Firstly, that short T.Rex clip posted last week? The whole thing has now surfaced. There's a second keyboard player doing Gloria Jones' supposed parts! Swizz!
Clipped straightforward DLT, Stranglers' Something Better Change under the rundown, the Fleetwood Mac slide moved so we can see Mick's face.
The Dooleys – Think I'm Gonna Fall In Love With You
A band who'd become semi-regulars in the coming years, not actually on their debut - that was on the wiped show a fortnight previously - but dressed for their big break, Jim Dooley in the requisite half-open shirt and medallion unnecessarily tightened around his thorax, one sister in a cocktail bar evening dress, the other pushing the boat out in velvet full-length skirt and open jacket with tube top. She's not shy about casually pushing the side of the jacket aside to show her full worth either. At least all this preparation is something when allied to a form of disco that started out showband weak and is now fed through the orchestral mangle.
The Floaters – Float On
No, hang on, that's not it. "I've got some loonies up here" DLT remarks, which is two-faced of him given they're women and thus he doubtless chose them to join him. One seems to be rivalling Dooley Left in the cold studio stakes. (This is beginning to seem unseemly already, isn't it? I do apologise) The Jonathan Cainers of smooth soul are on tape, having like half the other smooth soul troupes we've seen fallen for the popularity of powder blue suits, bow ties and ruffled shirts in mid-70s Detroit. Maybe someone had a knock-off job lot going.
Elkie Brooks – Sunshine After The Rain
"A lot of people were really, really pleased" by her hit, apparently. Shooting her from underneath is an unkind way to repay the compliment, though, BBC. Curiously the theme for the week is overalls, red one-piece with zip and brooch that looks a lot like that worn by Mr Dooley for Elkie, pristine white for her band, including a drummer with a bravura perm. A four way mirrored shot attempts to add the visual element that costumes and plants used to provide, but the main note to take away is one horrid line of off-key harmony twixt Brooks and Ladybirds, who you may recall used to be her friends. Still, when it lifts at the end the audience seem keen, including one young chap literally spinning into the middle of the crowd shot. As the camera slowly pans back, DLT is miming along to the last words. I hope he wasn't doing that for effect as thinking he sings along with everything would explain a lot.
Mink De Ville – Spanish Stroll
"Brother Johnny, he caught a plane and he got on it". Yeah, we'd kind of been led to assume that. Faux-live clip, which reveals the backing vocalists to all be men. DLT bemoans "all that foreign lingo".
Carly Simon – Nobody Does It Better
Go on, guess how DLT linked into Legs & Co using the song title as leverage. No sitting down this week, and Flick must have had words as everyone's gone all out on their behalf. The stage has various levels and steps to work around. The set has funny round things hung all around like the curtain between the kitchen and counter in a cheap kebab house. The costumes use flesh-coloured materials and glitter to give a barely-there look, coupled with slit full length skirts, long gloves and a variety of cummerbunds. The routine veers from elegant solo spots to bits where everyone seems to just be doing their own sets of crouches and spins, which if you look closely are actually in pattern but on simultaneous viewing look a bit of a mess. They also have those eyemasks-on-sticks things that probably have a proper name, but only Gill seems to use hers for their proper purpose at one moment, as opposed to wafting them about like a rhythmic gymnastic implement.
Danny Williams – Dancin' Easy
One of the girls now with DLT has 'Midge' picked out in glitter on her T-shirt. You can tell the Slik kids a mile away. Taking "the anchor position", as DLT renames number 30, Danny's gone for the suave white suit this time. Half the audience join him two lines in, as if all suddenly realising it's that one from that advert simultaneously, and begin bopping on the spot immediately. In the background Legs & Co can be seen leaving their set to put coats on before they catch their deaths. Given two options of where to look, a good proportion of the audience chooses the third and stares at the overhead monitors. A man in a suit stands side of stage impassively throughout, watching the kids more than the singer. Security? Really? A red shirted friend joins him later on, ready to leap onto the stage right at the end, and tries to barge past an audience member despite surely not heading anywhere. Williams and his brown wing collars continues effervescently on regardless.
