The Clash refused to do TOTP because they would be forced to mime (even if they sang live, the music would be a pre-recorded backing track). They said they'd only do the show if ALL the acts performed completely live - which, of course, was never going to happen.

The hilarity of Legs & Co doing 'Bankrobber' came well after they'd dug their heels in.

During this time, they had several videos made - all directed by Don Letts - but none of them were shown on TOTP when the singles they were promoting were released. Kind of a shame in the case of 'Rock The Casbah', as it might have made it the massive hit it deserved to be (and was, ironically, in the US, where the video was in heavy rotation on MTV). It was only when 'Should I Stay Or Should I Go' was re-released in 1991 that it was seen.

Ironically, the group seemed to forget their anti-TOTP principle after they split: Mick Jones performed on the show in 1986 with his group Big Audio Dynamite; and Joe Strummer performed with Black Grape in 1996. Which rather makes you wonder what the fuss was all about in the first place. A way of getting publicity that actually ended up restricting the group's audience?

So does the BBC know that Sarah Greene is encouraging people to watch TOTP episodes her late husband hosted on Youtube? Does Sarah Greene know that the BBC tries to remove unofficially posted programmes/clips from Youtube?

This is getting SERIOUSLY weird: she doesn't want episodes broadcast on BBC Four, but she's happy for everyone to watch them on Youtube …? Am I missing something?

Does this mean the BBC could upload Mike Smith-hosted editions onto its Youtube channel and there wouldn't be a problem?

Looks an interesting read. I just ordered a copy.


Not a bad episode that one. Wham's debut of interest for how slick they come across. But, they no doubt rehearsed that to death pre appearance.
Blancmange with their debut presumably. Great song.
Ditto John (Cougar) Mellencamp's 'Jack & Dianne'. He's someone I rate very highly and whose music IMO deserved far more success and recognition in the UK than he's ever received. 'J&D' deserved better than its No. 25 peak and its predecessor 'Hurts So Good' should have done better than completely failing to make the top 75! Couple of other singles by him that deserved better, 'Small Town', 'Check It Out' and 'R.O.C.K In The USA'. Good songwriter. Oh!! And 'Pink Houses'!!! Brilliant song with inexplicably also never charted here.

Enjoyed the Hall & Oates performance also. I hadn't remembered that they'd ever appeared on TOTP. Or maybe they didn't? That looks like a bit of a "filmed for..." type appearance.

Some good stuff there. Thanks for the link to that one Sgt!


Despite its somewhat surprising (although very nice to see) popularity in that poll 'Day Before...' is surely a bit of a 'cult' ABBA song though. I don't think I've ever heard it being played on a radio station for example, unlike a dozen + of their other songs.

BIB - you do know that there was a real war of words between Mellencamp and Marc Almond in 1982, don't you?

Mellencamp did an interview in the music press where he dismissed Soft Cell as 'a couple of f*gs' (or words to that effect) - and Almond got his revenge by completely trashing both 'Jack And Diane' and Mellencamp on Radio 1's Round Table. I wish I had a recording of it - it was Marc at his finest!

Mellencamp did a great job of reinventing himself - he first came to public prominence in 1978 when he was signed to Rod Stewart's Riva label and marketed in the UK as a teen idol … a strategy that totally bombed.

Plus that ABBA song only got to 32 in the UK charts, so any later popularity could be considered cult, as with most cult things.

She seems to be saying that it's not her decision though but it's what Mike wanted.

Do you know what. I do have a vague recollection of all that now but until you mention its definitely something that had been erased from my personal memory bank. Marc was indeed very competent back then when he felt the need to hit back at any criticism that came his way. I'd forgotten also that he did do Roundtable a few times didn't he. It was invariably a good listen that programme.

I hadn't realised that which goes to show I don't always listen to things closely enough! So just took a listen. Yeah, rather amusing that little author name check word switch isn't it.

All a matter of taste, of course - but, for me, that word change tips what already sounds like a very tongue-in-cheek cover into a p*ss-take. It's not quite Wurzels territory, granted, but it totally undermines the emotion of the song, and the TOTP performance only cements that. The British public may have come to Abba's original rather late in the day, but at least they got there in the end - and that cover did nothing for Blancmange's career, which pretty much fell off a cliff after that single.

I suppose unless informed otherwise we'll have to assume that the BBC don't like Mike Smith, and Mike Smith's wife Sarah Greene doesn't like the BBC. After glittering BBC careers they both got frozen out by the beeb, either for reasons we've never been told or for reasons which one day will be revealed.

I find it fascinating.

Yes, i think what you say does make perfect sense, in that you find an enjoyment of both the mid sixties sounds and those from the post punk/new wave era, because both styles are relatively unpretentious and stripped down. As the late sixties progressed towards the seventies, and through to the pre punk era, popular music was becoming more sophisticated in pretty much every sense of the word (but that was not always reflected in the singles chart sounds, i may add), and perhaps by the early seventies period, with the likes of prog rock, more indulgent. I always get the feeling that certainly by the 1974 period, rock more generally was getting stale, because there was nothing at that point that hadn't been tried, and it became a case of being unable to find a fresh angle, which rendered a fair proportion of the sounds to become stale. I would take soul and especially the newly emerging disco out of that equation, mind, and i tend to think many of the highlights from the 1974/76 era, do belong to that ever growing genre (as well as some of the more inspiring middle-of-the-road sounds).

