More like 'Get in the Ring' and 'Mr Brownstone' by Guns n'Roses are his actual all-time favourite tracks ;-)
I've still not got over him playing Edgar Broughton Band's 'Hotel Room' years ago (although a very long time after it was issued) and saying it was one of his favourite records
The Ziggy Stardust era worked so well because primarily Bowie's Ziggy character seemed pretty unique and unusual at the time, and the music was very accessible too, with plenty of more traditional musical arrangements, like conventional guitar/piano/drums/strings etc.
Ken Scott who produced 'Hunky Dory' (1971), 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars' (1972) and 'Aladdin Sane' (1973) with David Bowie suggested on the BBC documentary 'David Bowie - Five Years - The Making Of An Icon' that although he believes the critically acclaimed 'Ziggy Stardust' album is a good record he was bemused by claims that somehow it "changed peoples lives" and certainly doesn't rate it as the sort of seminal, groundbreaking milestone 80s pop stars such as Marc Almond, Boy George, Toyah Willcox and Gary Kemp apparently do.
I have only ever heard two Bowie albums (Ziggy and Aladdin Sane) in their entirety and that was 33 years ago. For my money the two singles from AS ('The Jean Genie' and 'Drive-In Saturday') stand head and shoulders above anything else on either album with the possible exception of 'Starman' although I reckon the re-recording of the track for TOTP in July 1972 is vastly superior to the vinyl version on which the lead vocal sounds somewhat stilted and tentative; presumably as it was a recently written, late addition to the album, it was under-rehearsed and by the time the group had played the song live for a few months it had been knocked into shape and they were able to perform it with more fluency than they did at the Trident studio sessions. Conversely I thought the 'Jean Genie' clip from January 1973 which all the critics were raving about not only lacked the power and the punch of the original record, but also the subtle atmospheric touches like the harmonica beneath the vocal in the chorus (obviously I appreciate it was impossible for Bowie to sing and play harp at the same time if indeed it was a live take) although it was a still a treat to be able to see it again after almost 38 years.
If you are talking of classic Bowie albums, possessing an emotional depth, and consistent level of conventionally memorable songs comparable to say, an album like The Beatles 'Revolver', Carole King's 'Tapestry' or Joni Mitchell's 'Court And Spark', i'd guess that 'Hunky Dory' perhaps comes closest.
The only songs I know from 'Hunky Dory' are 'Changes' and 'Life On Mars?' although I am familiar with 'Queen Bitch' and 'Oh! You Pretty Things' from the Old Grey Whistle Test session in February 1972. Peter Noone reached No. 12 on the UK chart with 'Oh! You Pretty Things' in June 1971, seven months before Bowie's version was released on 'Hunky Dory'. When Peter Noone appeared on TOTP on 27 May 1971, I gather Bowie was on stage behind him with long hair playing piano in a woman's dress as he appears on the back of the Hunky Dory sleeve. A screen caption on the TOTP2 Bowie Special stated this performance is 'lost in the midsts of time' but according to Popscene it still exists (possibly in private hands). I actually bumped into Peter Noone when I was in New York for two weeks back in August 1982. He was starring in the Broadway production of 'The Pirates of Penzance' with Maureen McGovern at the time and I recognised him as he was exiting the stage door one evening as I sauntered through the theatre district. The Mancunian singer autographed a discarded copy of Playbill for me and seemed genuinely interested in the area of northern England where I came from; he claimed he used to cycle up there in his school holidays and he said it was "nice to meet someone from home" when he was living in New York.
Does any of our readers know the title (and artist, if any), of the piece of music that Tony uses just before At The Sign Of The Swinging Cymbal when he reads the rundown out?
Ken Scott who produced 'Hunky Dory' (1971), 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars' (1972) and 'Aladdin Sane' (1973) with David Bowie suggested on the BBC documentary 'David Bowie - Five Years - The Making Of An Icon' that although he believes the critically acclaimed 'Ziggy Stardust' album is a good record he was bemused by claims that somehow it "changed peoples lives" and certainly doesn't rate it as the sort of seminal, groundbreaking milestone 80s pop stars such as Marc Almond, Boy George, Toyah Willcox and Gary Kemp apparently do.
I have only ever heard two Bowie albums (Ziggy and Aladdin Sane) in their entirety and that was 33 years ago. For my money the two singles from AS ('The Jean Genie' and 'Drive-In Saturday') stand head and shoulders above anything else on either album
I think the love for the 'Ziggy Stardust' album is in part due to the fact that it's an introduction to the Ziggy character. Yes, i believe it to be a fine album, but there are a great many albums that are as good as it, and indeed better, but don't get anywhere near the recognition. It is the mixture of the visual aspect, and the concept of the Ziggy character, in combination with the music, which gives the album its mass appeal. The great strength of 'Hunky Dory' for me, on the other hand, is actually the point that album hasn't a concept, which results in a much more rich and varied musical experience, without the self conscious need to worry about the songs fitting into a specific form, or having to contribute to a certain requirement. It is a much 'freer' album than 'Ziggy Stardust', or 'Aladdin Sane' as a result, and more intimate, and ultimately much more substantial. It is strange to think that unlike the evidence of the later video promo, ''Life On Mars'' was actually recorded before the Ziggy character existed, when David was still wearing his hair very long, and occasionally seen to be wearing a woman's dress.
