Disco

434. ‘Tragedy’, by The Bee Gees

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Who’s up for some more disco-infused rock? Everyone? I thought as much. If you ignore Boney M’s Xmas #1, and squint very hard to hear the guitars in ‘Y.M.C.A.’ (they must be in there somewhere), then I make this five disco-rock chart-toppers in a row.

Tragedy, by The Bee Gees (their 4th of five #1s)

2 weeks, from 25th February – 11th March 1979

And who else is turning their hand to it next but The Bee Gees, those great musical chameleons. Gone are the soft chords and swirling strings of ‘Night Fever’, replaced with something much more hard-edged. Queen-like guitars, distorted synth riffs, a harpsichord (?)… The trio’s falsettos hit harder here, too. On ‘Night Fever’ they soared; here they are ragged and semi-deranged…

Tragedy! When the feeling’s gone and you can’t go on… It’s a great hook, simply shrieking the word ‘Tragedy!’ Tragedy! When you lose control and you got no soul… It is, I think, a song about of a panic attack, a midlife crisis in which you wake up in drenched in sweat wondering where the hell your life is going… Even the drums leading up to the chorus sound like a shuddering heartbeat. All the while that ominous riff plays in the back of your brain.

The drama is upped for the solo, which is preceded by an ear-splitting howl, and the final choruses, which are preceded by explosions. It’s ridiculous, really; very OTT. Apparently the sound-effect was made by the mouth of Barry Gibb, which is impressive as it really does sound like a thunderclap. The song fades out, all squeals and explosions and riffing guitars. A mental breakdown never sounded so catchy…

This is The Bee Gees’ 4th number one, and my favourite so far. Their sixties hits were fine, but paled against the musical behemoths surrounding them. ‘Night Fever’ was better than I expected, but still for me lacked a true killer hook. ‘Tragedy’ has that hook, and then some. It’s a ‘go big or go home’ moment – the band perhaps looking to move beyond ‘Saturday Night Fever’ with a statement piece.

However, I will show my age and admit that I knew this song first and foremost as a kid thanks to, yes, Steps’ million-selling cover version from the late-nineties. It will be featuring on this countdown in due course, so I’ll say no more save for the fact that I cannot now hear the word ‘Tragedy!’ without fighting the impulse to throw my hands up parallel to my face. Ah well…

The Bee Gees will be back eventually, after another near-decade long hiatus from the top of the singles charts, with another musical reinvention (and probably my favourite of their five number ones). In the more immediate future, though, we are going to crack on with this wonderful run of chart-toppers we’re in the midst of.

433. ‘Heart of Glass’, by Blondie

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Picking up where Ian Dury and the Blockheads left off, Blondie enter the scene with another tight groove. Disco and rock are colliding here, in the early weeks of 1979, and the results are magnificent.

Heart of Glass, by Blondie (their 1st of six #1s)

4 weeks, from 28th January – 25th February 1979

When we come to monster hits like ‘Heart of Glass’, part of me is happy (it’s a great song) and part of me is frustrated (everything that needs to be said about it has been said before.) See also ‘Dancing Queen’, ‘Bohemian Rhapsody’, ‘Get It On’… Sometimes this job’d be easier if every #1 was rank-rotten! But we will persevere. Nobody will be sad about giving this classic yet another spin…

The melody is great, for a start. The disco beat paired up with churning, writhing synths. Our 3rd ‘New Wave’ chart-topper finally sounds like what I think New Wave should sound like. When the organs come into the mix, and then the wall-of-sound drums, you’re in finger kissing perfection territory. The breathy, husky backing vocals – dum da dum, dadadada dum da – are wonderful too.

But the real star of the show – the star of this uber cool NYC gang – is the lead singer. Many are the tales of the sexual awakenings wrought upon Britain’s teenage boys by Debbie Harry in the late-seventies (and the sexual re-awakenings of their fathers, pretending not to watch the TV). Her vocals are stunning here. High-pitched, and ice cold: Once had a love, And it was a gas… Soon found out, Had a heart of glass…

She doesn’t bother singing in full sentences, and sprinkles fun Americanisms – mucho mistrust… and we coulda made it cruisin’… around the place. Best of all, she sings about heartbreak, about her glass-hearted lover, as if the loss is all his. She knows she’s hot, and that she won’t be single for long. Half of the time you can’t understand what she’s saying – in researching the lyrics for this post I realise that I’ve been singing the wrong lyrics for years. Riding high, I’m lost to the good life… is actually Riding high, On love’s true bluish light… for example.

