WHEN THE CLOCKS STRUCK THIRTEEN (February)

January 1984, with thirteen chart hits, got this series off to a handy enough start.  Would February prove to be just as interesting, or was it all a false dawn?  The first chart is actually spread across two calendar months, covering the period 28 January–4 February.

There were ten new entries into the Top 75.   The list is rather depressing…….

Queen – Radio Ga Ga (#4)
Duran Duran – New Moon On Monday (#12)
The Thompson Twins – Doctor Doctor (#18)
Swans Way – Soul Train (#41)
Rockwell – Someone’s Watching Me (#52)
Slade – Run Runaway (#54)
Nena – 99 Red Ballons (#58)
Hot Chocolate – I Gave You My Heart (Didn’t I) (#59)
Van Halen – Jump (#60)
Truth – No Stone Unturned (#73)

I’m not averse to offering up the likes of Duran Duran or The Thompson Twins, but neither of those particular 45s hold much appeal, certainly in Villain Towers. Best if we fast-forward to 5-11 February.

The highest new entry this week was from a band enjoying a hit single for the 18th successive time, going back to 1979.

mp3: Madness – Michael Caine (#26)

It was the lead single from what would be their fifth studio album, Keep Moving.  It was quite a departure from many of the previous 45s, being a slower number with a very serious subject-matter, telling the tale of an informant living in Northern Ireland, with the lyrics suggest a state of paranoia and mental disintegration. It was written partly by Carl Smyth, who took the lead on the song, with Suggs happy enough to do the backing vocals.  The vocal samples from Michael Caine himself were recorded for the song, and being a repetition of him introducing himself by name, is based on his role in the 1965 film The Ipcress File, in which his character, Harry Palmer, repeats his name while trying to stay sane under torture.

It didn’t do quite as well as most previous Madness singles, peaking at #11 and becoming just the third of the eighteen not to reach the Top 10.  Despite this, I think it is one of their finest 45s.

One of the UK’s pioneering synth bands, Ultravox, came into the charts this week at #37 with One Small Day.  I genuinely couldn’t recall this song and looked up the video on YouTube. The tune was awful, sounding nothing like the band, with a dreadful guitar lick all the way through.

The various other new entries were just as annoying – with a special mention to Genesis and Illegal Alien in which Phil Collins adopted a faux-Spanish accent throughout. The video is beyond belief…….

The chart, however, was saved by this bona fide classic coming in at #74:-

mp3: Grandmaster Flash and Melle Mel – White Lines (Don’t Do It)

This would prove to be one of the most incredible stories of the singles chart in 1984.  In at #74 on 5 February, it would take 21 weeks to climb its way gradually into the Top 10, eventually peaking at #7 in the chart of 22-28 July (and staying there the following week). It took until 28 October before it fell out of the Top 75, meaning it had enjoyed a stay of 37 weeks, and was placed at #13 in the end-of year chart in terms of total sales.

Moving on now to 12-18 February, 19-25 February and 26 February- 3 March.

mp3: The Style Council – My Ever Changing Moods (#8 on 12 Feb)
mp3: Soft Cell – Down In The Subway (#38 on 19 Feb)
mp3: Sade – Your Love Is King (#59 on 19 Feb)
mp3: Orange Juice – Bridge (#67 on 19 Feb)
mp3: Tracey Ullman – My Guy (#46 on 26 Feb)
mp3: Bananarama – Robert De Niro’s Waiting (#48 on 26 Feb)
mp3: Bourgie Bourgie – Breaking Point (#64 on 26 Feb)

A right mix of tunes!!    I can’t deny that I really liked that Sade single, albeit its jazz-tinged nature is the sort of stuff I’d usually run a long way from, but it was reflective of a lot that was going on in early 1984, and given that I was listening to The Style Council and Everything But The Girl a fair bit (amongst others) then it’s impossible to deny Sade.

Tracey Ullman gets a mention for changing the sex of the song and taking a Madness number back into the charts – it would eventually peak at #23, not quite as good as My Girl which had reached #3 in 1980.

Bananarama appealed to the pop side of my nature, and I can’t deny that I would dance to this (while wearing my Bunnymen raincoat at the Student Union disco thinking I was being really ironic when in fact I probably looked like an idiot!!).