'Aladdin Sane' as a whole, i'd say, is very Stones influenced. Whether it is the female backing singers on the rocky Stones like ''Watch That Man'', recalling 'Exile On Main Street', or ''The Jean Genie'' going back to the early Stones blues roots, the Stones, at least in terms of the instrumentation, seem Bowie's chief inspiration. He even recorded a cover of the Stones ''Let's Spend The Night Together'', for the album who's new arrangement the Stones would follow pretty closely, for their own US/European tours in 1981/82. However, of course Bowie himself sounds nothing like Mick Jagger, and i'd doubt vocally he'd ever aspire to sound like him (certainly no southern american drawl etc.). I think ''Drive In Saturday'' of course is nothing like the Stones (although Jagger's name gets a mention in the lyrics), nor is ''Aladdin Sane'' the title track, or ''Lady Grinning Soul'', which are a mixture of cabaret influences, and in the case of ''Drive In Saturday'', doo wop. I know one of David's great heroes, Lou Reed, was a great fan of doo wop, and occasionally featured it in his songs as well. I wonder if it was doo wop itself that inspired David to use it in the song, or the fact that Lou had done pretty much the same thing in some of his songs? I'd agree though, ''Drive In Saturday'' is one of David's great singles (as is the ''Jean Genie'') but it is for some reason, often overlooked.
I also think the guitarist Mick Ronson was very much responsible for some of the sounds/styles that those three albums convey, too. He was also a pretty good arranger, as well.
(1) THE SMALL FACES – All Or Nothing (and charts)
(NEW) DAVE DEE, DOZY, BEAKY, MICK & TICH – Bend It!
(16) SPENCER DAVIS GROUP – When I Come Home
(18) THE MINDBENDERS – Ashes To Ashes ®
(NEW) LOS BRAVOS – I Don’t Care
(11) THE SUPREMES – You Can’t Hurry Love (danced to by the Go-Jo’s)
(9) THE WHO – I’m A Boy
(11) SONNY & CHER – Little Man ®
(NEW) DUSTY SPRINGFIELD – All I See Is You
(1) THE SMALL FACES – All Or Nothing ®
TOTP -
13/10/83 (Peter Powell & Richard Skinner) (rpt UK Gold)
Roman Holliday – “Motormania” (47)
Tracey Ullman – “They Don’t Know” (2) (video)
Black Lace – “Superman (Gioca Jouer)” (12)
Siouxsie & The Banshees – “Dear Prudence” (3) (video)
George Benson – “In Your Eyes” (7) (video)
Bucks Fizz – “London Town” (37)
Lydia Murdock – “Superstar (Billie Jean)” (30) WATCH
Lionel Richie – “All Night Long (All Night)” (16) (video)
Culture Club – “Karma Chameleon” (1) (video)
Paul McCartney & Michael Jackson – “Say Say Say” (25) (audience dancing/credits)
A wee bit out, it's September 10th 1983.
I love 1983 and would have preferred it to have been October.
I said to my brother just before 2pm, if Tony plays Gary Numan's 'Warriors' (which was climbing 10 places to No. 20) I'd eat my hat. Safe to say my hat is still intact and I'm not suffering from severe indigestion!
Great to hear Big Country's 'Chance' (RIP the wonderful Stuart Adamson). So much of this chart I bought on 7 inch single at the time.
Doh, he didn't play New Order's 'Confusion'.
I'd agree though, ''Drive In Saturday'' is one of David's great singles (as is the ''Jean Genie'') but it is for some reason, often overlooked.
Yes - it was inexplicably left off 'Changesonebowie' - his first "best of" compilation LP.
Bowie initially offered 'Drive-In Saturday' to Mott the Hoople who turned it down after famously scoring their first hit with the Bowie composition 'All The Young Dudes' on which Bowie and Mick Ronson allegedly sang backing vocals and Ziggy played guitar ;-). I referred to the video made by the BBC in 1973 to promote 'Drive-In Saturday' on the TOTP 1979 thread a few days ago.
I have provided a direct link below to an exchange between myself and corriander on this subject on the TOTP 1978 thread which you may find interesting:
I think ''Drive In Saturday'' of course is nothing like the Stones (although Jagger's name gets a mention in the lyrics)
... and a lesser known rock musician is mentioned in 'Time'. I wrote a detailed post to corriander last year (link below) about David and Angie Bowie's salacious antics in New York during the 1972 tour of the US which also includes a YouTube link to some stills taken on the set of 'The Jean Genie' video shoot in October 1972 featuring Bowie and Cyrinda Foxe (the inspiration for the song):
'Aladdin Sane' as a whole, i'd say, is very Stones influenced. Whether it is the female backing singers on the rocky Stones like ''Watch That Man'', recalling 'Exile On Main Street', or ''The Jean Genie'' going back to the early Stones blues roots, the Stones, at least in terms of the instrumentation, seem Bowie's chief inspiration.
Although Nicky Chinn and Mike Chapman were accused of ripping off 'The Jean Genie' because Sweet's 'Blockbuster!' contained a similar riff, I note that bluesman Willie Dixon's 'Little Red Rooster' (made famous by the Stones) has the same basic riff as 'The Jean Genie'.
I expect you have already seen the footage of the Stones in and around a shoeshine parlour on Main Street in LA's skid row shot by the American photographer and film maker Robert Franks in early 1972 with a Super 8 camera. Frames from this reel were used throughout the cover and inner sleeves of Exile and the clip below adds an extra dimension, effectively bringing the static album sleeve to life. It appears that another piece of film shot by Franks in the Bowery district of New York City has been edited in with the Stones LA footage and the video is soundtracked by the opening track 'Rocks Off':
Yes - it was inexplicably left off 'Changesonebowie' - his first "best of" compilation LP.
