, Shirley Bassey, and even Frankie Valli.
But the Petula Clark Call Me recording remains the blueprint. It represents a moment when British songwriters like Tony Hatch were essentially out-writing the Americans at their own game—the "Easy Listening" game.
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Getting the Most Out of the Track Today
If you want to actually appreciate the song beyond a 30-second clip on social media, you have to look at how it was produced.
- Listen for the "Hatch" Sound: Notice the way the brass kicks in during the chorus. That’s Tony Hatch’s signature.
- Check the Lyrics: It’s actually a very supportive song. In an era of "breakup" tracks, "Call Me" is about being there for someone.
- Find the Mono Mix: If you can track down the original mono version of the I Know a Place LP, the vocals are much more front-and-center.
What to Listen to Next
Once you’ve finished with Petula Clark Call Me, don't just stop there. To understand the full scope of that 1965 London sound, you should queue up these specific tracks:
- "I Couldn't Live Without Your Love" – Another Hatch/Clark masterpiece that captures the same frantic, romantic energy.
- "Don't Sleep in the Subway" – This is Clark at her most "storyteller," using urban imagery to describe a relationship.
- "A Sign of the Times" – If you like the upbeat tempo of "Call Me," this one dials it up to eleven.
To truly experience the era, find the original 1965 Pye Records EP pressing. The analog warmth of the vinyl captures the orchestral nuances that digital remasters often flatten out. For the best sound, look for the UK "NEP 24237" catalog number; it’s widely considered by audiophiles to be the definitive way to hear Petula’s vocal performance.