I know I’ve moaned a lot about recent chart-toppers going on for too long, but when it comes to this record then the longer the better. Mainly because the 12” version has the drum-machine intro missing from the 7”, and the song’s sassiest line: Soon turned out, To be a pain in the ass… In actual fact, there are so many edits of this song that there’s a version for everyone: intro, no intro, third verse, no third verse, extended disco breakdown…

Originally, when Blondie first recorded the demos for this song, several years before it was a hit, they called it ‘The Disco Song’. And you can see why. They were already a chart force, with guitar driven post-punk hits like ‘Denis’ and ‘Hangin’ on the Telephone’ before this took them stratospheric (and caused an inevitable, ‘Disco Sucks’ backlash.) They’ll be the biggest band in the land for the next couple of years, with one of the strongest ever runs of #1 singles, starting right here. Don’t go anywhere!

432. ‘Hit Me With Your Rhythm Stick’, by Ian Dury & The Blockheads

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Officially into 1979, then. The end of the decade is in sight. Meanwhile, a funky groove slinks in…

Hit Me With Your Rhythm Stick, by Ian Dury & The Blockheads (their 1st and only #1)

1 week, from 21st – 28th January 1979

We start mid-riff, and it feels like the doors to a club have just opened wide, filling the night with possibilities. And yes, this is definitely a song you can dance to. But it is so much more than that. For starters, we’re off on a trip around the world…

In the deserts of Sudan, And the gardens of Japan… we see Milan, then Yucatan. Every woman, Every man… Taking up where the Village People left off, there’s more innuendo ahoy: Hit me with your rhythm stick, Hit me slowly, Hit me quick! Is it about dancing? Is it about sex? Or is it about both? After about thirty seconds, does anybody care?

There’s a lot to love here. The whiplash sound effects after each Hit me! The frenzied piano that comes in midway through. The angry saxophone solo, which includes a note so jarring that it would ruin many a lesser song. But the main highlight is Ian Dury’s vocal performance. He sings, he croons in cockney, he squeals, he rolls certain sounds around in his mouth as if they were a fine brandy.

Contrast the way he caresses Borneo with the way he barks, in German: Das ist gut, Ich liebe dich! And the way every Me! is different. Mu-eeeh! Meeeeaaah! May! And my personal favourite, the one where he dog-whistles as if his bollocks are in a clamp. We’re four hundred and thirty two #1s in, and there can’t have been any with a lead singer so energetic, so enthusiastic, so borderline unhinged. Ian Dury had been a singer for many a year before forming The Blockheads in 1977. A bout of polio as a child had left him with a withered left arm and leg, but he was an enigmatic performer. In his very own words, from this very same single: It’s nice to be a lunatic!

It must be hard to write a song so strikingly inventive, and yet so dumbly catchy. It works on all levels. It is New Wave, I’d say, but sounds so different from our first New Wave chart-topper, ‘Rat Trap’, proving just how hard a genre this is to pin down. By the end, as the choppy guitars come in, and we clunk to an abrupt ending, as Dury howls his HIT ME!!s over the maelstrom, things have suddenly gotten very punk. We may never have had a real ‘punk’ #1, but the movement did at least pull aside the drain covers, allowing wonderful weirdos like Ian and his Blockheads to emerge.

They weren’t around for long, but The Blockheads did manage one further Top 10 single, ‘Reasons to Be Cheerful, Pt. 3’, on which Dury performs what must be one of the British chart’s first raps. He passed away in 2000, from cancer, but his legacy lives on. There’s ‘Spasticus Autisticus’, for example: a provocative riposte to what Dury saw as the patronising ‘International Year of Disabled Persons’, there’s ‘Sex and Drugs and Rock ‘n’ Roll’, and his acting. But above all, there’s this crazy little one-week wonder, perhaps the ultimate ‘January #1’. Go on then … Hit me, one more time! (No wait, wrong song…)

431. ‘Y.M.C.A.’, by Village People

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Hitting #1 on the very last day of 1978… And what better soundtrack for your NYE party?

