1988, then. And the year begins with a bang. And, ooh baby, do you know what that’s worth?
Heaven Is a Place on Earth, by Belinda Carlisle (her 1st and only #1)
2 weeks, from 10th – 24th January 1988
Oooh heaven is a place on earth… It’s a song that stretches itself across a lot of ‘80s sub-genres. The chords are power pop, the guitars are glam, the soaring vocals are very of-the-moment power ballad. And they all add up to a great pop song, with just enough of an edge to widen its appeal beyond teeny boppers.
In fact, I’d say that ‘Heaven Is a Place on Earth’ represents as a UK #1 a lot of the rock-pop-power ballad fare sung by women – think Heart, think Joan Jett, think Cher in black leather straddling a ship’s cannon – that was slightly more successful across the Atlantic in the mid-to-late eighties.
And Belinda Carlisle did have an authentic rock background, having been singer for punk/new wave band the Go-Gos in the late seventies and early eighties. So I was imagining ripped jeans and spiky hair, a la the aforementioned Joan Jett (another punk alumnus). But Belinda Carlisle has much more of a ‘girl next door’ vibe in the music video – nice lip-gloss and bouncy hair – even when she’s writhing against walls. While she was almost thirty when this was released: pretty old for a girl next door, and for a female pop star in general, so fair play to her.
The song at times does indulge a few too many eighties practices. It’s very glossy – that goes without saying – and while the guitars do snarl they remain pretty restrained, like an angry bulldog shackled to a pole. The break in the middle is meandering, as if they were intending to add a proper solo but forgot. And there’s a gigantic key-change, which has apparently been named as ‘one of the best key-changes in music history’… I don’t quite hear that. A fairly common-or-garden key change, for me.
These are minor quibbles, though, with what is a pretty strong pop-rock song. It’s a positive start to 1988, keeping the lively pace set by Pet Shop Boy’s ‘Always on My Mind’. Actually, we’ve hit of a vein of pop classics, and they’ll keep coming for the next couple of posts. But… As good as ‘Heaven Is a Place on Earth’ is, it doesn’t compare to Carlisle’s best song: the lead-single from her next album, the George Harrison featuring ‘Leave a Light On’. It would make only #4, in 1989…
They’re back. Again! One of the most resilient pop groups in history returns for a final hurrah on top of the charts…
You Win Again, by The Bee Gees (their 5th and final #1)
4 weeks, from 11th October – 8th November 1987
I’m not sure quite how many reinventions The Bee Gees went through in total. But in chart-topping terms, this is Bee Gees MK III. Folk-tinged pop in the ‘60s, disco behemoths in the ‘70s, now a middle-aged, man-band. (In the video, they’re all sculpted beards, lounge bar jackets and, er, a beret.) But while ‘middle of the road’ is usually thrown about in an insulting way, I’d say this is one of the best examples of the genre.
In fact, I’d say this is my favourite of their five #1s. I love the clanking, industrial intro. I love the deeper timbre of Barry Gibb’s voice, compared to their famous disco falsettos. (It does re-appear, almost, in the second verse.) And then, by the chorus, an initially dark and melancholy number has turned into an Irish jig of a tune. But it’s all still very recognisably Bee Gees – their sound is so flexible and, while they haven’t always been fashionable, they’re one of the best pop song-writing teams ever.
Certain moments are a little too glossy for my tastes. It is still 1987, after all. The high synth notes are catchy, if of their time, and the electronic horns in the solo are a cheesy touch too far. There is also an unintentionally (or not?) filthy line in the second verse, as Barry describes how he’s going to win back his woman: Gonna hit you from all sides, Lay your fortress open wide…
‘You Win Again’ was a huge comeback for the Bee Gees. It was their first Top 40 hit since 1979, and it made them the first group to score #1s in three different decades. (Elvis, Cliff and Paul McCartney having already got there as soloists.) It was also a huge hit across Europe, but in the US ‘disco-sucks’ seemed to have stuck to them, as it got no higher than #75. Though we should mention that they were so heavily involved in Diana Ross’s own big comeback smash, ‘Chain Reaction’, as writers and backing singers, that they should probably have been given a ‘featuring’ credit.