And what a joy to be reminded that Bourgie Bourgie‘s debut single (and one of THE greatest 45s of all time), did actually have an impact on the charts, eventually reaching #48 during the month of March……but it really deserved much more.  Paul Quinn on Top of The Pops would have been a sight to behold.

 

JC

FROM THE ARCHIVES (13)

r-143706-1269601907.jpeg

It’s time to partially close down the blog for the period over Christmas and New Year.  This time around I’m going to put up a re-posting from times gone by, and I’ll try my best to have all of them feature musicians whose appearances have been infrequent.

This dates from 15 July 2020

ALL POP, ALL STYLE

It was through a collaboration with Fun Boy Three that Bananarama first enjoyed and experienced chart success. Their own debut single, Aie A Mwana, had stiffed outside the Top 75 despite a fair bit of media attention via various music and style papers/magazines. The trio’s harmonies did, however, find a fan in Terry Hall and they accepted his invite to sing co-vocals on his band’s cover of a 1930s jazz number, ‘Tain’t What You Do (It’s the Way That You Do It), which went all the way to #4 in early 1982.

Returning the favour, FB3 agreed to provide backing vocals for the next Bananarama single, which also turned out to be a cover – Really Sayin’ Something was their take on a 60s Motown song called He Was Really Sayin’ Something that had been a minor hit for Velvelettes, an all-girl group who released six singles all told, none of which charted high. The Bananarama version was a huge success, getting to #5 just a couple of months after the previous collaboration.

Next up, the trio of Sara Dallin, Siobhan Fahey and Keren Woodward sort of went out on their own, hooking up with the writing/production duo of Steve Jolley and Tony Swain who had delivered pop hits for the soul group Imagination (and who in 1982, would really hit payola from their work with Spandau Ballet on the album True).

Shy Boy was released in June 1982, around the time of my 19th birthday. By rights, I should have hated everything it stood for, with its whimsical, light and disposable tune and lyric being at odds with most things I was listening to and buying. But, as Edwyn and Orange Juice would say not too long afterwards, I Can’t Help Myself, especially when it comes to great pop tunes that earworm their way into my brain. Shy Boy was reviewed in Smash Hits magazine by a then up-and-coming writer called Neil Tennant, who later proved to know more than most about making great pop records:-

A brand new song crisply written and produced by Imagination’s production team. Sunny and singalong – when you hear it from hordes of transistor radios on a hot day at your favourite seaside resort you’ll forget about the sand in your sandwiches.

Shy Boy went all the way to #5 which meant that Bananarama could bask in the glory of enjoying a presence in the UK singles charts for 31 out 34 weeks from 13 February to 11 September 1982. It was the onset of an extended period of domination in the charts for the remainder of the decade.

I owned a copy of the 7″ for a number of years but finally made the effort to pick up a copy of the 12″ a few weeks back, finding a great seller on Discogs from whom I picked up a number of other pop hits from the 80s for future postings. The 12″ is more than a couple of minutes longer than the 7″ and radio hit, lots more shoop shoop aaaahs for those of us who love that sort of thing:-

mp3: Bananarama – Shy Boy (extended version)

I’d forgotten that the b-side was a song the trio themselves had written, an early version of a track that would be later re-recorded with a different title (Boy Trouble) for the debut album, Deep Sea Skiving:-

mp3: Bananarama – Don’t Call Us (extended version)

This poptastic b-side does hark to the sort of tunes that they had recorded earlier with FB3.

JC

DON’T LOOK BACK IN ANGER (7)

11092687_0

Slight change of tack this month, and indeed for the remainder of this series, in that instead of looking at one week’s chart in a particular month, I’m going to go through each of them to highlight and recall some great 45s from the latter half of 1983.