Bowie initially offered 'Drive-In Saturday' to Mott the Hoople who turned it down after famously scoring their first hit with the Bowie composition 'All The Young Dudes' on which Bowie and Mick Ronson allegedly sang backing vocals and Ziggy played guitar ;-). I referred to the video made by the BBC in 1973 to promote 'Drive-In Saturday' on the TOTP 1979 thread a few days ago.
I have provided a direct link below to an exchange between myself and corriander on this subject on the TOTP 1978 thread which you may find interesting:
I rather like that tv appearance by Bowie on the Russell Harty Show, and his live vocal rendition of ''Drive In Saturday'' was really rather effective. Yes, i was aware of ''Drive In Saturday'' being offered to Mott The Hoople, and them turning it down, which in a way i am pleased about, because i couldn't have imagined them interpreting the song as well as David. Why they turned it down is a mystery, although it perhaps relied on a much more subtle approach than their previous Bowie penned hit ''All The Young Dudes'', which had more of an anthemic quality, which perhaps was more in line with their more robust sounding self penned hits. David's rather excessive Ziggy Stardust image projection by the spring of 1973, did seem a far cry from the rather more sparse look of the early Ziggy inspired image he portrayed on his earlier 1972 Whistle Test appearance. Sometimes you can only take things image wise so far, and the song itself, did have in many ways a more unusual, and more futuristic feel than his earlier Ziggy single material. I think though, going back to the 1972/73 era, and although there is always a lot of talk of David's rather ambiguous appearance, and sometimes odd musical direction, perhaps at the time for me, it was Roxy Music, who seemed at least musically, more way out. While David was still dabbling with a more conservative form of basic rock, Roxy's art pretentions seemed a great deal more biting, at least where their single releases were concerned. Although Bryan Ferry never portrayed himself quite as androgynous as David, there was always a rather overblown sleazy decadence to his presentation, which i always found really rather repulsive at the time, and i felt a much stronger allergic type reaction to him, than Bowie consequently. I think that side to Roxy Music seems rather overshadowed and easy to forget, after their more refined and sophisticated sound/image of later years.
Going back to 'Hunky Dory' : what i find so appealing about that album is that i believe it to be far more wordy and lyrical, than much of what David has released since. One senses the album was inspired perhaps as much by Bob Dylan as anyone else, and although stylistically, the album musically is rather conservative, songs like ''Changes'' and ''Oh You Pretty Things'' are actually more musically complex than anything off 'Ziggy Stardust', or 'Aladdin Sane'. 'Hunky Dory' is unusual for David, as in a sense at this point he was being influenced also by a great many of the post Dylan, confessional songwriters, but his music, post 'Hunky Dory' would be be anything but that (hiding behind elaborate images/masks etc.). I think there's a sort of folky, and perhaps more humane side to David on this album, and especially in songs like ''Kooks'', about his future relationship with his son. Sometimes, i think he's guilty a little of singing a little too affected, or mannered on a few of the tracks, such as ''Eight Line Poem'' (which sounds to me a little like it was inspired by Dylan's ''Sign On The Window''), but for the most part 'Hunky Dory' is David's most warm, and perhaps sincere album (if that is indeed possible!). It seems strange listening back to the lyric of ''Changes'' because in many ways that song is very autobiographical with regard to his career, as we would later find out, and David freely hints at himself to being the 'faker' etc. Post 'Hunky Dory', i think David's music at least for a while, would become ever more decadent, and almost cartoon-like. I love some of the songs off the 'Ziggy Stardust' and 'Aladdin Sane' albums (like ''Five Years'', ''Moonage Daydream'', ''Starman'', ''The Jean Genie'', and ''Drive In Saturday''), but i like 'Hunky Dory' as a whole, a great deal more.
I love 1983 and would have preferred it to have been October.
I said to my brother just before 2pm, if Tony plays Gary Numan's 'Warriors' (which was climbing 10 places to No. 20) I'd eat my hat. Safe to say my hat is still intact and I'm not suffering from severe indigestion!
Great to hear Big Country's 'Chance' (RIP the wonderful Stuart Adamson). So much of this chart I bought on 7 inch single at the time.
Doh, he didn't play New Order's 'Confusion'.
Tony didn't play Gary Numan, and I don't think he does if he can avoid it. In 1980 he described I Die You Die as being "weird and wonderful, rather like David Hamilton!"
I was pleased to hear Chance, also Level 42 with Living It Up and the rarely played David Grant with Watching You Watching Me. This jazz funk is the kind of music Tony liked even at the time.
I was disappointed not to hear 2 songs I associated together at the time - Shalamar's Disappearing Act and Carmel's Bad Day.
I may be imagining this, but I'm pretty sure Tony played 1966 and 1983 on March 1st too.
I was pleased to hear Chance, also Level 42 with Living It Up and the rarely played David Grant with Watching You Watching Me. This jazz funk is the kind of music Tony liked even at the time.
I remember David Grant appearing on TV:AM in summer 1983 to promote 'Watching You Watching Me'. I don't know if anyone else remembers this, but the promotion consisted of him appearing on TV:AM every morning one particular week and dancing to the record with Mad Lizzie! If I recall she made up a dance - which basically consisted of a series of arm and leg stretches - to go with the song and it all had an air of the surreal to the whole thing...