Anyway, ‘You Win Again’ set them up as MOR superstars, and they’d score intermittent Top 10 hits throughout the nineties, including ‘For Whom the Bell Tolls’ (which for a long time I thought must be a Metallica cover…) and the brilliant ‘Alone’ in 1997, which was on the very first NOW album I owned. (‘Now 36’… I think. Or ‘35’… Or maybe ‘37’. Memory ain’t what it used to be…) In 2003, Maurice Gibb died unexpectedly, and the remaining two brothers retired the Bee Gees name out of respect. In 2012, Robin died from cancer, while Barry still performs the band’s music in his solo tours.
Question: has a song ever been written specifically with karaoke in mind? Songs are written for movie themes, for radio play, for their stream-ability… So what about a song for karaoke bars?
Nothing’s Gonna Stop Us Now, by Starship (their 1st and only #1)
4 weeks, from 3rd – 31st May 1987
For if ever a song were written for drunk people who shouldn’t be let anywhere near a microphone, ‘tis this one. It’s a duet, for a start, and one that’s pretty easy to sing. It’s got a steady, thumping, drum-led pace. It’s got moments for wannabe rock stars to let loose – woah-oahs and heys, that sort of thing – and a solo that begs to be air-guitared along to. Above all, it’s got the sort of message that appeals to people on their third cocktail of the evening. We can build this thing together, Standing strong forever, Nothing’s gonna stop us now…
I’d say that this record is a bit of a bellwether hit: a test of how much you can tolerate the worst excesses of the 1980s. If you can stomach it, this is a classic of its kind. Yes it’s cheesy, ridiculous, over the top… the little break between the bridge and the solo is perhaps the precise moment the ‘80s peaked (these moments keep coming along, and the decade keeps outdoing itself)… but it’s great fun. And it’s from one of the archetypal eighties movies, ‘Mannequin’, in which Kim Cattrall plays a store-front dummy that comes to life. Hi-jinks ensue, presumably (I’ve never seen it…) On the other hand, if you see the eighties as a decade of style (and hair) over substance, in which true musicianship got lost behind synthesisers and shoulder pads, then ‘Nothing’s Gonna Stop Us Now’ is presumably high on your list of worst offenders.
A lot of the hate probably stems from what the band Starship once was. Few acts have had a longer journey from their original incarnation to their most successful line-up. Jefferson Airplane, ground-breaking ‘60s psychedelic act, with two tracks on Rolling Stone’s 500 Best Songs Ever, split in two. One half became Jefferson Starship, a more commercial sounding, but still well-respected rock band. Due to legal threats from the other members of Airplane, they had to drop the ‘Jefferson’ in 1984. By the time this happened, none of the original members remained, apart from the female lead on this song, Grace Slick, who had recently returned to the fold. So far, so Sugababes… (Though the three bands chopped and changed members so much I may be mistaken on this, and am happy to be proven wrong…)
So, even though Starship no longer shared a name, and barely any band members, with their predecessors, they seem to have been a shorthand for the way popular music had degenerated since the late sixties. Coming at this as someone who neither lived through it, nor has listened to much (OK, any) Jefferson Airplane, I can kind of get the hate. (Sugababes MK III had some decent songs, but they weren’t a patch on MK I.) But at the same time: it is snobbery.
Where people’s ire should be directed is the truly horrific ‘We Built This City’, Starship’s debut #12 hit, from 1985. That is a song that I cannot abide, one that takes every truly hideous ‘80s production technique in the book and turns them all up to eleven. ‘Nothing’s Gonna Stop Us Now’, though…? I’ve belted this out at karaoke nights, and would do so again, happily. In the UK, this was Starship’s only Top 10 hit, though they had more success in the States. When the hits finally dried up in the early nineties, there was one final regeneration for this most Dr Who of rock groups… Into ‘Starship featuring Mickey Thomas’ (the lead male vocalist on ‘Nothing’s Gonna Stop Us’), which they still tour under today.
