I enjoyed 1973, and remembered most of the records for some reason 1988 was a bit blurred with no strong musical memories. Must have been a not so good year for me.
I can't recall Tony Blackburn going off sick either in the past or post Jungle days.
Have to agree about that BVSMP track, though I'll be commenting at a later date on the 1988
chart in full. Some brilliant songs in the 1973 chart too - shame that Peters and Lee and Al Martino were skipped. Loved the Carpenters, Barry Blue, Drifters, Bobby Goldsboro and Barry Blue
Yes, i really like 1973. I think it is a shame when any song is skipped, and i would have loved to have heard Peters and Lee. However, what i do really enjoy is the fact that Tony doesn't just play the songs with the highest profile, or which are considered ''classics'' over time - he plays some songs that are very rarely heard. Both Hudson Ford's ''Pick Up The Pieces'' and Medicine Head's ''Rising Sun'' fall into that catagory. Funny to hear Free's ''All Right Now'' again, which was originally in the 1970 chart a week or two back. There were some truly great soul songs from 1973 too, including the Drifters ''Like Sister And Brother'' and Limmie And The Family Cooking's ''You Can Do Magic'', and not forgetting New York City's ''I'm Doing Fine Now''. The orchestration on those soul songs from the early seventies are magnificent. The Philadelphia sound set a new precidence, but it wan't exclusively them who were responsible for the brilliance of the music. ''Papa Was A Rolling Stone'' which was a hit in January of 1973 was a motown record which i believe the Temptations were initially reluctant to record. The Whitfield/Strong collaborations with the Temptations hadn't always been successful in terms of sales, yet ''Papa Was A Rolling Stone'', especially, was outstanding.
Yes, i really like 1973. I think it is a shame when any song is skipped, and i would have loved to have heard Peters and Lee. However, what i do really enjoy is the fact that Tony doesn't just play the songs with the highest profile, or which are considered ''classics'' over time - he plays some songs that are very rarely heard. Both Hudson Ford's ''Pick Up The Pieces'' and Medicine Head's ''Rising Sun'' fall into that catagory. Funny to hear Free's ''All Right Now'' again, which was originally in the 1970 chart a week or two back. There were some truly great soul songs from 1973 too, including the Drifters ''Like Sister And Brother'' and Limmie And The Family Cooking's ''You Can Do Magic'', and not forgetting New York City's ''I'm Doing Fine Now''. The orchestration on those soul songs from the early seventies are magnificent. The Philadelphia sound set a new precidence, but it wan't exclusively them who were responsible for the brilliance of the music. ''Papa Was A Rolling Stone'' which was a hit in January of 1973 was a motown record which i believe the Temptations were initially reluctant to record. The Whitfield/Strong collaborations with the Temptations hadn't always been successful in terms of sales, yet ''Papa Was A Rolling Stone'', especially, was outstanding.
Indeed, these are the songs I was particularly pleased to hear Tony play.
I have the feeling that when POTP took a break for a year in 2004-05, they played 1973 this time 10 years ago. Hearing songs like Free Me and the no 1 reminded me that it may have been the same chart.
38 RUSH HOUR - JANE WIEDLIN - I enjoyed hearing this more than I expected to, as sometimes I find it quite irritating. It is quite catchy, though.
37 TEARDROPS - WOMACK AND WOMACK - Happy to hear this on the radio, but not one I'd seek out to play. It always reminds me of going to Blackpool on holiday later that year and seeing MTV for the first time, which seemed to play it a lot.
Top 20
20 I DON'T WANT TO TALK ABOUT IT - EVERYTHING BUT THE GIRL - Love this! So much better than Rod's version, as I think it suits Tracey's voice much better than Rod's. Definitely a high point in this chart.
19 ON THE BEACH SUMMER '88 - CHRIS REA - I haven't been able to find out for sure if the correct mix of this was played. Love the guitar riff, but I do find Chris Rea's vocals quite depressing, so wouldn't want to more than one of his songs at a time.
18 ROSES ARE RED - MAC BAND FEAT. THE MCCAMPBELL BROTHERS - Although I know the song well, and do quite like it, I couldn't remember what the group looked like at all. When I youtubed it to check them out, I was amused by their cheesy dance routine.
15 GOOD TRADITION - TANITA TIKARAM - Like the tune to this, though it seems a bit too jolly for Tanita's vocals. I think Twist In My Sobriety works much better in this respect.
12 NOTHING'S GONNA CHANGE MY LOVE FOR YOU - GLENN MEDEIROS - I put this in the same cateogry as Lady In Red. Yes, it's cheesy as hell, but as it's not over-played on the radio, I don't mind it when it does crop up on retro chart shows. It was well past it's sell by date at this point, though.
10 MARTHA'S HARBOUR - ALL ABOUT EVE - Such a lovely song, that I appreciate more now than I did at the time. It will always be remembered for the TOTP miming disaster, which is a shame. I don't know why they didn't sang live, as Julianne proved she could more than capable of doing so on the following week's show.