I remember David Grant appearing on TV:AM in summer 1983 to promote 'Watching You Watching Me'. I don't know if anyone else remembers this, but the promotion consisted of him appearing on TV:AM every morning one particular week and dancing to the record with Mad Lizzie! If I recall she made up a dance - which basically consisted of a series of arm and leg stretches - to go with the song and it all had an air of the surreal to the whole thing...
Tony didn't play Gary Numan, and I don't think he does if he can avoid it. In 1980 he described I Die You Die as being "weird and wonderful, rather like David Hamilton!"
I was pleased to hear Chance, also Level 42 with Living It Up and the rarely played David Grant with Watching You Watching Me. This jazz funk is the kind of music Tony liked even at the time.
I was disappointed not to hear 2 songs I associated together at the time - Shalamar's Disappearing Act and Carmel's Bad Day.
I may be imagining this, but I'm pretty sure Tony played 1966 and 1983 on March 1st too.
I remember David Grant appearing on TV:AM in summer 1983 to promote 'Watching You Watching Me'. I don't know if anyone else remembers this, but the promotion consisted of him appearing on TV:AM every morning one particular week and dancing to the record with Mad Lizzie! If I recall she made up a dance - which basically consisted of a series of arm and leg stretches - to go with the song and it all had an air of the surreal to the whole thing...
As silly as it might seem, I think it was quite a big deal to get Mad Lizzie doing a routine to your song on TV AM, and definitely helped sell records, like a TOTP appearance.
As silly as it might seem, I think it was quite a big deal to get Mad Lizzie doing a routine to your song on TV AM, and definitely helped sell records, like a TOTP appearance.
It definitely helped the record up the charts - if I recall the record was slowly inching its way up the top 75 at the time and may have just broken into the top 40 but after he appeared on TV:AM for that week it took off, though he did appear on Top Of The Pops too around the same time so that probably helped more.
The problem with when he was on TV:AM for that week though was we had to put up with an entire 5 days of the single being played about three times each morning and each time it was played there was David Grant miming to it and Mad Lizzie jumping around the place like a box of demented frogs!
At least you can do a workout to WatchingYou, Watching Me - Mad Lizzie is credited with making Judy Boucher's Can't Be With You Tonight such a big hit, though I can't imagine how anyone can work out to that. I don't remember it from the time, and there's no footage on youtube.
27 COME BACK AND STAY - PAUL YOUNG - Fantastic start! Paul Young was the first pop star I was really into, though it wasn't until Love Of The Common People came out at Christmas that I was able to buy one of his singles.
18 COME DANCING - KINKS - I don't know much about the Kinks, but I would imagine it was quite a surprise to see them back in the charts. This didn't make much of an impression on me at the time, but it's one I really like now. Love the nostalgic feel, and the (true) story in the lyrics.
17 ROCKIT - HERBIE HANCOCK - Not really the sort of thing I was into then or now, but it's definitely one of those songs when you hear it you can't get it out of your head. I think a lot of people will remember it mainly for the weird video.
15 CHANCE - BIG COUNTRY - One I'd almost forgotten about, but enjoyed hearing. Not one to listen to when you're feeling depressed, though!
14 WATCHING YOU, WATCHING ME - DAVID GRANT - I think David is mostly known for his duets with Jacki Graham and his vocal coaching, which is a shame because I think this is quite a good song.
13 LONG HOT SUMMER - STYLE COUNCIL - One of their songs I really like. Love the laid back feel, and perfect to play on a scorching hot day.
10 THE SUN GOES DOWN (LIVING IT UP) - LEVEL 42 - I like most of their hits, this included, but there's not one in particular I'm crazy about. I wasn't familar with this earlier song of theirs until I bought the 1983 compilation when it came out in 1993.
08 I'M STILL STANDING - ELTON JOHN - Elton was in the middle of a really successful period at this point. Good song, and a memorable video, although
07 TONIGHT I CELEBRATE MY LOVE - PEABO BRYSON AND ROBERTA FLACK - This song sticks in my mind from listening to the top 40 on our old radiogram and hearing Tommy Vance play it when it was lower in the charts. I didn't mind this hearing this, as it is the only ballad in the chart.
06 GOLD - SPANDAU BALLET - Well and truly overplayed, but I must admit I've not yet tired of it as it's so uplifting, unlike True which is quite drippy!
05 MAMA - GENESIS - I do like the dark feel to this song, but I find it unbearable when Phil Collins start doing that demonic laughing! Their next release, That's All, is my fave.
04 GIVE IT UP - KC AND THE SUNSHINE BAND - Though it's overplayed, I must admit I love this disco favourite. It's hard not hear without singing along to the chorus.
03 WHAT AM I GONNA DO - ROD STEWART - Loved Baby Jane, but this was a disappointing follow-up. I'm guessing other people outside his fan base liked it, though, for it to be such a big hit.
02 WINGS OF A DOVE - MADNESS - Madness released some great singles, but this to me is just annoying. Like with Genesis, I prefer their next release, The Sun and The Rain.
01 RED RED WINE - UB40 - Not my fave of theirs, but the one they'll be remembered for, which is a shame.
Not played
20 WARRIORS - GARY NUMAN - Had to youtube this, as I didn't remember it. I thought it started off okay, but didn't seem to go anywhere.
19 DISAPPEARING ACT - SHALAMAR - I think this is fantastic and, while I can understand why DJs play A Night To Remember and I Can Make You Feel good to death, it's so annoying this is overlooked.