Chart dates 3rd – 9th July 1983

The top end of the chart still had the June hangover, but one of the former new wave heroes found himself in the Top 10 with a bit of an MOR classic:-

mp3: Tom Robinson – War Baby (#6)

I could have included this in last month’s posting as it was kicking around the charts in June 1983, but held it back.  TRB had, with 2-4-6-8 Motorway and the Rising Free EP, enjoyed a bit of success in the new wave era, but Robinson’s next venture, Sector 27, had failed dismally.  He went away to live in Germany, wrote some new songs, including War Baby, and returned to the UK with the aim of becoming purely a solo artist.  War Baby was the only big hit he would enjoy, albeit there was a minor hit later in 1983.  He’s remained very well-known here in the UK as a result of broadcasting shows on all various BBC Radio stations since the late 80s.

mp3: Malcolm McLaren – Double Dutch (#19)

The inclusion of this one might annoy a few of you, but I remain quite fond of it. The svengali had enjoyed an unexpected Top 10 hit in 1982 with Buffalo Gals, one of the first hit singles to feature hip-hop and scratching, but that was reckoned to have been the last anyone would hear of him.  He returned in 83 with a single which celebrated a skipping game that was highly popular among many African American communities, particularly in New York.  It’s one of those songs which entertains and annoys in equal measures, depending on your take.  It would eventually climb to #3.

mp3: David Sylvian and Riuichi Sakamoto – Forbidden Colours (#20)

The vocal version of the main theme to Merry Christmas, Mr Lawrence, one of the most critically acclaimed films of 1983.  This was not the first time that the former frontman of Japan and the award-winning composer had collaborated on a hit single, as the double-A sided Bamboo Houses/Bamboo Music, which was part of the first solo project undertaken by Sylvian, had been a Top 30 hit in 1982.  Forbidden Colours would rise up the charts over the next couple of weeks, peaking at #16.

mp3: The Cure – The Walk (#34)

The eleventh single to be released by The Cure.  This was the week it entered the charts, making six in a row to make at least the Top 50.   However, The Walk would go on to spend 8 weeks in the charts, and in reaching #12 would give the group its breakthrough into the Top 20.

mp3: Bananarama – Cruel Summer (#36)

There’s no way I’m not including this in the feature.  Bananarama were great fun back in 1983, and would remain so for many more years to come.  This was another new entry and, during a 10-week stay, would eventually peak at #8.

mp3: Elvis Costello & The Attractions – Everyday I Write The Book (#40)

Having been in the charts earlier in the tear as The Imposter, the release of the first new single off what would be the band’s seventh studio album, took Elvis Costello & The Attractions back into the Top 40 for the first time since High Fidelity in 1980 – four singles in the intervening period had all stalled in the 40s or 50s.   This one would be a real slower burner in that it spent 8 weeks in the charts but never got any higher than #28.

Chart dates 10th – 16th July 1983

Rod Stewart and Paul Young continued to bore everyone rigid at the top of the charts.  Baby Jane was at #1 for a third successive week, but was poised to lose its place to Wherever I Lay My Hat (That’s My Home) which was sitting at #2 but would end up itself spending three weeks at the top.

All of those that had come in as new entries the previous week made progress up the chart, joined by a few more excellent 45s.

mp3: Echo & The Bunnymen – Never Stop (#30)

This was the first new release since the success of the album Porcupine, as well as the hit singles taken from it (The Back of Love and The Cutter).  Its absence from any future albums sort of makes Never Stop one of the more forgotten 45s from the Bunnymen, but it’s one of my favourites, particularly in its extended 12″ format which was given very regular airings at the Student Union discos. It would rise to #15 the following week, before slowly drifting out of the chart.

mp3: The Lotus Eaters – The First Picture Of You (#36)

The debut single from The Lotus Eaters had been on sale for a few weeks before it reached the Top 40.   It had come in at #71, climbed to #42 and now got to #36.  The good news would continue as it would rise in each of the next five weeks, which also led to a couple of appearances on Top of The Pops, reaching #15. It would prove to be the only occasion that the group had a Top 40 hit.

Chart dates 17th – 23rd July 1983

mp3: The Creatures – Right Now (#32)

The side-group of Siouxsie Sioux and Budgie was now enjoying a second Top 40 hit in 1983, this time with a cover of a jazz song from the early 60s.  There was a brilliantly written review from Paul Colbert in Melody Maker:-

“The Creatures slipped through an unlocked back window, ransacked the place and left with the best ideas in a fast car. Like all the greatest criminal minds they strike without a warning and only they know the plan. We have to piece the clues into a cover story. From the earliest seconds of ‘Right Now’ you know you’re on shifting ground. Siouxsie baba da baping away to the noise of her own fingers clicking until Budgie barges in with congas on speed. Christ which way is this going? The one direction you don’t expect is a vagrant big band coughing out drunken bursts of brass in a Starlight Room of its own making. Budgie and Siouxsie – the Fred and Ginger of the wayward world”.