Y.M.C.A., by Village People (their 1st and only #1)

3 weeks, from 31st December 1978 – 21st January 1979

It’s an intro that pricks your ears right up. Disco drums, and an ominous foghorn. Once, twice, thrice… Just enough time to steamroller your way from the bar to the dancefloor. Then it explodes. Some songs build to a climax; this is four and bit minutes of pure climax. Exuberant – that’s the word I’d use. The horn blasts, the lead singers’ full throated vocals, the chorus. Nobody ever came away from listening to ‘Y.M.C.A.’ feeling sadder than before it started.

Young man! There’s no need to feel down… A small-town boy steps off the Greyhound bus in downtown NYC. The Big Apple. He looks up at the skyscrapers and gulps. Where should he go first…? Luckily for him he meets a kindly cowboy, policeman, builder, biker, soldier and, um, native American who offer to show him the ropes. It’s fun to stay at the YMCA, they tell him… They have everything for young men to enjoy, You can hang out with all the boys…

The one bit of trivia that everyone knows about the Village People is that only the cowboy was gay. Or was it the cop? Or the construction worker…? OK. Everyone knows that only one of the six was gay. (Actually, almost every source I checked says something different. They were all gay. Half of them were gay. The cop was the only straight one…) Either way, ‘Y.M.C.A’ is a pretty gay song. There is very little coding going on. I assume that people in 1978 knew perfectly well what these muscular, moustachioed men were hinting at… (I wasn’t around, so would welcome input from those who were…)

Which means that – despite the song having morphed into a kids party, wedding disco, nudge nudge wink wink bit of pantomime – this is a pretty significant moment in pop music history. Gay culture rammed down the throats – so to speak – of granny and grandad as they sat through Top of the Pops. However, one of the song’s writers, Henry Willis, claimed that it was simply a straight-faced run through of the wholesome activities on offer at your nearest Young Man’s Christian Association. Which is certainly one way to read it…

Anyway, back to the song. My favourite bit is one that your average wedding DJ cuts off, on the 12” version, when the horns take over and we sashay to a glorious finish. There’s a hint of melancholy about the ending. Our young man, freshly scrubbed and fed, still has to make his way in the big city. Maybe he’s been chucked out of his home? How will he survive? Also, knowing now that AIDS was but a couple of years away when this hit #1 adds even further poignancy.

Apparently, a few years ago Village People claimed they would sue anyone who referred to ‘Y.M.C.A.’ as a ‘gay anthem’. Which feels like a pretty late attempt to rewrite history. Any band that names itself after New York’s gay district, dresses one of its members up as a leather daddy, and releases songs like ‘Y.M.C.A’, ‘Macho Man’, and ‘In the Navy’ (can’t you see we need a hand…) will struggle to pass that argument off in court.

Still, subtexts aside, this is a song that everyone can enjoy, and that everyone still does enjoy. A song that, for me, will never really be ruined through over-exposure. A song that perhaps doesn’t get the recognition it deserves as high-quality pop. And, even though it hit the top on Hogmanay ’78, I’m counting it as Part I of early 1979’s run of classic chart-toppers. More of which are coming up very, very soon.

PS. Interestingly, the famous spell-out-the-letters-with-your-arms-above your-head dance doesn’t feature in this original video. Not sure when that became regulation…

430. ‘Mary’s Boy Child / Oh My Lord’, by Boney M

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One of this blog’s main drawbacks rears its head once again: Christmas songs in July. Oh well… Boney M’s 2nd discalypso hymn of the year. Ready?

Mary’s Boy Child / Oh My Lord, by Boney M (their 2nd of two #1s)

4 weeks, from 3rd – 31st December 1978

It’s a wonder why more acts don’t do this: rush out a Christmas single while at the peak of their popularity. Maybe, just maybe, it’s because the results might sound a bit like this… The steel drums are back, the insistent, steady pace of ‘Rivers of Babylon’ remains. It could be the same, karaoke-ish backing track.

But we do get off to a positive start when I realise that ‘Mary’s Boy Child’ / ‘Oh My Lord’ is not the double ‘A’-side I’d first feared; but a medley. Our first (official) chart-topping medley! (*Edit* Since Winnie Atwell.) And thank goodness because, for my money, the ‘Oh My Lord’ section – newly written by Boney M’s founder Frank Farian – is the best thing about this song. Oh my Lord, When in the crib they found him, Oh my Lord, A golden halo around him… as a backing singer harmonises. It’s nice.