I believe to a large degree it is possible to find pretty much almost every conceivable style of music existing between the 1963-73 period (with the odd notable exceptions), and in retrospect, what came later did seem like it was about changing the perspective slightly. However, the big change i feel with the post punk/new wave sounds was the integration of reggae into mainstream music, where it was just as likely that white artists were playing/recording it as black, and a large white audience were also listening. Many of the new wave sounds had reggae influences and rhythms, even if they were not blatantly reggae tunes. Black culture, in terms of rap etc. away from the more lush and accessible soul sounds, had found its way into a mainstream conciousness, too. That had never happened on that scale before.

Unfortunately the one after that is only Yewtreed once, and not Smithed at all.

Is she OK?

Essential Sunday morning hangover viewing.

It's not often we agree, but I'm with you on this one.

It's a shame we won't see the episodes but I think this is another thread clogger for many, many months to come.

Someone upthread made quite a nasty post about Smith being pals with Savile and DLT and his decision to block the episodes might somehow linked to his friendship with them.

Despite not liking Smith much, I think that's unlikely and could just as easily be because he was horrified at the revelations and he doesn't want to be associated with the taint the old episodes now have.

The fact is we have no idea why and never will so it would be a more positive thread if everyone just accepted that and moved on.

Back on topic, Starmaker had me in absolute fits last night, bloody awful song and truly terrible video to match it, but comedy gold nevertheless

I know what your saying, but a little harsh I think. I always assumed Blancmange's cover to be more of a tribute by them to ABBA than a p*ss take. Could be wrong though.
I don't mind a little bit of quirky humour being included in a cover version of a song. Another one in a similar vein that springs to mind is Carter USM's cover of 'Rent' by the Pet Shop Boys where they changed the lyric, "you took me to a restaurant off Broadway..." to "you took me to a restaurant 'Fulham' Broadway...".

Having just checked tonight's line up I'm not overly sorry that I'll be out and miss it, well the early at least. Particularly as for me one of the most interesting performances and I assume a debut at that appear to get edited from the early.

I have no idea how or why I remembered that. While I don't think their cover was a p take, It does beg the question why Blancmange chose that particular song to re do, it wouldn't have even been that old at the time?

This is what I strongly suspect is at the heart of this whole business. Did Smith and Greene feel slighted that they suddenly weren't flavour of the month any more (and, let's face it, television is always looking for the latest person/thing to latch onto) and were aggrieved they'd been left behind? And the BBC didn't realise that there were hurt feelings and managed this in an inept way that they had no idea how hacked off Smith and Greene were? And refusing to sign the necessary paperwork was Smith's revenge?

Television is full of people holding grudges - let's face it, that's how GBBO ended up on Channel 4 … so this seems the most likely explanation. Although I doubt we will ever know the real story.

I don't know the story behind why they covered it, they must have been one of the first groups to cover ABBA and chart with it though. I'd like to assume that they were ABBA fans and wanted to do a cover to highlight the fact and chose that song as it fitted Neil's vocal style better than most. Again, could be wrong though!

I am finding this Smith dialogue rather loathsome. It was him who signed and refused so there is bugger all she had to do with it. If my other half predeceases me, there is no way I would go against any of her stated wishes.

Leave the poor woman alone for God's sake.

There isn't anywhere stated that Sarah Greene actually agrees with these measures, is there? Aren't they actually Mike Smith's own wishes?

i guess its the stripped down style that sits better with me, hence my dislike of prog. clearly it had an audience but not in my head it didnt lol.

tbh im not a very good listener, i find it hard to pick up certain tones, our family does seem to have minor hearing problems. i tend to get the emotion of a track through the sound, the melody, the production more then the lyrics. i let the music create its own narrative in my head.... this is probably why im such a big fan of trance.

My take on Thursday's show.

Piranhas (Zambesi)

As per Tom Hark, good, catchy song - awful band.

Kids From Fame (Starmaker)

So saccharine I'm now aurally diabetic...
As a kid back in the day I liked this. Shows how little I knew back then...

As a side note, watching this video, it struck me that I remember pretty much all the characters names from back then, even old Mr. Zvar..varoff...the old guy with the specs (hey! I may remember his name, I just don't remember how to spell it...), but I had completely forgotten that there had been a ginger kid in it. #gingerrights


Bauhaus (Ziggy Stardust)

Was this a good cover? I don't know because I was utterly distracted by the lead singers energetic efforts in throwing his limbs into ligament defying shapes on the stage.
It was suggestive of someone who had never seen a pop band perform on stage but was under the impression that that was what all singers did.