08 THE HARDER I TRY - BROTHER BEYOND - One of my faves in the chart, I'm not ashamed to say. Since Stock/Aitken/Waterman had their own sound, like it or loathe it, I think they can be allowed this Motown homage.
07 FIND MY LOVE - FAIRGROUND ATTRACTION - There are some really good female singers in this chart, Eddi Reader being one on them. I like this a lot more than the over-played, and now annoying, Perfect.
06 HANDS TO HEAVEN - BREATHE - I think this manages to pull off the slowy, end-of-the-disco vibe without being too cheesy and still sounds pretty good today.
04 YOU CAME - KIM WILDE - Although I liked Kim's hits from the Closer album, I only bought it recently when it reissued with remixes, 12"s, etc. It wasn't until much later I found out that the song's about a parents' love for their new-born child, not a love song about a partner. I think I like it more, seeing it can be interpreted both ways.
03 I NEED YOU - B.V.S.M.P. - I quite like the "I Need You" hook, but the rapping (not sure which one of the group is doing that) is really irratiting.
02 THE LOCO-MOTION - KYLIE MINOGUE - I'm guessing this was released in the UK as a stop-gap while they were recording more songs for her album, as she was doing well enough without needing covers. Definitely better than the Aus mix, just a shame that they didn't film a new video too. It deserved to sneak a week at No. 1.
01 THE ONLY WAY IS UP - YAZZ AND THE PLASTIC POPULATION - I've heard this far too much now, and it definitely overstayed its welcome at No. 1 that summer. I prefered her hit Fine Time from the following year.
Not played
20 JULIO IGLESIAS FEAT STEVIE WONDER - Thought this would've been played to draw in older listeners to this chart, so I'm thankful it was skipped. Both, in particular Stevie, did far better solo singles than this lacklusture effort.
16 PUSH IT/TRAMP - SALT-N-PEPA - Not a big rap fan, but I've always liked Push It and most of their other hits. Would have liked this to have been played.
14 I WANT YOUR LOVE - TRANSVISION VAMP - Thank God this was skipped. Completely and utterly detest Transvision Vamp - or rather Wendy James, no idea who the others are. I have to cover my ears when she starts wailing.
13 HUSTLE.... TO THE MUSIC - FUNKY WORM - One of those songs that sort of passed my by at the time, but I've rediscovered through retro chart. It ought to have been played.
11 REACH OUT (I'LL BE THERE) - FOUR TOPS - No! No! No! No! No! I like a lot Phil Harding's remixes, but this was definitely a bad mistake. Having said that, sadly, I think that if the original version had been re-released it wouldn't have been as big a hit.
09 SUPERFLY GUY - S-EXPRESS - Although I'm not really into dance, and I can't say I like this as much as Theme From S-Express, it really annoys me that a lot of dance tracks get skipped.
05 - THE EVIL THAT MEN DO - IRON MAIDEN - Well this was even less likely to be played than the dance tracks! Shame, as this is actually one of their songs I actually do like.
I agree with you Clare about Yazz. I am so tired of hearing 'The Only Way Is Up' at the expense of her other songs, especially 'Fine Time' and even 'Stand Up For Your Love Rights'.
And I had no idea about that great Kim Wilde song either!!
Indeed, these are the songs I was particularly pleased to hear Tony play.
I have the feeling that when POTP took a break for a year in 2004-05, they played 1973 this time 10 years ago. Hearing songs like Free Me and the no 1 reminded me that it may have been the same chart.
''Young Love'' wasn't my favourite Osmond related song, in fact i much preferred Donny's previous no 1 ''The Twelfth Of Never''. Every time i hear the Osmonds ''Let Me In'' though, i ask myself why perhaps Boyzone or Westlife haven't covered it - i think the song is tailor made for them both.
I don't think of the glam rock era acts were ever really thought of as particularly inspiring in terms of truly forging ahead with new sounds (aside from those acts like David Bowie and Roxy Music). However, in the context of what was happening immediately prior (the seriousness of the hippies), i think much of their sound, whether based on more straight ahead rock 'n' roll, or occasionally the slightly more artistic side of pop, was most necessary, and appreciated by the audience at the time (not forgetting the dire economic political circumstances many of them were in, too). Time, though, tends to have given these acts a greater level of appreciation, by everyone, of just how great many of those singles were. However, i wouldn't say that many stand up particularly well as album artists, but that was never really glam's forte, anyway.
I have never listened to a single album by Gary Glitter, Alvin Stardust, Wizzard, Sweet, Suzi Quatro, Mud, The Rubettes (or T. Rex) in my life but I think Slade and Alice Cooper each recorded four credible albums between 1970 and 1973.
I only found out last night that Dick Wagner, the American virtuoso who played some memorable lead guitar on the 'School's Out' album before going on to work with people such as Lou Reed, Kiss, Hall & Oates, Air Supply and Peter Gabriel (as well as Alice Cooper) died on 30 July at the age of 71.
I have never listened to a single album by Gary Glitter, Alvin Stardust, Wizzard, Sweet, Suzi Quatro, Mud, The Rubettes (or T. Rex) in my life but I think Slade and Alice Cooper each recorded four credible albums between 1970 and 1973.