Our next number one reminds me of something… Glossy, confident synths. Broad power chords. A former frontman going solo… Ah yes… It takes me all the way back to two chart-toppers ago, and Midge Ure’s ‘If I Was’.
A Good Heart, by Feargal Sharkey (his 1st and only #1)
2 weeks, from 10th – 24th November 1985
I do like the intro here. In fact it might be my favourite part of the song, the way that it gives the feeling of racing down a motorway, with the chiming guitars sounding like cars flying past in the opposite direction. I have no idea if that’s what they were going for, but it’s great. Really great, until Feargal Sharkey starts singing.
And this is no slight on his voice, which is fine. A lovely Northern Irish tenor. But I’m a big fan of The Undertones, and to hear Sharkey’s voice so far away from the pop punk I love is just kind of weird. His blue-eyed soul in the bridge: Well I know, Cause I learn a little, Every day… is at once impressive, and disconcerting. It sort of proves the point I made last time, when writing about ‘The Power of Love’: for whatever reason, I can swallow heartfelt and earnest much more readily when it comes from a female singer.
Away from the vocals, ‘A Good Heart’ falls into the same trap as ‘If I Was’. It’s a little full of itself, a little burdened by the weight of what it wants to be. I’m not sure why everyone was getting so serious in the autumn of 1985, but AOR was clearly the order of the day. I’m starting to long for a cheesy boyband… (OK, I may have sneaked a peek at who’s up next.)
My second favourite part, after the intro, is the echoey guitar in the solo. AOR it may be, but at least the ‘R’ really does stand for ‘rock’ in this record. The bassline is pretty cool, too. On the whole, I like this. I like it better than ‘If I Was’, at least, which seems the obvious comparison. (I’m still undecided, though, on the very strange adlibs, both by Sharkey and by his backing singers, in the outro…)
But then I’m tempted to imagine if Feargal (it’s pronounced ‘Fergal’ btw – I just had to check) Sharkey’s one and only #1 had come with The Undertones. ‘My Perfect Cousin’ at number one! Or ‘Get Over You’. Or even ‘Mars Bars’! Or, of course, ‘Teenage Kicks’… And then I remember that that will get to #1, eventually, and I weep for what became of it…
This is by far Sharkey’s biggest solo hit. He moved into the business side of the music industry in the ‘90s, even turning down the chance to re-join The Undertones in 1999. He’s done OK, though, receiving an OBE for services to the industry. Meanwhile, this record also brings together a past and a future chart-topper: Dave Stewart of Eurythmics produced it, while Maria McKee – her number one still a few years away – wrote it.
Fresh from saving the world with Band Aid, the UKs very first charity chart-topper, Midge Ure returns to the day job…
If I Was, by Midge Ure (his 1st and only solo #1)
1 week, from 29th September – 6th October 1985
…with a record that is completely and utterly of its time. There are certain records that transcend, that you believe could have been a hit at any point in time. Then there are records like ‘If I Was’, that you can date almost to the week. This is the mid-1980s, in all its synthy, soaring, clinical glory.
I like the upward-moving chord progression. It gives the song purpose from the start, and gets you ready to expect something great. Something great that never comes… If I was, A better man, Would fellow men, Take me to their hearts…? It’s a very earnest song, in which Ure seems to doubt himself at every turn. If he was a soldier, a sailor, a candlestick maker (OK, one of those three may not be the actual lyrics…) would life be easier? Would he be loved?
It’s all very well being clever in a pop song. But I prefer when the cleverness is hidden behind a great tune. Here the music can’t make up for the lyrics, and it just comes across as a bit pretentious. I want to like the over-the-top-ness of it – the pure eighties-ness of it – but something’s missing. It’s not catchy enough, not silly enough, not something enough… Like I said: it’s clinical. It ends up a bit dull, and a bit long.