Kool and the Gang (Ooh la La La)

Nice song, often overlooked for 'Celebration'. But er...guys...you did know the 70's had finished, yeah?

Toyah (Be Loud, Be Proud)

Another brilliantly bonkers performance from the technicolor tonsured ladygirl with a song that has a decent chorus but seemingly little of substance to the rest of the song. Toyah's best chart days were seemingly behind her.

Imagination (In the Heat of the Night)

Meh. An utterly forgettable number. In fact I've forgotten how it goes now.
(Never mind Leeeeeeeeeeeeeee...you've still got your performance as a pretendy pirate against Peter Davison's Doctor Who and Linda Barron to look forward to...)

Spandau Ballet (Lifeline)

I only rediscovered this one a couple of years ago. Decent verses and a catchy, recognisable chorus.
A number that's often unfairly forgotten about compared to other hits of the Spands.

Sharon Redd (Never Give You Up)

I have nothing to say.

Shaky (I'll be Satisfied)

And so will I be when he finally buggers off until his Christmas hit...

Culture Club (Do You really Want to Hurt Me?)

Nothing much I can add on this song that hasn't been said already. Nice.

And to play out: Kid Creole (Annie)

Probably the one KC song that's remembered most from people who lived through the 80's, but IMO not as good a song as Stool Pigeon.



Comment of the week:

Poptastic on Sharon Redd. - "Sharon Redd. I bet that records played at least a couple of times every night in the best discoteques."

- AH-HAHAHAHAHAHAHAHAHAAAA..... "Discoteques?" Really? I was only a kid back then but even I know nightclubs were the thing then. Discoteques belonged back in the late 70's/ very beginning of the 80's.

Have no fear, Andy - as Amazulu said, you're Too Good To Be Forgotten.

That was 1986 though which brings me to the question, does anyone know if the BBC are going to keep going forward with this series?

Now we're on 1982, I was wondering how far this elastic is going to stretch. I really enjoy reading this thread consider it a seat of learning.

I see there is an episode later tonight...


BBC4, 19.30pm

Well it looks like I'm in the minority in enjoying last night's edition. Not the best I've seen but certainly not the worst. I'm scoring it a seven and three quarters out of ten.

I'm so upset that there's no love at all for Zambesi. Okay, it's definitely in the novelty category but its such an earworm. I do prefer the performance from the "Smithed" show though but this is still fun. Great to see the Fabulous Wealthy Tarts and can't wait 'til Paul Young turns up with them next year.

I make no apologies for loving Starmaker, although I can see why the video seems quite strange if you don't know the story behind it - although now when I watch it I'll not be able to stop focusing on Debbie Allen's mouth! Can't wait for Christmas 1982 when I get the Fame annual.

I thought it was just Spandau Ballet that edited out of the earlier showing so wasn't expecting Imagination. There's nothing wrong with Heat Of The Night apart from the fact is sounds like Body Talk part two. Their outfits lived up my expectations.

I've heard Toyah's Be Loud Be Proud (Be Heard) a few times recently from listening to retro charts from this period and it is starting to grow on me a bit. I did like the multicoloured coat she was wearing.

Bauhaus version of Ziggy Stardust is the only one I really know. I heard Bowie's version on the radio a few weeks back and I don't recall ever hearing it before. This is another song I've become familiar with through retro charts and do like though I would've felt a bit scared had I been one of the audience members at the front!

Lifeline's not my Spandau Ballet song by any means but It's certainly seems fresher than the overplayed True. I'm not sure what was going on with their country gent get up, though. Hardly New Romantic.

If I hadn't known I was watching a TOTP from 1982 and saw the video for Kool And The Gang's Oh La La La (Let's Go Dancing) with the sound down I would've sworn it was from the 70s. It still a damn good tune, though.

Never Give You Up is a good dance tune and I'm sure went down a storm in discotheques but Sharon Redd's performance doesn't do it any favours at all. To be blunt the outfit she was wearing made her look like mutton dressed as lamb and she couldn't move at all.

I'll Be Satisfied is not one of Shaky's best hits but I do like the cheesy video with the audience going mad as Shaky does his stuff and all the balloons - especially the giantic one. I'm guessing if he hadn't been on tour he'd have been in the studio like a shot to perform it.

Its a shame it was the bad miming performance of Culture Club's Do You Really Want To Hurt Me was repeated and not the one from the yewtreed edition. Even better would've been a new performance but I have to say I'm bored with this now. Bring on 1983 and Church Of The Poison Mind and Victims (but not Karma Chameleon!)

Annie I'm Not Your Daddy is a top tune to play out with although the lyrics are really cruel. Kid Creole claims he's telling Annie he's not her Daddy to save her hearing it another place, as if he's bothered about her feelings, then he goes and calls her ugly. I saw Kid Creole's real daughter. Savannah, in a production of Thriller Live earlier this year and couldn't help but think that she must hate this song. She must get people all the time calling her Annie and asking if he really his her Dad.