I only found out last night that Dick Wagner, the American virtuoso who played some memorable lead guitar on the 'School's Out' album before going on to work with people such as Lou Reed, Kiss, Hall & Oates, Air Supply and Peter Gabriel (as well as Alice Cooper) died on 30 July at the age of 71.
Yes, i tend to agree with you with regards to Slade and Alice Cooper.
T.Rex recorded a number of fine albums too, namely 'A Beard Of Stars', 'T.Rex', and 'Electric Warrior', which are all well worth a listen. Marc Bolan's transition from a sort of folky/hippy, mystical poet to the teenybop star he's best remembered for is interesting, because during this transition, with the introduction of his electric guitar, was when he produced his best and most enduring albums. Marc was a very effective electric guitar player, as well as a very distinctive vocalist. 'A Beard Of Stars' is his best album in my opinion, and it's the final album he recorded using the more long winded Tyrannosaurus Rex name. It has a very folky feel with very mystical lyrics, but i think it is the introduction of his electric guitar playing which truly raises it above anything he had recorded previously. After 'A Beard Of Stars', and most especially following 'T. Rex' his mystical references begin to diminish somewhat, and his lyrical content became much simpler and more coherent. However, following 'Electric Warrior', and despite a few truly fine moments (which were usually the singles), his music began to sound increasingly formulaic and uninspired. Some critics rate 'The Slider' and 'Tanx' highly, but i find them very hollow and superficial sounding albums, and a world away from the albums i have previously mentioned. Unfortunately, fame had a huge effect on Marc's attitude to making music, as almost everything (aside from a few brilliant singles) began to sound fairly disposable.
I like Dick Wagner's work on Lou Reed's 'Berlin' album, although i think he and Steve Hunter's guitar sound on the live 'Rock 'N' Roll Animal' tended to lack much of the musical subtlety normally associated with the best of Reed's music. Lou was a very interesting artist, and especially during his solo career during the seventies. ''Coney Island Baby'' is one of the most beautiful songs ever recorded.
A question i have been meaning to ask you with regards to Top Of The Pops: An episode from 15/8/1974 takes place at the BBC theatre in Shepherds Bush. I was wondering whether there was a particular reason for the change of setting? I believe it was broadcast live, and was introduced by Noel Edmonds.
The issue of King of the Rumbling Spires and inclusion of Elemental Child on Beard of Stars were a true 'bloody hell' moment for those who had followed Bolan's career.
Sweet were probably the most schizophrenic group ever. Chinnichap singles topping the charts, but self penned heavy stuff on Sweet Fanny Adams, Desolation Boulevard and Give Us A Wink. I should imagine the reasons for this have already been discussed on here.
The issue of King of the Rumbling Spires and inclusion of Elemental Child on Beard of Stars were a true 'bloody hell' moment for those who had followed Bolan's career.
Yes, some did believe Marc was selling out when he went electric. However, i think the initial inclusion of electric guitar added another important ingredient to his sound. Many cite 'Electric Warrior' as Marc's best album, although i personally don't find it stands up quite so well over repeated listens as his two previous albums. However, it's undoubtedly a fine album, and especially the likes of ''Cosmic Dancer'', which also pretty much best indicates the richness to his sound that the addition of strings can make. Marc's four no 1 hits in my opinion seemed to become increasingly more 'slight' sounding as they went along. ''Hot Love'' possibly seems the biggest song in terms of its arrangement and overall sound, and then from ''Get It On'' through ''Telegram Sam'' to ''Metal Guru'', the songs begin to sound increasingly little less substantial. I'm not denyng that ''Get It On'' is still a great song, mind, and ''Metal Guru'' is rather infectious. I've never thought though that ''Telegram Sam'' has ever added up to anything very memorable, although Bob Harris reckons it's pretty close to Marc's best work. In an interview for one of Marc's DVD releases Bob said ''Metal Guru'' was the first T. Rex single he had reservations about, but i think it's a better single than ''Telegram Sam''. It's funny how opinions can differ. I don't believe John Peel liked anything Marc recorded at all from ''Get It On'' onwards.
A question i have been meaning to ask you with regards to Top Of The Pops: An episode from 15/8/1974 takes place at the BBC theatre in Shepherds Bush. I was wondering whether there was a particular reason for the change of setting? I believe it was broadcast live, and was introduced by Noel Edmonds.
The 15/08/74 edition of Top Of The Pops was a special Osmonds co-hosted edition of the programme from the BBC owned Shepherd's Bush Empire theatre. It was apparently part of a week long series of programmes which were broadcast live from the Empire.
The 15/08/74 edition of Top Of The Pops was a special Osmonds co-hosted edition of the programme from the BBC owned Shepherd's Bush Empire theatre. It was apparently part of a week long series of programmes which were broadcast live from the Empire.
Sweet were probably the most schizophrenic group ever. Chinnichap singles topping the charts, but self penned heavy stuff on Sweet Fanny Adams, Desolation Boulevard and Give Us A Wink. I should imagine the reasons for this have already been discussed on here.