16 BAD DAY - CARMEL - Another one I had to youtube, though I thought this was really good. I loved the vibe of it, and she has really distinctive voice.
12 BLUE MONDAY - NEW ORDER - Not a huge fan of this song, and if it had been played, they'd have probably played the 7" '88 remix.
11 CLUB TROPICANA - WHAM! - Excellent summer tune, and another memorable video, that instantanly reminds me of family holidays in Devon.
09 MODERN ROMANCE - So annoyed that they couldn't be bothered to dig out a copy of this. I only discovered this song a couple of years ago, and it was a revelation. I love their party tunes, but this is a real step up.
27 COME BACK AND STAY - PAUL YOUNG - Fantastic start! Paul Young was the first pop star I was really into, though it wasn't until Love Of The Common People came out at Christmas that I was able to buy one of his singles.
18 COME DANCING - KINKS - I don't know much about the Kinks, but I would imagine it was quite a surprise to see them back in the charts. This didn't make much of an impression on me at the time, but it's one I really like now. Love the nostalgic feel, and the (true) story in the lyrics.
17 ROCKIT - HERBIE HANCOCK - Not really the sort of thing I was into then or now, but it's definitely one of those songs when you hear it you can't get it out of your head. I think a lot of people will remember it mainly for the weird video.
15 CHANCE - BIG COUNTRY - One I'd almost forgotten about, but enjoyed hearing. Not one to listen to when you're feeling depressed, though!
14 WATCHING YOU, WATCHING ME - DAVID GRANT - I think David is mostly known for his duets with Jacki Graham and his vocal coaching, which is a shame because I think this is quite a good song.
13 LONG HOT SUMMER - STYLE COUNCIL - One of their songs I really like. Love the laid back feel, and perfect to play on a scorching hot day.
10 THE SUN GOES DOWN (LIVING IT UP) - LEVEL 42 - I like most of their hits, this included, but there's not one in particular I'm crazy about. I wasn't familar with this earlier song of theirs until I bought the 1983 compilation when it came out in 1993.
08 I'M STILL STANDING - ELTON JOHN - Elton was in the middle of a really successful period at this point. Good song, and a memorable video, although
07 TONIGHT I CELEBRATE MY LOVE - PEABO BRYSON AND ROBERTA FLACK - This song sticks in my mind from listening to the top 40 on our old radiogram and hearing Tommy Vance play it when it was lower in the charts. I didn't mind this hearing this, as it is the only ballad in the chart.
06 GOLD - SPANDAU BALLET - Well and truly overplayed, but I must admit I've not yet tired of it as it's so uplifting, unlike True which is quite drippy!
05 MAMA - GENESIS - I do like the dark feel to this song, but I find it unbearable when Phil Collins start doing that demonic laughing! Their next release, That's All, is my fave.
04 GIVE IT UP - KC AND THE SUNSHINE BAND - Though it's overplayed, I must admit I love this disco favourite. It's hard not hear without singing along to the chorus.
03 WHAT AM I GONNA DO - ROD STEWART - Loved Baby Jane, but this was a disappointing follow-up. I'm guessing other people outside his fan base liked it, though, for it to be such a big hit.
02 WINGS OF A DOVE - MADNESS - Madness released some great singles, but this to me is just annoying. Like with Genesis, I prefer their next release, The Sun and The Rain.
01 RED RED WINE - UB40 - Not my fave of theirs, but the one they'll be remembered for, which is a shame.
Not played
20 WARRIORS - GARY NUMAN - Had to youtube this, as I didn't remember it. I thought it started off okay, but didn't seem to go anywhere.
19 DISAPPEARING ACT - SHALAMAR - I think this is fantastic and, while I can understand why DJs play A Night To Remember and I Can Make You Feel good to death, it's so annoying this is overlooked.
16 BAD DAY - CARMEL - Another one I had to youtube, though I thought this was really good. I loved the vibe of it, and she has really distinctive voice. 12 BLUE MONDAY - NEW ORDER - Not a huge fan of this song, and if it had been played, they'd have probably played the 7" '88 remix.
11 CLUB TROPICANA - WHAM! - Excellent summer tune, and another memorable video, that instantanly reminds me of family holidays in Devon.
09 MODERN ROMANCE - So annoyed that they couldn't be bothered to dig out a copy of this. I only discovered this song a couple of years ago, and it was a revelation. I love their party tunes, but this is a real step up.
Hi Clare. Enjoyed your memories of this '83 chart. Think you meant Confusion though re the New Order track:)
Comments
More like 'Get in the Ring' and 'Mr Brownstone' by Guns n'Roses are his actual all-time favourite tracks
Ken Scott who produced 'Hunky Dory' (1971), 'The Rise and Fall of Ziggy Stardust and the Spiders from Mars' (1972) and 'Aladdin Sane' (1973) with David Bowie suggested on the BBC documentary 'David Bowie - Five Years - The Making Of An Icon' that although he believes the critically acclaimed 'Ziggy Stardust' album is a good record he was bemused by claims that somehow it "changed peoples lives" and certainly doesn't rate it as the sort of seminal, groundbreaking milestone 80s pop stars such as Marc Almond, Boy George, Toyah Willcox and Gary Kemp apparently do.