My favourite part is the clanging, ascending synth chords that lead up to the chorus. They remind me of a gameshow theme-tune, and are the one moment where Ure lets the silliness shine through. It doesn’t last, though, for straight off comes the chest-thumping chorus: If I was a soldier… Captive arms I’d lay before her…
I genuinely hadn’t heard this record before today, which is an increasingly rare thing as we head closer and closer to my own lifetime. Is this because ‘If I Was’ is very of its time, and hasn’t been played on radio since 1987? Or is it because it’s not very good…? A combination of both, I’d say. I’d also suggest that it only made #1 because of Ure’s Band Aid fame, but that might be a little harsh. He was a big star in Ultravox, and this was the lead single from his first solo album. Ure has been at #1 before, with the teeny-bopping, glam-rocking (and for my money much better) ‘Forever and Ever’, in 1976 with his first band Slik. This would be his last Top 10 hit, though he continues to record and tour, as well as keeping up his sterling charity work.
I do like an intro with a sense of purpose, with a bit of drama to it. This next number one has such an intro…
Easy Lover, by Philip Bailey (his 1st and only #1) with Phil Collins (his 2nd of three #1s)
4 weeks, from 17th March – 14th April 1985
To be honest, the rest of the song doesn’t quite live up to the theatre provided by the drums and power chords of the opening ten seconds. It sounds as if we could be shaping up for a proper classic… As it is, we have to settle for fun yacht rock.
Is this yacht rock, though? I have to admit that’s a genre I struggle to place. It always makes me think of Duran Duran’s ‘Rio’… But is that yacht rock, or is that just rock with a yacht in the video…? I think ‘Easy Lover’ is glossy and catchy enough to be yacht rock. She’s an easy lover, She’ll take your heart but you won’t feel it… It’s light and breezy – the woman sounds fun, rather than dangerous – perfect for a cruise along the southern Californian coastline.
Unlike some recent chart-toppers, though, the gloss doesn’t render this song too dull. Philip Bailey’s verses are almost funky, and his falsetto has an edge to it. Phil Collins provides a counterbalance, growling out his lines on the bridge… Now don’t try to change it just leave it… and his presence is presumably why the drums are front and centre here. You get the feeling that the pair had fun recording this, maybe even trying to outdo each other, and that adds to the enjoyment. Meanwhile, the guitar solo verges on proper hard rock.
This is a song I didn’t much know beyond the chorus. It’s a good one, though. Fun and lighthearted, clearly born of the mid-eighties but not drenched in the sound and recording techniques of the time. It still sounds pretty fresh thirty-five years on. On paper, a former member of Earth, Wind & Fire collaborating with a former member of Genesis doesn’t sound all that promising, given there wasn’t a huge amount the two bands had in common, but there you go…
Philip Bailey didn’t quite manage the same level of solo success as Phil Collins: ‘Easy Lover’ was his only significant hit away from the day job. And I wonder, is this the only occasion on which two people with the same first name have shared a #1 record…? It feels like something that must have happened more than once, but nothing springs to mind… Oh, and while we’re at it, let me know if you think this is yacht rock, or not, as well…
More balladry, as we continue into 1985. This winter has been very heavy on the slow dances. The closest we’ve come to a toe-tapper was ‘Do They Know It’s Christmas?’, which isn’t exactly anyone’s idea of a floor-filler…
I Know Him So Well, by Elaine Paige & Barbara Dickson (their 1st and only #1)
4 weeks, from 3rd February – 3rd March 1985
Except this next #1, while very much a ballad, has at least got a sense of theatre to it. The intro uses an intriguing combination of plinky-plonky synths and a distant guitar, with a hint of ABBA at their most bombastic (more on that shortly…) Then in comes Elaine Paige. And the second she opens her mouth, you can tell that this song comes from a stage musical.
Nothing is so good it lasts eternally… It’s the diction, you know. Enunciating for the back rows. Proper singing. It’s from ‘Chess’, a musical about, um, chess. Or more accurately, an American and a Russian Grandmaster who compete over the chessboard, as well as for the love of a woman. Elaine Paige is Florence, the Russian Grandmaster’s lover, while Barbara Dickson is Svetlana, his unfortunate wife (in the video Dickson is wearing a luxuriously fluffy ushanka hat, to confirm her Russian-ness).