Yes, and it is when Sweet sneakily went back in the studio to re-record the album track ''Fox On The Run'', for single release that Chinn and Chapman decided to have nothing more to do with them. Sweet recorded some memorable singles (both with Chinn and Chapman and occasionally on their own), but i'm a little unsure of where i'd place them with regards to how highly i'd rate them. Much of their self penned rockier material isn't especially to my taste, and although i do very much enjoy their Chinn/Chapman hits sometimes i find it hard to fathom whether it's truly the production that makes those songs sound so good, or if it is the actual talent within the playing of the group. Some of their self penned songs do sound impressive, mind, when performed live, and most especially the range within the individual singing, and the harmonies.
I like Dick Wagner's work on Lou Reed's 'Berlin' album, although i think he and Steve Hunter's guitar sound on the live 'Rock 'N' Roll Animal' tended to lack much of the musical subtlety normally associated with the best of Reed's music.
I don't know if you were "lurking" on the TOTP 1978 thread last year but I alluded to Dick Wagner and Steve Hunter's contribution to 'Rock 'N' Roll Animal' and 'Lou Reed Live' in a reply to corriander about Alice Cooper in November 2013 (link below):
I presume you are familiar with the track 'My Stars' namechecked in the link above which showcases Dick Wagner's remarkable talent - there is a YouTube video to accompany the song (link below) which I note includes a lot of visual references to the Holocaust although this word only appears once in the final line of the last verse.
The same chap also posted a list of his all time top 100 albums which includes Alice Cooper's 'Killer' album from 1971. I know Johnny Rotten rates this particular record as one of the best rock LPs of all time but I personally think the 'School's Out' album is more creative and original.
I assume the fact this poster bears the same screen name as the guy who posts regularly on the TOTP thread is purely coincidental although it is striking that they both possess a similar degree of journalistic flair. ;-)
I don't know if you were "lurking" on the TOTP 1978 thread last year but I alluded to Dick Wagner and Steve Hunter's contribution to 'Rock 'N' Roll Animal' and 'Lou Reed Live' in a reply to corriander about Alice Cooper in November 2013 (link below):
I presume you are familiar with the track 'My Stars' namechecked in the link above which showcases Dick Wagner's remarkable talent - there is a YouTube video to accompany the song (link below) which I note includes a lot of visual references to the Holocaust although this word only appears once in the final line of the last verse.
''My Stars'' is another example of the way popular music in the early seventies became increasingly more sophisticated. The production/arrangement of the song (and much of Alice's output from the period) has more progressive elements, which makes a lot of the music from the late sixties sound really rather primitive by comparison. I'm not meaning to downgrade the music of the sixties, of course, but as far as the production quality of the music from the early seventies period is concerned, i don't think pop/rock had ever sounded better (and arguably hasn't ever since). Dick Wagner was a fabulous guitar player for sure. What strikes me as strange where Lou Reed is concerned is how much he claimed to detest Alice Cooper's music, yet here he is in 1973 using Steve Hunter and Dick Wagner, and Alice's producer Bob Ezrin, on 'Berlin'. I can recall Bob being quoted as saying as they were finishing off the sessions for the ''Berlin'' album 'wrap up this turkey - i think i'm about to be sick', such was the gloomy mood of the subject matter. Lou, i think with the live ''Rock 'N' Roll Animal''/ ''Lou Reed Live'' albums went for a glossy arena rock sound with pretty much stripped all of the songs of their more subtle nuances. Some mainstream rock fans loved the album, but some of those who were closer to Lou's true musical core felt the albums were very cheap and exploiting what was a popular sound at the time.
I think listening to an album such as Marvin Gaye's ''What's Going On'' from 1971 reveals just how far soul music was moving (and especially the motown sound) from being wonderful, and charming, but a little gregarious in the mid sixties, to appearing extremely deep and meaningful. Lyrically it was brilliant and moving, and musically the orchestrations were incredible. Also, songs like Harry Nilsson's cover of the Badfinger song ''Without You'', which was so wonderfully heartfelt, and truly sincere (and just understated enough not to appear oversold like much of the music of today). Somewhere along the line in the eighties, we completely lost the plot in effectively conceiving these type of musical arrangements/productions. Another favourite of mine has always been the Isley Brothers ''Who's That Lady'' which was a re-recording of one of their sixties songs, but this time (1973) including a blend of soul/funk and some fabulous rock guitar. A dynamite arrangement in my opinion, and encapsulating everything that was best in early seventies soul/pop/rock.
(1) SCOTT McKENZIE – San Francisco (Be Sure To Wear Some Flowers In Your Hair) (and charts)
(7) ANITA HARRIS – Just Loving You ®
(5) THE TREMELOES – Even The Bad Times Are Good
(11) KEITH WEST – Excerpt From A Teenage Opera ®
(NEW) MANFRED MANN – So Long Dad
(13) THE BEACH BOYS – Heroes And Villains (video)
(NEW) GEORGIE FAME – Try My World
(10) THE MONKEES – Pleasant Valley Sunday (video)
(2) ENGELBERT HUMPERDINCK – The Last Waltz
(1) SCOTT McKENZIE – San Francisco (Be Sure To Wear Some Flowers In Your Hair) (crowd dancing) (and credits)
Just a note on ClaireB's 1988 review. Agree with more than I disagree, but strongly disagree with her dismissal of "My Love". Brilliant single, up there with Stevie's best.