I have only ever heard two Bowie albums (Ziggy and Aladdin Sane) in their entirety and that was 33 years ago. For my money the two singles from AS ('The Jean Genie' and 'Drive-In Saturday') stand head and shoulders above anything else on either album with the possible exception of 'Starman' although I reckon the re-recording of the track for TOTP in July 1972 is vastly superior to the vinyl version on which the lead vocal sounds somewhat stilted and tentative; presumably as it was a recently written, late addition to the album, it was under-rehearsed and by the time the group had played the song live for a few months it had been knocked into shape and they were able to perform it with more fluency than they did at the Trident studio sessions. Conversely I thought the 'Jean Genie' clip from January 1973 which all the critics were raving about not only lacked the power and the punch of the original record, but also the subtle atmospheric touches like the harmonica beneath the vocal in the chorus (obviously I appreciate it was impossible for Bowie to sing and play harp at the same time if indeed it was a live take) although it was a still a treat to be able to see it again after almost 38 years.
The only songs I know from 'Hunky Dory' are 'Changes' and 'Life On Mars?' although I am familiar with 'Queen Bitch' and 'Oh! You Pretty Things' from the Old Grey Whistle Test session in February 1972. Peter Noone reached No. 12 on the UK chart with 'Oh! You Pretty Things' in June 1971, seven months before Bowie's version was released on 'Hunky Dory'. When Peter Noone appeared on TOTP on 27 May 1971, I gather Bowie was on stage behind him with long hair playing piano in a woman's dress as he appears on the back of the Hunky Dory sleeve. A screen caption on the TOTP2 Bowie Special stated this performance is 'lost in the midsts of time' but according to Popscene it still exists (possibly in private hands). I actually bumped into Peter Noone when I was in New York for two weeks back in August 1982. He was starring in the Broadway production of 'The Pirates of Penzance' with Maureen McGovern at the time and I recognised him as he was exiting the stage door one evening as I sauntered through the theatre district. The Mancunian singer autographed a discarded copy of Playbill for me and seemed genuinely interested in the area of northern England where I came from; he claimed he used to cycle up there in his school holidays and he said it was "nice to meet someone from home" when he was living in New York.
I think the love for the 'Ziggy Stardust' album is in part due to the fact that it's an introduction to the Ziggy character. Yes, i believe it to be a fine album, but there are a great many albums that are as good as it, and indeed better, but don't get anywhere near the recognition. It is the mixture of the visual aspect, and the concept of the Ziggy character, in combination with the music, which gives the album its mass appeal. The great strength of 'Hunky Dory' for me, on the other hand, is actually the point that album hasn't a concept, which results in a much more rich and varied musical experience, without the self conscious need to worry about the songs fitting into a specific form, or having to contribute to a certain requirement. It is a much 'freer' album than 'Ziggy Stardust', or 'Aladdin Sane' as a result, and more intimate, and ultimately much more substantial. It is strange to think that unlike the evidence of the later video promo, ''Life On Mars'' was actually recorded before the Ziggy character existed, when David was still wearing his hair very long, and occasionally seen to be wearing a woman's dress.
'Aladdin Sane' as a whole, i'd say, is very Stones influenced. Whether it is the female backing singers on the rocky Stones like ''Watch That Man'', recalling 'Exile On Main Street', or ''The Jean Genie'' going back to the early Stones blues roots, the Stones, at least in terms of the instrumentation, seem Bowie's chief inspiration. He even recorded a cover of the Stones ''Let's Spend The Night Together'', for the album who's new arrangement the Stones would follow pretty closely, for their own US/European tours in 1981/82. However, of course Bowie himself sounds nothing like Mick Jagger, and i'd doubt vocally he'd ever aspire to sound like him (certainly no southern american drawl etc.). I think ''Drive In Saturday'' of course is nothing like the Stones (although Jagger's name gets a mention in the lyrics), nor is ''Aladdin Sane'' the title track, or ''Lady Grinning Soul'', which are a mixture of cabaret influences, and in the case of ''Drive In Saturday'', doo wop. I know one of David's great heroes, Lou Reed, was a great fan of doo wop, and occasionally featured it in his songs as well. I wonder if it was doo wop itself that inspired David to use it in the song, or the fact that Lou had done pretty much the same thing in some of his songs? I'd agree though, ''Drive In Saturday'' is one of David's great singles (as is the ''Jean Genie'') but it is for some reason, often overlooked.
I also think the guitarist Mick Ronson was very much responsible for some of the sounds/styles that those three albums convey, too. He was also a pretty good arranger, as well.
Hour 1 - http://www.officialcharts.com/archive-chart/_/1/1966-09-17/
TOTP -
15-9-66: Presenter: Pete Murray (Wiped)
(1) THE SMALL FACES – All Or Nothing (and charts)
(NEW) DAVE DEE, DOZY, BEAKY, MICK & TICH – Bend It!
(16) SPENCER DAVIS GROUP – When I Come Home
(18) THE MINDBENDERS – Ashes To Ashes ®
(NEW) LOS BRAVOS – I Don’t Care
(11) THE SUPREMES – You Can’t Hurry Love (danced to by the Go-Jo’s)
(9) THE WHO – I’m A Boy
(11) SONNY & CHER – Little Man ®
(NEW) DUSTY SPRINGFIELD – All I See Is You
(1) THE SMALL FACES – All Or Nothing ®
TOTP -
13/10/83 (Peter Powell & Richard Skinner) (rpt UK Gold)
Roman Holliday – “Motormania” (47)
Tracey Ullman – “They Don’t Know” (2) (video)
Black Lace – “Superman (Gioca Jouer)” (12)
Siouxsie & The Banshees – “Dear Prudence” (3) (video)
George Benson – “In Your Eyes” (7) (video)
Bucks Fizz – “London Town” (37)
Lydia Murdock – “Superstar (Billie Jean)” (30) WATCH
Lionel Richie – “All Night Long (All Night)” (16) (video)
Culture Club – “Karma Chameleon” (1) (video)
Paul McCartney & Michael Jackson – “Say Say Say” (25) (audience dancing/credits)
A wee bit out, it's September 10th 1983.