Why do I enjoy this more than the previous chart-topper: another blockbuster ballad, ‘I Want to Know What Love Is’? In that post, I complained about power-ballads which take themselves too seriously. Power-ballads are inherently ridiculous, and if an artist pretends they aren’t then they end up looking pretentious. And it’s not that Paige and Dickson are taking the piss here; they sing it beautifully. It’s more that any song that’s been wrenched from a musical and slapped on a 7” will sound a bit silly. In Act III of the show all the vocal gymnastics and power chords make perfect sense; as a single it’s very OTT.
The way the chorus comes striding in… Wasn’t it good…! is a brilliant moment, as is the change in octave for the More securi-teee…! line. While the way the two women intertwine their lines towards the end is how all power-duets should end. I can’t imagine that this was at all a cool #1 in the playgrounds of 1985, but who cares for cool? It also helps when your ballad is written by two of the finest pop songwriters of all time, Benny and Bjorn from ABBA, alongside Tim Rice. You can hear it in the little synth and guitar flourishes, and the chord progressions (it’s based on ‘I Am an A’, a song that the band played on tour in 1977 but never released).
Not only does ‘I Know Him So Well’ give us our umpteenth ballad in a row, it gives us our third Cold War chart-topper in the space of a year. The real world encroaching on the pop charts yet again… And before writing this post I had no idea I’d be able to link it with ‘Two Tribes’, but there you go!
Before we go, I have to reveal my most tenuous of connections to this disc. Barbara Dickson is Scotland’s most successful female chart act and, as far as I know, the only chart-topping artist to have attended my high school. While that was a good thirty years before I stepped through the hallowed doors, I can still feel the most tepid of reflected glows as I write this post. Anyway. Up next… Raise your glowsticks to the sky! It’s not a ballad!!
1984 saw a battle take place at the top of the British charts. A tussle to the death between high energy pop and glossy ballads. The final score, I think, was Ballads 5 – 7 Bangers. Dancefloors across the nation rejoiced…
I Want to Know What Love Is, by Foreigner (their 1st and only #1)
3 weeks, from 13th January – 3rd February 1985
Except. The contest isn’t finished yet. 1985 kicks off with what is perhaps the ultimate soft-rock ballad… The steady drums, the background synths. A painfully earnest voice: I’ve gotta take a little time, A little time to think things over… And boy, do they take a little time. It’s so slow. What might be a chorus arrives, and dissolves back into the gloop as we plod on.
I think fist-clenchers like this (the video below literally opens on a clenched fist…) were ten-a-penny on top of the Billboard charts in the mid-eighties. That’s the impression I have, at least: REO Speedwagon, Boston, Peter Cetera, Mr Mister… All hits in the UK, to some extent, but not chart-toppers. Foreigner made it, though. Something about this one caught the British public’s imagination in the deep midwinter, as couples snuggled together around the fire…
The chorus, when it finally does arrive, a minute and a half in, is instantly recognisable. I want to know what love is… I want you to show me… It’s one that’s become ingrained in the popular conscience, which is usually a sign of classic status. But it just doesn’t do much for me. It’s too serious, too constipated… For power-ballads to work they need to be in on the joke, to an extent.
I don’t think that Foreigner had their tongues in their cheeks when they were recording this. By the second chorus, a gospel choir has been added to the mix, and lead-singer Lou Gramm is adding some (admittedly impressive) soulful adlibs. I think there might be a moment, a time in life, when a song like this clicks for you. I have yet to experience it, though.
As I wait for the song to reach its conclusion, some questions come unbidden to my mind. Did Foreigner have big hair…? (Yes, but not quite as big as it might have been. I think 1986/7 was peak poodle-perm) And who is the woman singing those wild backing vocals…? (Broadway star Jennifer Holliday – she’s the best thing about the song.)