(25) ASWAD – Next To You
(24) SONIA – End Of The World WATCH
(11) THE KLF – What Time Is Love?
(14) STEVE MILLER BAND – The Joker (video)
(4) BETTY BOO – Where Are You Baby WATCH
(3) NEW KIDS ON THE BLOCK – Tonight (video)
(23) JASON DONOVAN – Rhythm Of The Rain
(1) BOMBALURINA – Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini ®
(31) WHITESNAKE – Now You’re Gone (video) (and credits)
Back at last weeks 1988 and I also agree that My Love by Stevie Wonder & Julio Iglesias is a decent and much overlooked track. I was convinced it was going to No1 at the time.
Any POTP without at least one chart from the 70's or 80's seems diminished in my mindset, rightly or wrongly as that may be.
This 1990 chart is overwhelmingly awful. Betty Boo, ughh, not to mention Timmy Mallet at No1. Threadbare of any truly decent tracks, with Praying For Time probably the best for George Michael.
Back at last weeks 1988 and I also agree that My Love by Stevie Wonder & Julio Iglesias is a decent and much overlooked track. I was convinced it was going to No1 at the time.
Any POTP without at least one chart from the 70's or 80's seems diminished in my mindset, rightly or wrongly as that may be.
This 1990 chart is overwhelmingly awful. Betty Boo, ughh, not to mention Timmy Mallet at No1. Threadbare of any truly decent tracks, with Praying For Time probably the best for George Michael.
Mainly agree with you Rich, today's 1990 one of the worst in living memory on POTP. Didn't mind Betty Boo too much though, Roxette ok, Praying For Time quite good, KLF good and Mariah brilliant, but rest not up to much. And some of those skipped were even worse! (But TB should have played Jive Bunny though as it was going up the charts and he played a few going down.)
Betty Boo was one of the best songs from today's 1990 chart. I never got why 'Tom's Diner' was such a popular song, it doesn't do anything for me now and it didn't then. The Go West and Mariah Carey songs I liked.
I was quite surprised the Cliff song was played. Personally I thought it was a lousy song! So syrupy and overbearing, you can just imagine Richard's saccharine grin, prancing around on stage signing this. I think it reminds me of his insipid 1981 song 'Daddy's Home'!!
Comments
I can't recall Tony Blackburn going off sick either in the past or post Jungle days.
It's out from the news as usual. I did think Sally went on bit longer.
I suppose Sally was always going to chat longer today being her first interaction with POTP
Yes, i really like 1973. I think it is a shame when any song is skipped, and i would have loved to have heard Peters and Lee. However, what i do really enjoy is the fact that Tony doesn't just play the songs with the highest profile, or which are considered ''classics'' over time - he plays some songs that are very rarely heard. Both Hudson Ford's ''Pick Up The Pieces'' and Medicine Head's ''Rising Sun'' fall into that catagory. Funny to hear Free's ''All Right Now'' again, which was originally in the 1970 chart a week or two back. There were some truly great soul songs from 1973 too, including the Drifters ''Like Sister And Brother'' and Limmie And The Family Cooking's ''You Can Do Magic'', and not forgetting New York City's ''I'm Doing Fine Now''. The orchestration on those soul songs from the early seventies are magnificent. The Philadelphia sound set a new precidence, but it wan't exclusively them who were responsible for the brilliance of the music. ''Papa Was A Rolling Stone'' which was a hit in January of 1973 was a motown record which i believe the Temptations were initially reluctant to record. The Whitfield/Strong collaborations with the Temptations hadn't always been successful in terms of sales, yet ''Papa Was A Rolling Stone'', especially, was outstanding.
Indeed, these are the songs I was particularly pleased to hear Tony play.
I have the feeling that when POTP took a break for a year in 2004-05, they played 1973 this time 10 years ago. Hearing songs like Free Me and the no 1 reminded me that it may have been the same chart.
38 RUSH HOUR - JANE WIEDLIN - I enjoyed hearing this more than I expected to, as sometimes I find it quite irritating. It is quite catchy, though.
37 TEARDROPS - WOMACK AND WOMACK - Happy to hear this on the radio, but not one I'd seek out to play. It always reminds me of going to Blackpool on holiday later that year and seeing MTV for the first time, which seemed to play it a lot.
Top 20
20 I DON'T WANT TO TALK ABOUT IT - EVERYTHING BUT THE GIRL - Love this! So much better than Rod's version, as I think it suits Tracey's voice much better than Rod's. Definitely a high point in this chart.