I love 1983 and would have preferred it to have been October.
I said to my brother just before 2pm, if Tony plays Gary Numan's 'Warriors' (which was climbing 10 places to No. 20) I'd eat my hat. Safe to say my hat is still intact and I'm not suffering from severe indigestion!
Great to hear Big Country's 'Chance' (RIP the wonderful Stuart Adamson). So much of this chart I bought on 7 inch single at the time.
Doh, he didn't play New Order's 'Confusion'.
Yes - it was inexplicably left off 'Changesonebowie' - his first "best of" compilation LP.
Bowie initially offered 'Drive-In Saturday' to Mott the Hoople who turned it down after famously scoring their first hit with the Bowie composition 'All The Young Dudes' on which Bowie and Mick Ronson allegedly sang backing vocals and Ziggy played guitar ;-). I referred to the video made by the BBC in 1973 to promote 'Drive-In Saturday' on the TOTP 1979 thread a few days ago.
I have provided a direct link below to an exchange between myself and corriander on this subject on the TOTP 1978 thread which you may find interesting:
http://forums.digitalspy.co.uk/showpost.php?p=66889727&postcount=2883
... and a lesser known rock musician is mentioned in 'Time'. I wrote a detailed post to corriander last year (link below) about David and Angie Bowie's salacious antics in New York during the 1972 tour of the US which also includes a YouTube link to some stills taken on the set of 'The Jean Genie' video shoot in October 1972 featuring Bowie and Cyrinda Foxe (the inspiration for the song):
http://forums.digitalspy.co.uk/showpost.php?p=66987234&postcount=2943
Although Nicky Chinn and Mike Chapman were accused of ripping off 'The Jean Genie' because Sweet's 'Blockbuster!' contained a similar riff, I note that bluesman Willie Dixon's 'Little Red Rooster' (made famous by the Stones) has the same basic riff as 'The Jean Genie'.
I expect you have already seen the footage of the Stones in and around a shoeshine parlour on Main Street in LA's skid row shot by the American photographer and film maker Robert Franks in early 1972 with a Super 8 camera. Frames from this reel were used throughout the cover and inner sleeves of Exile and the clip below adds an extra dimension, effectively bringing the static album sleeve to life. It appears that another piece of film shot by Franks in the Bowery district of New York City has been edited in with the Stones LA footage and the video is soundtracked by the opening track 'Rocks Off':
http://www.youtube.com/watch?v=_lNP-x94-SE
I rather like that tv appearance by Bowie on the Russell Harty Show, and his live vocal rendition of ''Drive In Saturday'' was really rather effective. Yes, i was aware of ''Drive In Saturday'' being offered to Mott The Hoople, and them turning it down, which in a way i am pleased about, because i couldn't have imagined them interpreting the song as well as David. Why they turned it down is a mystery, although it perhaps relied on a much more subtle approach than their previous Bowie penned hit ''All The Young Dudes'', which had more of an anthemic quality, which perhaps was more in line with their more robust sounding self penned hits. David's rather excessive Ziggy Stardust image projection by the spring of 1973, did seem a far cry from the rather more sparse look of the early Ziggy inspired image he portrayed on his earlier 1972 Whistle Test appearance. Sometimes you can only take things image wise so far, and the song itself, did have in many ways a more unusual, and more futuristic feel than his earlier Ziggy single material. I think though, going back to the 1972/73 era, and although there is always a lot of talk of David's rather ambiguous appearance, and sometimes odd musical direction, perhaps at the time for me, it was Roxy Music, who seemed at least musically, more way out. While David was still dabbling with a more conservative form of basic rock, Roxy's art pretentions seemed a great deal more biting, at least where their single releases were concerned. Although Bryan Ferry never portrayed himself quite as androgynous as David, there was always a rather overblown sleazy decadence to his presentation, which i always found really rather repulsive at the time, and i felt a much stronger allergic type reaction to him, than Bowie consequently. I think that side to Roxy Music seems rather overshadowed and easy to forget, after their more refined and sophisticated sound/image of later years.
Going back to 'Hunky Dory' : what i find so appealing about that album is that i believe it to be far more wordy and lyrical, than much of what David has released since. One senses the album was inspired perhaps as much by Bob Dylan as anyone else, and although stylistically, the album musically is rather conservative, songs like ''Changes'' and ''Oh You Pretty Things'' are actually more musically complex than anything off 'Ziggy Stardust', or 'Aladdin Sane'. 'Hunky Dory' is unusual for David, as in a sense at this point he was being influenced also by a great many of the post Dylan, confessional songwriters, but his music, post 'Hunky Dory' would be be anything but that (hiding behind elaborate images/masks etc.). I think there's a sort of folky, and perhaps more humane side to David on this album, and especially in songs like ''Kooks'', about his future relationship with his son. Sometimes, i think he's guilty a little of singing a little too affected, or mannered on a few of the tracks, such as ''Eight Line Poem'' (which sounds to me a little like it was inspired by Dylan's ''Sign On The Window''), but for the most part 'Hunky Dory' is David's most warm, and perhaps sincere album (if that is indeed possible!). It seems strange listening back to the lyric of ''Changes'' because in many ways that song is very autobiographical with regard to his career, as we would later find out, and David freely hints at himself to being the 'faker' etc. Post 'Hunky Dory', i think David's music at least for a while, would become ever more decadent, and almost cartoon-like. I love some of the songs off the 'Ziggy Stardust' and 'Aladdin Sane' albums (like ''Five Years'', ''Moonage Daydream'', ''Starman'', ''The Jean Genie'', and ''Drive In Saturday''), but i like 'Hunky Dory' as a whole, a great deal more.