‘I Want to Know What Love Is’ was Foreigner’s only #1, on either side of the Atlantic. They were regulars to the US Top 10 for at least ten years. In Britain, though, this was only their second, and final, Top 10 hit. ‘Waiting for a Girl Like You’ made #8. ‘Cold As Ice’ – a much better contender for their sole number one – only made #24…! As it is, 1985 carries on from where ’84 left: slow, steady and earnest. Up next in our ongoing game of ‘Ballad or Banger’… It’s another slow one…
Is there a softer-rock intro than that of this next #1? Woozy guitars, soaring strings, a gentle riff…
Woman in Love, by Barbra Streisand (her 1st and only #1)
3 weeks, 19th October – 9th November 1980
We came through the plodding soft-rock of the mid-to-late seventies – the David Souls, the Commodores, ‘If You Leave Me Now’ and more – and made it to the promised land of New-Wave. But any fears I have that this record might be the start of another soggy patch of MOR balladry are banished pretty quickly. Yes, this is glossy, and soppy, but if it isn’t a bit of an earworm too…
Life is a moment in space, When the dream is gone, It’s a lonelier place… OK, the lyrics are the usual love-song piffle: grand imagery that actually means very little. But Barbra Streisand sells it, cooing the verses and belting the chorus… It’s a right I defend…! she hollers. The right to be a woman in love. It’s hard to dislike any song when the singer goes for it as she does.
Also on this record’s side is the fact that it was written by two out of the three Bee Gees, who had spent the last couple of years ruling the charts (in the US in particular.) Pair the Gibb brothers’ pop nous with Streisand’s vocal chops and you’re on to a winner. Sometimes, yes, the Broadway-ness of ‘Woman In Love’ gets a little too much. It’s not subtle but, if you’re in the mood for it, perhaps three or four glasses of wine deep into a karaoke evening, then it’s a classic.
Streisand was of course already a huge star by this point in her career. ‘Woman In Love’, and the album it came from – ‘Guilty’, which features her and Barry Gibb clinching on the cover – was definitely the peak of her pop chart powers, in the UK at least. (In the US she had been charting since the mid-sixties, and had scored four chart-toppers before this, her last.)
While you could, and I did, draw a line from this back to seventies soft-rock, I feel like this is a different proposition from David Soul or Leo Sayer. Bigger, bolder, more muscular. Aggressive soft-rock? Can that be a thing? It’s definitely a window into what awaits later in this decade. In my post on David Bowie’s ‘Ashes to Ashes’, I wrote that that record was the most ‘eighties’ moment yet at the top of the charts. I’d add ‘Woman in Love’ here – for completely different reasons. In fact, this is something of a template, a ‘Women Singing Power Ballads 101’, that will last on through Whitney Houston, Celine Dion, Mariah Carey and Christina Aguilera, well into the next century.
Not only has 1980 had a lot of #1 singles, it’s had a wide variety too. Ska-punk from The Specials, TV-show weirdness from M*A*S*H, pop-perfection from ABBA… now this. Is it too early, ten months in, to name 1980 as the best year of the entire decade…??
Our fourteenth recap takes us from mid-1976 through to the spring of 1978. Almost two years, which seems to be pretty standard for a run of thirty number ones singles. And while I recapped the previous thirty as pretty madcap and thoroughly zany; this thirty have been a bit more, well, dull…
The easy listening years are back, for the first time since the fifties. Soft rock rules the day. From October 1976, when Pussycat took ‘Mississippi’ to the top, right through until The Jacksons re-started the disco vibe in June ’77, we were planted firmly in the middle of the road. Chicago gave way to Johnny Mathis, to David Soul, Leo Sayer and then even Rod Stewart failed to get our pulses racing.
It’s one thing to be bad – plenty of 1974-5 chart-toppers were terrible – but it’s another thing to be boring. You remember Telly Savalas’s ‘If’, and The Wurzels, perhaps not always for the right reasons, but still. And I don’t want to suggest that just because somethings soft and subtle it can’t make a good record – I gave ‘If You Leave Me Now’ and ‘Free’ pretty good write-ups, I think. But it all did get a bit much.
Thankfully, in amongst the sludge, a great record popped up every now and then. We kicked off this thirty with The Real Thing (a fine pop song), and took a detour back to the glam era with Showaddywaddy and, I guess, with Manhattan Transfer. Kenny Rogers spun a yarn about Lucille, her spurned husband and their crops in the field (OK, maybe not a ‘great’ record, but still nice to have a bit of C&W at the top.) We also had a first appearance at the top of the charts by Elton John (with Kiki Dee), and Michael Jackson.