19 ON THE BEACH SUMMER '88 - CHRIS REA - I haven't been able to find out for sure if the correct mix of this was played. Love the guitar riff, but I do find Chris Rea's vocals quite depressing, so wouldn't want to more than one of his songs at a time.
18 ROSES ARE RED - MAC BAND FEAT. THE MCCAMPBELL BROTHERS - Although I know the song well, and do quite like it, I couldn't remember what the group looked like at all. When I youtubed it to check them out, I was amused by their cheesy dance routine.
15 GOOD TRADITION - TANITA TIKARAM - Like the tune to this, though it seems a bit too jolly for Tanita's vocals. I think Twist In My Sobriety works much better in this respect.
12 NOTHING'S GONNA CHANGE MY LOVE FOR YOU - GLENN MEDEIROS - I put this in the same cateogry as Lady In Red. Yes, it's cheesy as hell, but as it's not over-played on the radio, I don't mind it when it does crop up on retro chart shows. It was well past it's sell by date at this point, though.
10 MARTHA'S HARBOUR - ALL ABOUT EVE - Such a lovely song, that I appreciate more now than I did at the time. It will always be remembered for the TOTP miming disaster, which is a shame. I don't know why they didn't sang live, as Julianne proved she could more than capable of doing so on the following week's show.
08 THE HARDER I TRY - BROTHER BEYOND - One of my faves in the chart, I'm not ashamed to say. Since Stock/Aitken/Waterman had their own sound, like it or loathe it, I think they can be allowed this Motown homage.
07 FIND MY LOVE - FAIRGROUND ATTRACTION - There are some really good female singers in this chart, Eddi Reader being one on them. I like this a lot more than the over-played, and now annoying, Perfect.
06 HANDS TO HEAVEN - BREATHE - I think this manages to pull off the slowy, end-of-the-disco vibe without being too cheesy and still sounds pretty good today.
04 YOU CAME - KIM WILDE - Although I liked Kim's hits from the Closer album, I only bought it recently when it reissued with remixes, 12"s, etc. It wasn't until much later I found out that the song's about a parents' love for their new-born child, not a love song about a partner. I think I like it more, seeing it can be interpreted both ways.
03 I NEED YOU - B.V.S.M.P. - I quite like the "I Need You" hook, but the rapping (not sure which one of the group is doing that) is really irratiting.
02 THE LOCO-MOTION - KYLIE MINOGUE - I'm guessing this was released in the UK as a stop-gap while they were recording more songs for her album, as she was doing well enough without needing covers. Definitely better than the Aus mix, just a shame that they didn't film a new video too. It deserved to sneak a week at No. 1.
01 THE ONLY WAY IS UP - YAZZ AND THE PLASTIC POPULATION - I've heard this far too much now, and it definitely overstayed its welcome at No. 1 that summer. I prefered her hit Fine Time from the following year.
Not played
20 JULIO IGLESIAS FEAT STEVIE WONDER - Thought this would've been played to draw in older listeners to this chart, so I'm thankful it was skipped. Both, in particular Stevie, did far better solo singles than this lacklusture effort.
16 PUSH IT/TRAMP - SALT-N-PEPA - Not a big rap fan, but I've always liked Push It and most of their other hits. Would have liked this to have been played.
14 I WANT YOUR LOVE - TRANSVISION VAMP - Thank God this was skipped. Completely and utterly detest Transvision Vamp - or rather Wendy James, no idea who the others are. I have to cover my ears when she starts wailing.
13 HUSTLE.... TO THE MUSIC - FUNKY WORM - One of those songs that sort of passed my by at the time, but I've rediscovered through retro chart. It ought to have been played.
11 REACH OUT (I'LL BE THERE) - FOUR TOPS - No! No! No! No! No! I like a lot Phil Harding's remixes, but this was definitely a bad mistake. Having said that, sadly, I think that if the original version had been re-released it wouldn't have been as big a hit.
09 SUPERFLY GUY - S-EXPRESS - Although I'm not really into dance, and I can't say I like this as much as Theme From S-Express, it really annoys me that a lot of dance tracks get skipped.
05 - THE EVIL THAT MEN DO - IRON MAIDEN - Well this was even less likely to be played than the dance tracks! Shame, as this is actually one of their songs I actually do like.
And I had no idea about that great Kim Wilde song either!!
''Young Love'' wasn't my favourite Osmond related song, in fact i much preferred Donny's previous no 1 ''The Twelfth Of Never''. Every time i hear the Osmonds ''Let Me In'' though, i ask myself why perhaps Boyzone or Westlife haven't covered it - i think the song is tailor made for them both.
I have never listened to a single album by Gary Glitter, Alvin Stardust, Wizzard, Sweet, Suzi Quatro, Mud, The Rubettes (or T. Rex) in my life but I think Slade and Alice Cooper each recorded four credible albums between 1970 and 1973.
I only found out last night that Dick Wagner, the American virtuoso who played some memorable lead guitar on the 'School's Out' album before going on to work with people such as Lou Reed, Kiss, Hall & Oates, Air Supply and Peter Gabriel (as well as Alice Cooper) died on 30 July at the age of 71.