We’ve heard the main bit of song atop the charts before, of course, way back in 1957. Harry Belafonte’s treatment of it was a bit more hushed and reverential. Not that Boney M sound sacrilegious or anything – they do sound genuinely Christian – but it’s hard to sound too pious with that rinky-dink Eurodisco backing. One thing that does work is the way that the band’s Caribbean accents add a slight gospel flavour to the vocals.

One thing that seems to be a very late-seventies phenomenon is the length of our chart-topping singles. This must be the era of the longest average #1. The 7” of this ditty runs to close on six minutes, while the 12” keeps things running for another minute or so. Why, oh why? Pop songs rarely need to run over 3.5 minutes, I’d say, yet disco seemed to encourage indulgence.

Again, as the song plods on and the minutes pass, my mind turns to wondering why this, and ‘Rivers of Babylon’, gave Boney M their pair of chart-toppers, and not ‘Rasputin’, ‘Daddy Cool’, ‘Sunny’, even ‘Ma Baker’… Rare is it, I suppose, for an artist to be properly represented by their chart positions. Anyway, this was the fourth festive themed Christmas #1 of the 1970s – after Slade, Mud and Johnny Mathis – making it officially the Christmassiest decade ever. It’ll be six years until the next one. But, on the plus side, we are about to enter 1979, and are on the cusp of some all-time great chart-topping singles. Bring it on!

429. ‘Da Ya Think I’m Sexy?’, by Rod Stewart

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And so we come to one of the most misunderstood chart-toppers. This record has been parodied, mocked, hated…

Da Ya Think I’m Sexy?, by Rod Stewart (his 5th of six #1s)

1 week, from 26th November – 3rd December 1978

But more on that in a bit. For a moment, let’s just enjoy the disco drums, and that well-known synth riff. Let’s enjoy the bass line. Let’s enjoy the fact that Rod Stewart’s 5th number one single is not an acoustic ballad. She sits alone, Waiting for suggestions… He’s so nervous, Avoidin’ all the questions… It’s a song about two shy people hooking up in a bar. At least, wanting to hook up in a bar. What should they say to break the ice? Luckily, Rod has a not-so-subtle suggestion…

If you want my body, And you really need me, Come on sugar let me know… It works. She calls her mother, and they’re back off to his place for a night of passion. Problem is… nobody seems to realise that that’s what this song is about. People know the chorus, and think that Rod Stewart’s singing about himself. They think he’s full of it, he’s disappeared up himself, he’s ridiculous… And it would be ridiculous, to write a song like this, about yourself. But that’s not what’s happening.

I say this as someone who knew the chorus and little else before writing this post. I assumed that Rod had let himself be swept up in the hedonism of disco. I pictured him singing this to himself in a nightclub of mirrors, coked off his tits. But no. He’s telling a story, as he does in so many of his songs. The line about them waking up the next morning and being out of milk and coffee is an observation straight out of ‘Maggie May’. And the middle eight is glorious: Relax baby, Now we’re all alone…

Of course, it’s not hard to see why this is seen as something of a novelty. The title, for a start. Plus, Rod made the dubious decision to play the song’s male protagonist in the video, frolicking on a bed with a gorgeous blonde. (Well, why not?) Then there’s the album from which it’s the lead track: ‘Blondes Have More Fun’, and its cover featuring Rod in a clinch with a leopard-print wearing woman. And then there’s the B-side, ‘Dirty Weekend’ – a song I love but not one that could ever be described as ‘classy’…

There is one other reason why some don’t like this disc. It is, pretty unashamedly, disco. Rock stars shouldn’t do disco! Disco, as many would start to claim around the time this hit #1, sucks! (These people were idiots; but their opinions stuck. Disco is heading for one final, glorious swansong, before crashing and burning.) At least this song not boring, or earnest, or acoustic… It’s not perfect. The sax solo is extravagantly long. In fact, the whole song is extravagantly long, as the age of the disco 12” demanded.

In my mind, ‘Do Ya Think I’m Sexy?’ exists first and foremost as a Eurodance remix, by N-Trance, which was a #7 hit when I was twelve or so (I had it on cassette…) And as a sketch by the late Kenny Everett, a good friend of Rod, in which he prances around as Rod to this song, with a ridiculously oversized arse. It has left a cultural legacy, this record, for better or worse. Which means it’s still a famous chart-topper and, underneath it all, a pretty darn good one!