And, as 1977 drew to a close things started to pick up. Thank Donna Summer: ‘I Feel Love’ came along and kicked the charts up the arse. Pretty much everything since then has been more interesting, with higher beats per minute. Brotherhood of Man told two tales of Spanish lovers in ‘Angelo’ and then ‘Figaro’, the latter in particular being entertainingly ridiculous. Speaking of camp fun, how can we forget Baccara? Yes Sir, they could boogie. While Elvis left the building, and went ‘Way Down’, a fun rockabilly-disco effort to bow out on, tying with The Beatles for most #1s ever in the process. And I almost forgot, we finally had another ex-Beatle at #1. Wings stayed there for nine whole weeks with a song about Bonnie Scotland, and a song about a ‘Girls’ School’ in need of a thorough Ofsted inspection.
One band, though, has dominated in a way few ever do. There’s a reason why those four heads have been my cover image for the past few months. 1976-78 was ABBA’s world; we were just living in it. Four chart-toppers in this period: most recently the straight-forward dance-pop of ‘Take a Chance on Me’, following on from two more experimental singles in ‘Knowing Me, Knowing You’ and ‘The Name of the Game’. And… oh yeah. There was ‘Dancing Queen’. That fairly well-known pop tune. Meanwhile, the nerd in me does enjoy the fact that their chart-topping runs went six weeks, five weeks, four weeks, three weeks… (And their next number one – some way off – will get two weeks!)
Let’s dish out some awards then, shall we. First up, the ‘Meh’ Award, ‘cause let’s be honest, a lot of our recent hits have been pretty darn ‘meh’. But like I said, just because a song is easy on the ears doesn’t automatically make it dull. So I’m giving Chicago, Leo Sayer and the likes a pass. I considered ‘Mississippi’, and I considered Deniece William’s fairly forgettable ‘Free’, but sorry I’m giving it to Rod. His double-‘A’ of ‘I Don’t Want to Talk About It’ and ‘The First Cut is the Deepest’ was musically fine, but he’s capable of better. He’s Rod Stewart, for God’s sake! (He’ll redeem himself in future recaps, I’m sure…)
We were spoilt for choice with the WTAF Award last time out. This time it’s slimmer pickings. Let’s see… Julie Covington for taking a showtune from a musical that nobody had even seen yet to the top? The Brotherhood’s sleazy ‘Figaro’? The Floaters’ horoscope based one-hit wonder? Nope. I’m going for the hit song about the classic novel, sung in an unnaturally high pitch, by an eighteen-year-old. Kate Bush’s ‘Wuthering Heights’ is a classic, and by the standards of previous winners not that weird, but there you go.
To the The Very Worst Chart-Topper. Again, many have been bland, but few have been ear-achingly crap. I have it down to two. In the red corner, David Soul’s drippy, droopy ‘Don’t Give Up on Us’. In the blue corner, Demis Roussos’s four-for-the-price-of-one ‘The Roussos Phenomenon E.P.’ Demis did inflict four whole songs on us… but he did so with such window-shattering conviction that I’m inclined to let him off. David Soul takes it! Though I should mention that he redeemed himself with the much more fun ‘Silver Lady’ a few months later.
OK. Very Best Chart-Topper time. In my last post, on ‘Wuthering Heights’, I noted how the ladies had taken over the top of the charts in recent months. And then I noticed that I have never awarded a Very Best Chart-Topper to a female act or artist. Therefore, I can confirm that the 14th best chart-topper will feature a woman. For I have it down to four: ‘Dancing Queen’, ‘I Feel Love’, Hot Chocolate’s ‘So You Win Again’, and Althea and Donna’s ‘UptownTop Ranking’. And the all-male Hot Choc are out first. It’s a superb song, pop gold, but it falls a smidgen short. As do Althea and Donna, with their cool slice of reggae. Again, great, and unlike anything else in the previous thirty, giving heart attacks in their halter backs, but they’re up against two of the greatest records ever recorded.