Right Now would end up spending 10 weeks in the charts, peaking at #14.

Chart dates 24th – 30th July 1983

mp3: Depeche Mode – Everything Counts (#26)

I’m no fan of post-Vince Clarke DM, but it’s only fair to acknowledge the amount of time they’ve been around.  Everything Counts might have been 40 years ago, but it was already their seventh Top 30 single, going back to New Life in June 1981.   It would eventually reach #6, which matched their previous best chart performance, which had been achieved with See You.  I was surprised to learn that only one further DM single would ever get higher in the charts, and that came the following year, when People Are People reached #4.

mp3: Bruce Foxton – Freak (#34)

The bass player of the band formerly known as The Jam finally got his solo career underway.  His debut single came in at #34 and after a couple of weeks had climbed to #23, but he never again replicated this success, very much overshadowed by what Paul Weller was achieving with The Style Council.  To be honest, Freak isn’t a very good song, and probably owed its success from the loyalty of fans of his former band.

I’ll be back with more of the same in four or so weeks.

JC

DON’T LOOK BACK IN ANGER (3)

11092687_0

Y’all ready for this?

From the UK singles Top 10 of the last week of March 1993.

mp3: The Style Council – Speak Like A Child (#4)
mp3: Altered Images – Don’t Talk To Me About Love (#7)
mp3: Orange Juice – Rip It Up (#8)

Oh, and Sweet Dreams (Are Made of This) by the Eurythmics was at #5, well on its way to what would be six weeks in the Top 10.

There were also some other great pop tunes at the higher end of the charts….not all of which will be to everyone’s taste, but can offer an illustration that we were truly enjoying a golden age of memorable 45s:-

mp3: Duran Duran – Is There Something I Should Know (#1)
mp3: David Bowie – Let’s Dance (#2)
mp3: Jo Boxers – Boxerbeat (#6)
mp3: Bananarama – Na Na Hey Hey Kiss Him Goodbye (#9)

The other two places in the Top 10 were taken up by Bonnie Tyler and Forrest (no, me neither!!!)

Do you fancy looking a bit further down the Top 40?

mp3: Big Country – Fields Of Fire (400 Miles) (#13)
mp3: New Order – Blue Monday (#17)
mp3: Blancmange – Waves (#25)
mp3: Dexy’s Midnight Runners – The Celtic Soul Brothers (#36)
mp3: Wah! – Hope (I Wish You’d Believe Me) (#37)

Some facts and stats.

The debut single by The Style Council was the first of what would be four chart hits in 1983.

Altered Images and Orange Juice had both appeared on Top of The Pops the previous week on a show presented by John Peel and David ‘Kid’ Jensen, with both singles going up in the charts immediately after.

Is There Something I Should Know? was the first ever #1 for Duran Duran It had entered the charts at that position the previous week.

David Bowie would, the following week, supplant Duran Duran from the #1 spot, and Let’s Dance would spend three weeks at the top.

The debut single by Jo Boxers would eventually climb to #3.  It was the first of three chart singles for the group in 1983.  They never troubled the charts in any other year.

Bananarama‘s single would reach #5 the following week. The group would, all told, enjoy 25 hit singles in their career.

Fields of Fire had been at #31 when Big Country had appeared on the same TOTP show presented by Peel and Jensen.  A rise of 18 places in one week after appearing on the television was impressive.

Blue Monday was in the third week of what proved to be an incredible 38-week unbroken stay in the Top 100.  It initially peaked at #12 in mid-April and eventually fell to #82 in mid-July, at which point it was discovered for the first time by large numbers of holidaymakers descending on the clubs in sunnier climes.  By mid-October, it had climbed all the way back up to #9.

Blancmange were enjoying a second successive hit after Living On The Ceiling had gone top 10 in late 1982.  Waves would spend a couple of weeks in the Top 20, peaking at #19.