Tony didn't play Gary Numan, and I don't think he does if he can avoid it. In 1980 he described I Die You Die as being "weird and wonderful, rather like David Hamilton!"
I was pleased to hear Chance, also Level 42 with Living It Up and the rarely played David Grant with Watching You Watching Me. This jazz funk is the kind of music Tony liked even at the time.
I was disappointed not to hear 2 songs I associated together at the time - Shalamar's Disappearing Act and Carmel's Bad Day.
I may be imagining this, but I'm pretty sure Tony played 1966 and 1983 on March 1st too.
She must be knocking on a bit now, Mad Lizzie.
https://www.youtube.com/watch?v=ulXRS383KWE
BIB.Nice one!
As silly as it might seem, I think it was quite a big deal to get Mad Lizzie doing a routine to your song on TV AM, and definitely helped sell records, like a TOTP appearance.
The problem with when he was on TV:AM for that week though was we had to put up with an entire 5 days of the single being played about three times each morning and each time it was played there was David Grant miming to it and Mad Lizzie jumping around the place like a box of demented frogs!
27 COME BACK AND STAY - PAUL YOUNG - Fantastic start! Paul Young was the first pop star I was really into, though it wasn't until Love Of The Common People came out at Christmas that I was able to buy one of his singles.
18 COME DANCING - KINKS - I don't know much about the Kinks, but I would imagine it was quite a surprise to see them back in the charts. This didn't make much of an impression on me at the time, but it's one I really like now. Love the nostalgic feel, and the (true) story in the lyrics.
17 ROCKIT - HERBIE HANCOCK - Not really the sort of thing I was into then or now, but it's definitely one of those songs when you hear it you can't get it out of your head. I think a lot of people will remember it mainly for the weird video.
15 CHANCE - BIG COUNTRY - One I'd almost forgotten about, but enjoyed hearing. Not one to listen to when you're feeling depressed, though!
14 WATCHING YOU, WATCHING ME - DAVID GRANT - I think David is mostly known for his duets with Jacki Graham and his vocal coaching, which is a shame because I think this is quite a good song.
13 LONG HOT SUMMER - STYLE COUNCIL - One of their songs I really like. Love the laid back feel, and perfect to play on a scorching hot day.
10 THE SUN GOES DOWN (LIVING IT UP) - LEVEL 42 - I like most of their hits, this included, but there's not one in particular I'm crazy about. I wasn't familar with this earlier song of theirs until I bought the 1983 compilation when it came out in 1993.
08 I'M STILL STANDING - ELTON JOHN - Elton was in the middle of a really successful period at this point. Good song, and a memorable video, although
07 TONIGHT I CELEBRATE MY LOVE - PEABO BRYSON AND ROBERTA FLACK - This song sticks in my mind from listening to the top 40 on our old radiogram and hearing Tommy Vance play it when it was lower in the charts. I didn't mind this hearing this, as it is the only ballad in the chart.
06 GOLD - SPANDAU BALLET - Well and truly overplayed, but I must admit I've not yet tired of it as it's so uplifting, unlike True which is quite drippy!
05 MAMA - GENESIS - I do like the dark feel to this song, but I find it unbearable when Phil Collins start doing that demonic laughing! Their next release, That's All, is my fave.
04 GIVE IT UP - KC AND THE SUNSHINE BAND - Though it's overplayed, I must admit I love this disco favourite. It's hard not hear without singing along to the chorus.
03 WHAT AM I GONNA DO - ROD STEWART - Loved Baby Jane, but this was a disappointing follow-up. I'm guessing other people outside his fan base liked it, though, for it to be such a big hit.
02 WINGS OF A DOVE - MADNESS - Madness released some great singles, but this to me is just annoying. Like with Genesis, I prefer their next release, The Sun and The Rain.
01 RED RED WINE - UB40 - Not my fave of theirs, but the one they'll be remembered for, which is a shame.
Not played
20 WARRIORS - GARY NUMAN - Had to youtube this, as I didn't remember it. I thought it started off okay, but didn't seem to go anywhere.
19 DISAPPEARING ACT - SHALAMAR - I think this is fantastic and, while I can understand why DJs play A Night To Remember and I Can Make You Feel good to death, it's so annoying this is overlooked.
16 BAD DAY - CARMEL - Another one I had to youtube, though I thought this was really good. I loved the vibe of it, and she has really distinctive voice.
12 BLUE MONDAY - NEW ORDER - Not a huge fan of this song, and if it had been played, they'd have probably played the 7" '88 remix.
11 CLUB TROPICANA - WHAM! - Excellent summer tune, and another memorable video, that instantanly reminds me of family holidays in Devon.
09 MODERN ROMANCE - So annoyed that they couldn't be bothered to dig out a copy of this. I only discovered this song a couple of years ago, and it was a revelation. I love their party tunes, but this is a real step up.
Hi Clare. Enjoyed your memories of this '83 chart. Think you meant Confusion though re the New Order track