Yes, i tend to agree with you with regards to Slade and Alice Cooper.
T.Rex recorded a number of fine albums too, namely 'A Beard Of Stars', 'T.Rex', and 'Electric Warrior', which are all well worth a listen. Marc Bolan's transition from a sort of folky/hippy, mystical poet to the teenybop star he's best remembered for is interesting, because during this transition, with the introduction of his electric guitar, was when he produced his best and most enduring albums. Marc was a very effective electric guitar player, as well as a very distinctive vocalist. 'A Beard Of Stars' is his best album in my opinion, and it's the final album he recorded using the more long winded Tyrannosaurus Rex name. It has a very folky feel with very mystical lyrics, but i think it is the introduction of his electric guitar playing which truly raises it above anything he had recorded previously. After 'A Beard Of Stars', and most especially following 'T. Rex' his mystical references begin to diminish somewhat, and his lyrical content became much simpler and more coherent. However, following 'Electric Warrior', and despite a few truly fine moments (which were usually the singles), his music began to sound increasingly formulaic and uninspired. Some critics rate 'The Slider' and 'Tanx' highly, but i find them very hollow and superficial sounding albums, and a world away from the albums i have previously mentioned. Unfortunately, fame had a huge effect on Marc's attitude to making music, as almost everything (aside from a few brilliant singles) began to sound fairly disposable.
I like Dick Wagner's work on Lou Reed's 'Berlin' album, although i think he and Steve Hunter's guitar sound on the live 'Rock 'N' Roll Animal' tended to lack much of the musical subtlety normally associated with the best of Reed's music. Lou was a very interesting artist, and especially during his solo career during the seventies. ''Coney Island Baby'' is one of the most beautiful songs ever recorded.
A question i have been meaning to ask you with regards to Top Of The Pops: An episode from 15/8/1974 takes place at the BBC theatre in Shepherds Bush. I was wondering whether there was a particular reason for the change of setting? I believe it was broadcast live, and was introduced by Noel Edmonds.
Sweet were probably the most schizophrenic group ever. Chinnichap singles topping the charts, but self penned heavy stuff on Sweet Fanny Adams, Desolation Boulevard and Give Us A Wink. I should imagine the reasons for this have already been discussed on here.
Yes, some did believe Marc was selling out when he went electric. However, i think the initial inclusion of electric guitar added another important ingredient to his sound. Many cite 'Electric Warrior' as Marc's best album, although i personally don't find it stands up quite so well over repeated listens as his two previous albums. However, it's undoubtedly a fine album, and especially the likes of ''Cosmic Dancer'', which also pretty much best indicates the richness to his sound that the addition of strings can make. Marc's four no 1 hits in my opinion seemed to become increasingly more 'slight' sounding as they went along. ''Hot Love'' possibly seems the biggest song in terms of its arrangement and overall sound, and then from ''Get It On'' through ''Telegram Sam'' to ''Metal Guru'', the songs begin to sound increasingly little less substantial. I'm not denyng that ''Get It On'' is still a great song, mind, and ''Metal Guru'' is rather infectious. I've never thought though that ''Telegram Sam'' has ever added up to anything very memorable, although Bob Harris reckons it's pretty close to Marc's best work. In an interview for one of Marc's DVD releases Bob said ''Metal Guru'' was the first T. Rex single he had reservations about, but i think it's a better single than ''Telegram Sam''. It's funny how opinions can differ. I don't believe John Peel liked anything Marc recorded at all from ''Get It On'' onwards.
Very interesting! Thanks.
Yes, and it is when Sweet sneakily went back in the studio to re-record the album track ''Fox On The Run'', for single release that Chinn and Chapman decided to have nothing more to do with them. Sweet recorded some memorable singles (both with Chinn and Chapman and occasionally on their own), but i'm a little unsure of where i'd place them with regards to how highly i'd rate them. Much of their self penned rockier material isn't especially to my taste, and although i do very much enjoy their Chinn/Chapman hits sometimes i find it hard to fathom whether it's truly the production that makes those songs sound so good, or if it is the actual talent within the playing of the group. Some of their self penned songs do sound impressive, mind, when performed live, and most especially the range within the individual singing, and the harmonies.
I don't know if you were "lurking" on the TOTP 1978 thread last year but I alluded to Dick Wagner and Steve Hunter's contribution to 'Rock 'N' Roll Animal' and 'Lou Reed Live' in a reply to corriander about Alice Cooper in November 2013 (link below):
http://forums.digitalspy.co.uk/showpost.php?p=69723941&postcount=824
I presume you are familiar with the track 'My Stars' namechecked in the link above which showcases Dick Wagner's remarkable talent - there is a YouTube video to accompany the song (link below) which I note includes a lot of visual references to the Holocaust although this word only appears once in the final line of the last verse.
http://www.youtube.com/watch?v=SkZBLI-7pOg
I believe one of the first bands in which Dick Wagner played in the 1960s featured a keyboard player called Billy Joel.