423. ‘Rivers of Babylon’ / ‘Brown Girl in the Ring’, by Boney M

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I’m going to describe the intro of this next #1, in case you’ve never heard it, as Chicory Tip’s ‘Son of My Father’ spliced with Johnny Mathis’ ‘When a Child Is Born’. I’m not sure if that sounds horrendous or amazing. Either way, the rest of the song sounds very little like this weird, waves-washing, rocket-landing intro…

Rivers of Babylon / Brown Girl in the Ring, by Boney M (their 1st of two #1s)

5 weeks, from 7th May – 11th June 1978

The rhythm comes in, and we have a new genre atop the charts: discalypso. Oh, yes. A pounding beat spliced with steel drums. By the rivers of Babylon, Where we sat down… They’re not your average disco lyrics, either… Yeah we wept, As we remembered Zion… It’s distinctive, it’s new, it’s two sounds that have appeared plenty of times in this countdown – disco and reggae – reimagined. But… It’s not great. It plods along, you see, and the pious lyrics bog it down. Why would you want to dance to a song with lyrics like: Now how shall we sing the Lord’s song, In a strange land… To think that this was a number one for Boney M, and not ‘Daddy Cool’ or ‘Rasputin’ upsets me.

When you lump this in with recent chart-toppers from Baccara and Brotherhood of Man, it’s clear that this kind of Eurodisco is becoming a popular chart force. I was going to call it ‘Eurotrash’, but that seems harsh on a song that is literally quoting the Bible. Plus, when you add the fact that the original – a Jamaican hit from 1970 – is all about Rastafarian persecution (‘Babylon’ being slang for the police), and the obvious comparison with Desmond Dekker’s seminal ‘Israelites’, there’s clearly more to this tune than first meets the ears.

Long term readers of this blog will know that one of my pet peeves is a double-‘A’ holding two similar soundings songs. Alas, that’s what we have here. In fact, Boney M up the steel drums and go all out on a Caribbean nursery rhyme. Brown girl in the ring, Tra-lala-lala! (the tra-lalas get quite annoying, quite quickly) She looks like a sugar in a plum! At least this one has a slightly more urgent tempo to it, compared to ‘Rivers of Babylon’, but any foot-tapping that occurs is a knee-jerk response. It’s another one I can’t imagine dancing to…

I suppose it is quite cool that an old West Indian folk song appeared at the top of the UK singles charts, talking about fried fish and Johnny cakes, and the fact that nobody is quite sure where or when it first originated means that it could be our ‘oldest’ ever #1. But both these songs have you checking how long is left (neither needs to run for over four minutes!), and to listen to both on repeat, as I have just been doing, is a slog.

But what do I know? ‘Rivers of Babylon’ / ‘Brown Girl in the Ring’ is officially the 7th best-selling single in British chart history, one of only seven discs to sell over two million copies. Why? Well, the late-seventies was pretty much the peak era for single sales – ‘Mull of Kintyre’ was another massive seller we met not long ago – and I’ll be posting several more over the coming weeks. Plus, after ‘Rivers…’ had kept this record at #1 for five weeks in May, DJs simply flipped the disc, started playing ‘Brown Girl…’ and the record shot back up to #2 in September!

Boney M were nominally a West German band (their first seven releases all hit #1 on the German charts!), but all four members were of Caribbean origin, which at least gives these two tunes some authenticity. They’d been a chart force in the UK since ’76, and they will be back on this countdown soon enough with, yes, another disco-hymn. Yay…! As I write, the band are having a comeback in the charts of 2021, with a remix of their masterpiece ‘Rasputin’ (Russia’s greatest love-machine!) Maybe it’ll finally get to #1…?

422. ‘Night Fever’, by The Bee Gees

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Some songs from the mid-to-late seventies have a whiff of disco about them: subtle grooves, funky guitars, a nod to the disco-ball… While some songs of the time are drowning in the stuff, as the genre comes close to imploding in a cloud of glitter. Can you guess which camp this next #1 falls into?

