Hot Chocolate – Every 1’s A Winner

When A Baby’s Crying Became A Disco Hook

Hot Chocolate released “Every 1’s A Winner” on March 4, 1978, as the third single from their fourth studio album of the same name. Producer Mickie Most had suggested Errol Brown write something with an uplifting winner-themed message, departing from the band’s previous melancholic hits. Brown drew the melody from the rhythmic pattern of his baby daughter’s crying, transforming parental exhaustion into infectious funk. The track peaked at number 12 on the UK Singles Chart during an 11-week run and reached number six on the Billboard Hot 100 in America, spending 18 weeks on the chart after debuting in November 1978. It became their second-highest charting US single behind “You Sexy Thing,” selling over a million copies and pushing the album to double platinum certification. At number five in Canada and number one in Australia, the song proved that sometimes the best hooks come from sleepless nights with a crying infant.

The chart performance revealed Hot Chocolate’s mastery of disco-soul fusion at precisely the right moment. The album debuted at number 30 on the UK Albums Chart and number 31 on the US Billboard 200, while the first single “So You Win Again” had given them their only UK number one in June 1977. The second single “Put Your Love in Me” reached number 10 in the UK but failed to chart in America, demonstrating the fickle nature of transatlantic success. “Every 1’s A Winner” reversed that pattern, becoming bigger in America than Britain and proving Most’s instincts about uplifting messages resonated with audiences ready for optimism. The song appeared in films, commercials, and became a sports anthem, with teams playing it to celebrate victories. In 1987, Dutch DJ Ben Liebrand remixed the track alongside “You Sexy Thing,” creating a combination remix called “Two in a Bed” for the Disco Mix Club. The 1987 remix reached number 67 on the UK chart.

Brown formed Hot Chocolate in 1968 with bassist Tony Wilson after moving from Jamaica to London as a child in 1960. Their break came accidentally when they recorded a reggae version of John Lennon’s “Give Peace a Chance” in 1969, changing some words without permission. When Apple Records discovered the modification, they sent a letter explaining Lennon loved the version and wanted to sign them immediately. Mavis Smith from Apple’s press office suggested the name Hot Chocolate Band, which they shortened to Hot Chocolate after Mickie Most signed them to RAK Records. Most told them the word Band made them sound temporary, predicting they’d last ten years minimum. Brown laughed at the time, thinking two years would be lucky. They lasted 16 years under Brown’s leadership, achieving at least one UK hit every year from 1970 to 1984.

Recording sessions at RAK Studios in London paired Brown’s smooth falsetto with prominent horn sections that defined their signature sound. Most had established himself as Britain’s most successful 1970s producer, working with Sweet, Suzi Quatro, and the Jeff Beck Group among others. His production philosophy emphasized commercial hooks without sacrificing musicianship, allowing Hot Chocolate to blend soul, funk, and disco elements into accessible pop. Brown wrote most material with Wilson, also providing hits for Herman’s Hermits, Mary Hopkin, and Julie Felix. The multiracial band featured diverse influences from West Indian, British, and American roots, giving them crossover appeal during an era when British soul remained a niche market. Brown’s Jamaican-British background informed every composition, creating music that felt simultaneously familiar and exotic to UK and US audiences.

The album Every 1’s A Winner established Hot Chocolate’s dominance during disco’s peak years. Following their 1975 breakthrough “You Sexy Thing,” which reached number three on the Billboard Hot 100 and later appeared in the 1997 film The Full Monty, the band had proven their staying power. “Emma,” Brown’s devastating ballad about his mother’s death at age 38, had reached number eight in America in 1974, showcasing his ability to write both uplifting celebrations and heartbreaking narratives. The scream Brown unleashed near the end of “Emma” wasn’t performance but genuine anguish, as he admitted the song memorialized his mother’s struggles as a failed actress. That emotional honesty carried through to “Every 1’s A Winner,” though the mood shifted from grief to joy.

The song’s influence extended across decades of pop culture. Urge Overkill, PJ Harvey, and Sisters of Mercy all added Hot Chocolate songs to their live sets during the late 1980s resurgence of interest in the band. Cud’s cover of “You Sexy Thing” featured in John Peel’s Festive 50 in 1987, introducing Hot Chocolate to alternative rock audiences. The track appeared in the 1989 Clearasil commercial featuring a young Patsy Palmer, cementing its association with feel-good moments. Sports teams from St. Louis Cardinals to Ottawa Senators used it as their victory song. When British Columbia Liberal Party member Kash Heed won election in 2009, he made it his victory theme. The 2011 film 30 Minutes or Less featured it during a car chase, proving the song’s energy translated across genres and contexts.

Brown left Hot Chocolate in 1985 to pursue a solo career, achieving modest success with “Personal Touch” reaching number 25 in 1987. The band reformed without him in 1992 with new vocalist Greg Bannis, continuing to tour Europe and the UK. Brown received an MBE in 2003 for services to popular music and an Ivor Novello Award in 2004 for outstanding contribution to British music. He married wife Ginette and stayed with her for over 30 years despite what Telegraph writer Matthew Magee called being pelted with ladies’ pants wherever he played. Brown never bet more than 100 pounds on horse races despite owning racehorses, leaving the music business at fame’s height without rancor or regret. On May 6, 2015, Brown died from liver cancer at his Bahamas home at age 71, with Ginette and daughters Colette and Leonie by his side. Manager Phil Dale called him a gentle man who always kept music playing, in his home, car, hotel rooms, and dressing rooms before concerts. “Every 1’s A Winner” remained the song that proved Errol Brown could turn anything, even a baby’s rhythmic crying, into music that made the world dance. That gift, combined with Mickie Most’s production genius, created a legacy that survived disco’s death and Brown’s passing. The melody his daughter unwittingly provided became the hook that defined optimism during uncertain times, proof that winners emerge from the most unexpected sources.