Last November someone called 'Servalan' posted a fittingly good review of Slade's third album on rateyourmusic.com. (link below):
http://rateyourmusic.com/release/album/slade/slade_alive_/
The same chap also posted a list of his all time top 100 albums which includes Alice Cooper's 'Killer' album from 1971. I know Johnny Rotten rates this particular record as one of the best rock LPs of all time but I personally think the 'School's Out' album is more creative and original.
I assume the fact this poster bears the same screen name as the guy who posts regularly on the TOTP thread is purely coincidental although it is striking that they both possess a similar degree of journalistic flair. ;-)
Yes. Interesting!
''My Stars'' is another example of the way popular music in the early seventies became increasingly more sophisticated. The production/arrangement of the song (and much of Alice's output from the period) has more progressive elements, which makes a lot of the music from the late sixties sound really rather primitive by comparison. I'm not meaning to downgrade the music of the sixties, of course, but as far as the production quality of the music from the early seventies period is concerned, i don't think pop/rock had ever sounded better (and arguably hasn't ever since). Dick Wagner was a fabulous guitar player for sure. What strikes me as strange where Lou Reed is concerned is how much he claimed to detest Alice Cooper's music, yet here he is in 1973 using Steve Hunter and Dick Wagner, and Alice's producer Bob Ezrin, on 'Berlin'. I can recall Bob being quoted as saying as they were finishing off the sessions for the ''Berlin'' album 'wrap up this turkey - i think i'm about to be sick', such was the gloomy mood of the subject matter. Lou, i think with the live ''Rock 'N' Roll Animal''/ ''Lou Reed Live'' albums went for a glossy arena rock sound with pretty much stripped all of the songs of their more subtle nuances. Some mainstream rock fans loved the album, but some of those who were closer to Lou's true musical core felt the albums were very cheap and exploiting what was a popular sound at the time.
I think listening to an album such as Marvin Gaye's ''What's Going On'' from 1971 reveals just how far soul music was moving (and especially the motown sound) from being wonderful, and charming, but a little gregarious in the mid sixties, to appearing extremely deep and meaningful. Lyrically it was brilliant and moving, and musically the orchestrations were incredible. Also, songs like Harry Nilsson's cover of the Badfinger song ''Without You'', which was so wonderfully heartfelt, and truly sincere (and just understated enough not to appear oversold like much of the music of today). Somewhere along the line in the eighties, we completely lost the plot in effectively conceiving these type of musical arrangements/productions. Another favourite of mine has always been the Isley Brothers ''Who's That Lady'' which was a re-recording of one of their sixties songs, but this time (1973) including a blend of soul/funk and some fabulous rock guitar. A dynamite arrangement in my opinion, and encapsulating everything that was best in early seventies soul/pop/rock.
Hour 1 - http://www.officialcharts.com/archive-chart/_/1/1967-09-02/
totp -
31-8-67: Presenter: Jimmy Savile (Wiped) (Exists as audio)
(1) SCOTT McKENZIE – San Francisco (Be Sure To Wear Some Flowers In Your Hair) (and charts)
(7) ANITA HARRIS – Just Loving You ®
(5) THE TREMELOES – Even The Bad Times Are Good
(11) KEITH WEST – Excerpt From A Teenage Opera ®
(NEW) MANFRED MANN – So Long Dad
(13) THE BEACH BOYS – Heroes And Villains (video)
(NEW) GEORGIE FAME – Try My World
(10) THE MONKEES – Pleasant Valley Sunday (video)
(2) ENGELBERT HUMPERDINCK – The Last Waltz
(1) SCOTT McKENZIE – San Francisco (Be Sure To Wear Some Flowers In Your Hair) (crowd dancing) (and credits)
TOTP -
30-8-90: Presenter: Mark Goodier (Live)
(25) ASWAD – Next To You
(24) SONIA – End Of The World WATCH
(11) THE KLF – What Time Is Love?
(14) STEVE MILLER BAND – The Joker (video)
(4) BETTY BOO – Where Are You Baby WATCH
(3) NEW KIDS ON THE BLOCK – Tonight (video)
(23) JASON DONOVAN – Rhythm Of The Rain
(1) BOMBALURINA – Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini ®
(31) WHITESNAKE – Now You’re Gone (video) (and credits)
Any POTP without at least one chart from the 70's or 80's seems diminished in my mindset, rightly or wrongly as that may be.
This 1990 chart is overwhelmingly awful. Betty Boo, ughh, not to mention Timmy Mallet at No1. Threadbare of any truly decent tracks, with Praying For Time probably the best for George Michael.
Mainly agree with you Rich, today's 1990 one of the worst in living memory on POTP. Didn't mind Betty Boo too much though, Roxette ok, Praying For Time quite good, KLF good and Mariah brilliant, but rest not up to much. And some of those skipped were even worse! (But TB should have played Jive Bunny though as it was going up the charts and he played a few going down.)
I was quite surprised the Cliff song was played. Personally I thought it was a lousy song! So syrupy and overbearing, you can just imagine Richard's saccharine grin, prancing around on stage signing this. I think it reminds me of his insipid 1981 song 'Daddy's Home'!!