Night Fever, by The Bee Gees (their 3rd of five #1s)

2 weeks, from 23rd April – 7th May 1978

The Bee Gees are back, and they’ve gone for a pure and utter disco approach. The guitars go chucka-chucka, the strings swirl, things go ‘ting’… And then there’s the falsettos. Night fever, night fe-ver… By now these voices have gone beyond parody, but here in the moment it really hits you. We know how to show it… (Not that this was a comeback single for the band – they’d been ‘disco’ since ‘Jive Talkin’ came out in 1975.)

Nothing about this song, though, hints at the band who scored their first couple of #1s in the late sixties. In a blind listening test, I doubt anybody would think this was the band that recorded ‘Massachusetts’. And here’s the thing… I thought I’d be finding this song really annoying. This, along with ‘Stayin’ Alive’, ‘Tragedy’ et al are engraved in popular culture: well-loved, but cliched, and very high-pitched. Songs I know but rarely choose to listen to. Yet this is fun – a catchy slice of peak-era disco.

The high-point – in more ways than one! – comes with the bridge. Here I am, Prayin’ for this moment to last… Everything soars: voices, strings and synths… Borne on the wind, Making it mine… It’s a great pop moment, and really conjures up a mood of walking along the street, thinking of the clubs, the cocktails, and the dancing that lies ahead. The only problem is that the vocals go so high that it’s bloody hard to sing along!

‘Night Fever’ was of course from the soundtrack to ‘Saturday Night Fever’ (a film I’ve never actually seen), along with ‘Stayin’ Alive’, ‘How Deep Is Your Love’, and ‘More Than a Woman’ – disco giants the lot of them. The soundtrack was ginormous in the US, with three Bee Gees songs in the Top 10 as ‘Night Fever’ spent eight weeks at the top. It wasn’t quite as big in the UK – we opted to go wild for singles from another movie soundtrack (more on that very soon) – though the soundtrack topped the album chart for months on end.

This record hits #1 just under a decade after the Bee Gees previous chart-topper, ‘I’ve Gotta Get a Message to You’. It’s a long gap, but not the longest so far. That honour goes to Frank Sinatra, and the twelve years between ‘Three Coins in the Fountain’ and ‘Strangers in the Night’. What is impressive is that the Brothers Gibb will take not one, but two, decade-long hiatuses from the number one spot. Few acts have ever matched their longevity…

414. ‘Yes Sir, I Can Boogie’, by Baccara

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Our next #1 intros with some very heavy breathing. Things haven’t sounded this steamy since Serge Gainsbourg and Jane Birkin supposedly did the actual dirty in the recording studio. Add in the chucka-chucka guitars and a thudding bass, and we’ve got a bit of a blue movie vibe…

Yes Sir, I Can Boogie, by Baccara (their 1st and only #1)

1 week, from 23rd – 30th October 1977

Mister, Your eyes are full of hesitation… You’re left in no doubt as to the nationality of this duo, the second the vocals start. Which makes me wonder, If you know what you’re looking for… You wonder if they were playing up their Spanish-ness, for the novelty value… Is it I can boogie-boogie? Or boogie-woogie? Or should we stick with what it sounds like: boogie-voogie?

The obvious comparison to make is with ABBA: two female singers, from Europe, with slightly idiosyncratic pronunciation. Except, Agnetha and Frida never came out with a line like: You try me once, You’ll beg for more…! Pure smut! Outrageous. I love it. They can boogie, but only with a certain song… All night long…

It’s already a great disco tune, but the second verse elevates it to genius level. Baccara break the fourth wall: Yes sir, Already told you in the first verse, And in the chorus, But I will give you one more chance… This is pure tongue-in-cheek, camp brilliance, and it goes on from here, all strings, scuzzy disco riff, and heavy breathing, to its conclusion. You do wonder if this marks a line in the sand for disco, though. It’ll be disco with a capital D.I.S.C.O for the rest of the seventies… Boney M, Bee Gees, Village People, ‘I Will Survive’… Did Baccara perhaps free the genre from any lingering attempts to be cool?