The success of The Celtic Soul Brothers was a cash-in from the record company.  It had touched the outer fringes of the charts in March 1982, but its follow-up, Come On Eileen, had captured the hearts of the UK record-buying public.  It was re-released in March 1983, going on to spend five weeks in the charts and reaching #20.

Hope (I Wish You’d Believe Me) was the follow-up to Story Of The Blues.  It wasn’t anything like as successful and spent just one week inside the Top 40.

JC

NOT THE USUAL SORT OF THING YOU FIND ROUND HERE

Those of you who were paying attention last week will be aware this post is now running seven eight days late (it was bumped 24 hours to accommodate the Goon Sax review from yesterday).

The weather, here in Glasgow, was very warm and sunny in the final couple of weeks in the month of June.  As such, I became disinclined to sit indoors at the keyboard churning out lengthy and analytical pieces with which to bore you rigid.  The remainder of this week will reflect that.

I picked up this single on Discogs a short time ago.  It was one of a big bundle of 7″ singles bought in bulk to save a wee bit on postage.  I’ve never hidden my pop sensibilities at any point in time, and this #3 hit from 1984 has long been a favourite:-

mp3: Bananarama – Robert De Niro’s Waiting

As catchy as anything I have in the collection.  But it’s not quite as good as Shy Boy……as recalled around this time last year.

The fact that I now finally own a copy of the single allowed me to discover a really decent b-side:-

mp3: Bananarama – Push!

Feel free to mock.  But if you do so, you’re wrong.

JC

ALL POP, ALL STYLE.

It was through a collaboration with Fun Boy Three that Bananarama first enjoyed and experienced chart success. Their own debut single, Aie A Mwana, had stiffed outside the Top 75 despite a fair bit of media attention via various music and style papers/magazines. The trio’s harmonies did, however, find a fan in Terry Hall and they accepted his invite to sing co-vocals on his band’s cover of a 1930s jazz number, ‘Tain’t What You Do (It’s the Way That You Do It), which went all the way to #4 in early 1982.

Returning the favour, FB3 agreed to provide backing vocals for the next Bananarama single, which also turned out to be a cover – Really Sayin’ Something was their take on a 60s Motown song called He Was Really Sayin’ Something that had been a minor hit for Velvelettes, an all-girl group who released six singles all told, none of which charted high. The Bananarama version was a huge success, getting to #5 just a couple of months after the previous collaboration.

Next up, the trio of Sara Dallin, Siobhan Fahey and Keren Woodward sort of went out on their own, hooking up with the writing/production duo of Steve Jolley and Tony Swain who had delivered pop hits for the soul group Imagination (and who, in later in 1982, would really hit payola from their work with Spandau Ballet on the album True).

Shy Boy was released in June 1982, around the time of my 19th birthday. By rights, I should have hated everything it stood for, with its whimsical, light and disposable tune and lyric being at odds with most things I was listening to and buying. But, as Edwyn and Orange Juice would say not too long afterwards, I Can’t Help Myself, especially when it comes to great pop tunes that earworm their way into my brain. Shy Boy was reviewed in Smash Hits magazine by a then up-and-coming writer called Neil Tennant, who later proved to know more than most about making great pop records:-

A brand new song crisply written and produced by Imagination’s production team. Sunny and singalong – when you hear it from hordes of transistor radios on a hot day at your favourite seaside resort you’ll forget about the sand in your sandwiches.

Shy Boy went all the way to #5 which meant that Bananarama could bask in the glory of enjoying a presence in the UK singles charts for 31 out 34 weeks from 13 February to 11 September 1982. It was the onset of an extended period of domination in the charts for the remainder of the decade.

I owned a copy of the 7″ for a number of years but finally made the effort to pick up a copy of the 12″ a few weeks back, finding a great seller on Discogs from whom I picked up a number of other pop hits from the 80s for future postings. The 12″ is more than a couple of minutes longer than the 7″ and radio hit, lots more shoop shoop aaaahs for those of us who love that sort of thing:-

mp3: Bananarama – Shy Boy (extended version)

I’d forgotten that the b-side was a song the trio themselves had written, an early version of a track that would be later re-recorded with a different title (Boy Trouble) for the debut album, Deep Sea Skiving:-

mp3: Bananarama – Don’t Call Us (extended version)

This poptastic b-side does hark to the sort of tunes that they had recorded earlier with FB3.