‘Dancing Queen’ is wonderful, a record that never ever seems to get overplayed. ‘I Feel Love’ is nowhere near as commonly heard, and is not a particularly ‘friendly’ record. Any other time, ABBA would walk it… plus, I know they have more classics to come… So Donna Summer and Giorgio Moroder take it. Nothing that came before has sounded like ‘I Feel Love’; but a lot of what followed will, and that is the mark of a fantastically influential record right there.
To recap the recaps:
The ‘Meh’ Award for Forgettability:
‘Hold My Hand’, by Don Cornell.
‘It’s Almost Tomorrow’, by The Dream Weavers.
‘On the Street Where You Live’, by Vic Damone.
‘Why’, by Anthony Newley.
‘The Next Time’ / ‘Bachelor Boy’, by Cliff Richard & The Shadows.
‘Juliet’, by The Four Pennies.
‘The Carnival Is Over’, by The Seekers.
‘Silence Is Golden’, by The Tremeloes.
‘I Pretend’, by Des O’Connor.
‘Woodstock’, by Matthews’ Southern Comfort.
‘How Can I Be Sure’, by David Cassidy.
‘Annie’s Song’, by John Denver.
‘I Only Have Eyes For You’, by Art Garfunkel.
‘I Don’t Want to Talk About It’ / ‘The First Cut Is the Deepest’, by Rod Stewart
The ‘WTAF’ Award for Being Interesting if Nothing Else:
‘I See the Moon’, by The Stargazers.
‘Lay Down Your Arms’, by Anne Shelton.
‘Hoots Mon’, by Lord Rockingham’s XI.
‘You’re Driving Me Crazy’, by The Temperance Seven.
‘Nut Rocker’, by B. Bumble & The Stingers.
‘You’ll Never Walk Alone’, by Gerry & The Pacemakers.
‘Little Red Rooster’, by The Rolling Stones.
‘Puppet on a String’, by Sandie Shaw.
‘Fire’, by The Crazy World of Arthur Brown.
‘In the Year 2525 (Exordium and Terminus)’, by Zager & Evans.
‘Amazing Grace’, The Pipes & Drums & Military Band of the Royal Scots Dragoon Guard.
‘Kung Fu Fighting’, by Carl Douglas.
‘If’, by Telly Savalas.
‘Wuthering Heights’, by Kate Bush
The Very Worst Chart-Toppers:
‘Cara Mia’, by David Whitfield with Mantovani & His Orchestra.
‘The Man From Laramie’, by Jimmy Young.
‘Roulette’, by Russ Conway.
‘Wooden Heart’, by Elvis Presley.
‘Lovesick Blues’, by Frank Ifield.
‘Diane’, by The Bachelors.
‘The Minute You’re Gone’, by Cliff Richard.
‘Release Me’, by Engelbert Humperdinck.
‘Lily the Pink’, by The Scaffold.
‘All Kinds of Everything’, by Dana.
‘The Twelfth of Never’, by Donny Osmond.
‘The Streak’, by Ray Stevens.
‘No Charge’, by J. J. Barrie
‘Don’t Give Up On Us’, by David Soul
The Very Best Chart-Toppers:
‘Such a Night’, by Johnnie Ray.
‘Cherry Pink and Apple Blossom White’, by Perez ‘Prez’ Prado & His Orchestra.
‘Great Balls of Fire’, by Jerry Lee Lewis.
‘Cathy’s Clown’, by The Everly Brothers.
‘Telstar’, by The Tornadoes.
‘She Loves You’ by The Beatles.
‘(I Can’t Get No) Satisfaction’, by The Rolling Stones.
‘A Whiter Shade of Pale’, by Procol Harum.
‘I Heard It Through the Grapevine’, by Marvin Gaye.
‘Baby Jump’, by Mungo Jerry.
‘Metal Guru’, by T. Rex.
‘Tiger Feet’, by Mud.
‘Space Oddity’, by David Bowie.
‘I Feel Love’, by Donna Summer.
Going by the last few #1s, things are looking up for the end of the seventies. For believe it or not, our next thirty chart-toppers will take us – just – into the 1980s!