Then again, ‘Kung Fu Fighting’ was three years ago, right at the dawn of disco. Whatever. I am here for disco’s descent. I’m no snob! And what better way to begin the descent than with this tune, that may or may not be sung from the point of view of a prostitute. (Not to suggest that María Mendiola and Mayte Mateos – the two members of Baccara – were anything of the sort!) ‘Yes Sir…’ was their debut hit, a smash across Europe and, apparently, the best-selling single ever by a female group, with worldwide sales of over 18 million! When I discovered that their #8 follow up was called ‘Sorry, I’m a Lady’ I rushed to check it out. (If you thought ‘Yes Sir…’ was camp froth then brace yourself! Sample lyric: Sorry I’m a lady, I would rather be, Just a little shady…)

And then that was it as far as the UK charts were concerned. They went their separate ways in the ‘80s, but both ladies continue to perform under the ‘Baccara’ name. Although it is appropriate that I’m posting this on Eurovision weekend, as the duo represented Luxembourg in 1978 with ‘Parlez-vous Francais?’, finishing 7th.

As a postscript, ‘Yes Sir, I Can Boogie’ returned to the charts at the end of last year following the Scotland national team’s qualification for a first major tournament in twenty-three years!! (Sorry, excited Scot here) The team danced to it in their dressing room in celebration, and Mendiola offered to re-record it in their honour ahead of the tournament. We’re just waiting to see if they take her up on it…

409. ‘I Feel Love’, by Donna Summer

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The Jacksons and Hot Chocolate were merely our disco’s warm-up acts, setting the tone and getting the audience limbered up. The headline act is ready now. Ms. Summer will take the stage…

I Feel Love, by Donna Summer (her 1st and only #1)

4 weeks, from 17th July – 14th August 1977

This is a shift forwards. They come along every few years, number ones that announce a new phase, a new sound, a real moment in popular music. ‘Rock Around the Clock’, ‘How Do You Do It’, ‘Rock Your Baby’… Rarely, though, do the records in question sound as if they are from another galaxy altogether.

The first thing that hits you, after a short fade in, are the Moog synthesisers. They are harsh, drilling into your brain. We’ve had synths before, plenty of times, but not used like this. This feels like a slap in the face. Meanwhile, Donna Summer’s voice floats high above: ethereal, echoey… so unhuman that it could be as computerised as the music. It’s like her vocals were recorded years before, like this is already the remix.

It’s so good… There’s not much to the lyrics, really. Donna Summer is not the star of the show here – although her vocals are a huge part of the song’s appeal, and its legacy. I feel love, I feel love, I feel lo-o-ove… The stars are Giorgio Moroder’s synths: clanking, chirping, burping away. He layered them, he overdubbed them, he played them slightly out of sync with one another… They’re a world away from ‘Son of My Father’… You start to get a little dizzy if you play this for long enough at a high volume. I can’t imagine what it would have done to you in a sweaty disco in 1977. But you can picture it – the lights, the vibrating speakers, the amyl nitrate in the air…

It’s not a particularly nice song. It’s not one for any old time of day. But it is spectacular. And it’s not disco, at least not the kind of sparkly, flirty disco that’s been the dominant sound of the past few years. It’s dance music. EDM ground zero. (Though I’m not saying this invented dance music in one fell swoop. That’s the problem with only reviewing the chart-topping singles – it’s not an exact overview of popular music as a whole.) But what’s for sure is that it sounds not unlike something a big-name DJ could produce in 2021.

The best bit – sorry Donna – is when everything falls away but the metallic beat. We’re left with a thumping heartbeat, and what sounds like a mouse rattling around in your skirting boards. On ‘I Remember Yesterday’, the album this single is taken from, each track was designed to sound as if it were from a different era. ‘I Feel Love’ was the final track. The future.

For your pleasure, you can choose from the four minute single edit, the six minute album version, or the eight minute extended 12” mix. (We could stretch a case for this being the longest #1 single yet, but we’d be chancing it.) The #1 that this most reminds me of – not in terms of sound, but in terms of impact and weirdness – is another futuristic hit: ‘Telstar’. That, though, was an isolated one-off. Not many subsequent records have sounded like ‘Telstar’. Large swathes of the 1980s will sound like ‘I Feel Love’.

It is a shame that Donna Summer’s only UK #1 is this. Not that it’s not great, but she isn’t the main thing about it. If this was a more recent release, it’d be Giorgio Moroder ft. Donna Summer. The producer would be the star. In the US, this wasn’t a #1, but her other classics were. ‘Bad Girls’, ‘Hot Stuff’, ‘No More Tears (Enough Is Enough)’… I may have to do a Donna Top 10 very soon, as I’m not happy with her just having one appearance on this blog. She passed away in 2012, recognised as an influence on every disco act, every dance act, and every black woman who had hit the charts ever since.