JC

AN IMAGINARY COMPILATION ALBUM : #164 : BANANARAMA

Bananarama? You seem bemused. You shouldn’t be. There’s a myriad of reasons why they are more than worthy of an ICA:-

– Formed in 1981 and still going strong today

Terry Hall loved ‘em

Siobhan Fahey

– Listed in the Guinness Book of Records as the all-female group with most chart entries in the world

– Wrote a seemingly fun-filled song about an Oscar-winning actor which turned out had a really dark meaning

– Have championed the LGBT community from the outset

Keren Woodward

– Along with Pete Burns/Dead or Alive, they made Stock, Aitken and Waterman bearable for a short time

John Peel loved at least one of their songs

– Said song was sung in Swahili and did more for raising the profile of world music than any po-faced festival organised by Peter Gabriel

– the other one

– They got The Bluebells a #1 hit

– There’s enough songs to merit a first-class ICA

A few things worth remembering before launching into the ICA on a song-by-song basis. The trio of Keren Woodward, Siobhan Fahey and Sara Dallin had befriended one another as fashion students in the late 70s and their preferred listening and hang-outs centred around the post-punk scene in London where they were friendly with the likes of The Monochrome Set, Department S, Shane McGowan, Paul Weller and a couple of ex-Sex Pistols.

Malcolm McLaren was also an admirer and indeed, hatched a plan to alter their image and make much more of their looks and femininity, which was a complete no-no as far as the girls, two of whom were still in their teens, weree concerned. They wanted to get success the old fashioned way through gigs and good song writing….and they did.

One of their biggest fans is DJ MLC – a dear friend of mine and Jacques (indeed it was MLC who first coined the name ‘Those Charming Men’ for us).  I asked him to do the blog the honour of a Bananarama ICA.  He said yes, but only on the conditions that it was a remix effort and that I wouldn’t alter a word of his prose.  I haven’t……..so without any further delay, I’m putting you in the very capable hands of DJ MLC.

I was delighted to be asked by Those Charming Men to provide a remixed version of the Banarama compilation. Writing I’m not so good at, but ask me to twiddle knobs and whip out a 12” then I’ve plenty experience.

I was big in the 80s and the Bananas come from the era when I was in giving it proper large. Sure, weddings was really my thing, but I could often be seen doing the odd gay club back in the day. Boy, the things I saw on those nights. I’ve turned a few moustaches I can tell you. As a straight hunk of manhood it was hard to know what they wanted, how to satisfy at times, but I worked up a sweat to keep them happy and more often than not was relieved by the end of the night.

Balance these girls on my decks, turn them on, give them a scratch now and then, sometimes rub them up the wrong way, sandwich them between Donna and Divine – then those lads would give me their all on the floor. I’m not ashamed to say that I could keep them up all night. They couldn’t get enough and neither could I.

One awkward night I saw Barry from my work. Topless and wearing baby oil – he’d never seen me like that before. He was pretty discreet about the whole affair, especially after I gave him some Tainted Love near the end of the night. Sadly I don’t DJ now, except in my head. Dorothy in Accounts saw to that. The only baby oil I see now is that left over from when Dom and Deb were kids. These days when I’m “in the house” I’m actually in the house. I’m happy, sure. But I do miss my late nights with the boys.

So, boys AND girls, hands in the air like you just don’t care, poppers up your nose, fit a couple of coloured bulbs in the living room lights and get your kids to flick them on and off, put some leather around your loins if you must. But, most importantly, dance motherfunkers dance…

Side A

Shy Boy (US Extended Version)
Nathan Jones (Psycho Mix)
Don’t Step on My Groove
Love In The First Degree (Jailers Mix)
Aie a Mwana (Extended Version)

Side B

Really Saying Something (Solasso Mix Version)
I Heard A Rumour (Miami Remix)
Robert De Niro’s Waiting (Remix 2000)
Cruel Summer (89 Swingbeat Dub)
Venus (Marc Almond HiNRG Showgirl Remix)

Oh and in case you were thinking that it’s an urban myth about the #1 hit, this song was composed by Bobby Bluebell and Siobhan Fahey.

mp3 : The Bluebells – Young At Heart

Hopefully today’s posting has brought a bit of fun back into the blog.

JC