The Rah Band – The Crunch
Again. According to someone on Twitter the subtitles read 'STOMPIN' RHYTHM & BLUES PLAYED ON AN ELECTRIC KEYBOARD'. DLT claims he can get bin liners cheap. I bet he can.
Candi Staton – Nights On Broadway
A triumph of Flick-esque literalism in video making as Candi in an ambitious pink trouser suit sings from Broadway. At night. "I'm standing in the dark" she sings under film lighting. Then she sits on the bonnet of a Cadillac. Hope she asked first.
The Jam – All Around The World
Like Danny Williams, the Jam's set is flanked by a huge spiral of red lightbulbs, which they must be proud of as it keeps prominently appearing in a suspiciously large number of side-on shots. Unlike Danny Williams, Weller is wearing shades. If Williams had been given enough weeks, though... Midge Girl is standing right front and centre, angry young men proselytizing youth explosions right beside her, and she's standing side on chatting to someone. This happened last time the Jam were on. Were these really the salad days of punk's life if the youth are not only feigning ignorance but doing it so pointedly?
Elvis Presley – Loving You
Or so it says here, Elvis having died two days previously. It seems to have been cut for rights reasons - it was a clip from the film of the same name and the Presley estate are a lot more hard on that sort of thing being rebroadcast these days, especially as the Beeb don't hold the UK broadcast rights. When a run of Elvis reissues reached number one in 2005 the show was banned from broadcasting any actual footage of him.
Brotherhood Of Man – Angelo
After an age, it finally makes it to the top. Despite this, for once they're not available to come in. Space's synth odyssey Magic Fly sees us out.
Showing posts with label candi staton. Show all posts
Showing posts with label candi staton. Show all posts
Thursday, 20 September 2012
Wednesday, 20 July 2011
TOTP 8/7/76 (tx 20/7/11): last night before the Proms
Well, there's the first proper row this blog's stoked up. Even in such unfortunate circumstances, glad to find out that Popular, the fine UK number ones blog by Guardian/Pitchfork contributor Tom Ewing, is hosting a lively TOTP debate itself in its comments box. Also, hello back to the One For The Dads forum.
Tony Blackburn in charge this week, and he pretends to forget the show's name... until reminded by himself in a thought bubble. Cliche, I know, but this really isn't too far from one of the set-ups in Smashie & Nicey: End Of An Era. Really did their research, they did. Still can't work out what Archie Bell and the Drells are doing in their chart still. They seem to be doing laps of an inflatable boxing ring.
Sutherland Brothers & Quiver – When The Train Comes In
We start on a close-up of a 'SBQ' badge, which is one way of self-identifying. Since we last had them round Iain Sutherland has solved the problem of his receding hairline rather too well with a Breton fisherman's cap and a fulsome beard while his band have gone in for Doobie Brothers-style funk rhythm guitar, if that's not too much a suggestion led on by the train theme. Also, Bruce Thomas looks even more like Chris Langham than last time. There's plenty of dancing going on to their hi-hat heavy FM rock which from its middle eight's interplay sounds like the last chorus is just getting in the way unnecessarily, with the crowd giving each other plenty of space. Tony is so excited he bellows his link out. "Gonna be a smash, that one!" It wasn't.
Candi Station – Young Hearts Run Free
"Listen to the words of this one" Tony advises, good advice given nobody could have been concentrating on the track when presented with Flick's interpretation. As with Thin Lizzy it's awkwardly shuffling audience members intercut with a performance clip in which Candi seems to be wearing a dream catcher, which cocks up when the director fades back in seconds too early for the second chorus and we see another audience, this time American ergo confident, which had clearly been intercut by whichever US programme Staton was recorded for. Both her and the kids prove there was lots of elbow movement inherent to 1976 dancing.
The Champ's Boys Orchestra – Tubular Bells
Tony gets a head and shoulders shot with the studio lights above him, which just means loads of empty blank space as if Rusty Goffe had taken over the camera. And what's the song, Tone? "From Tubular Bells, it's called... from Champ's Boys". Idiot boards are called that for a reason. This week's big idea is to take advantage of the long hot summer and send Ruby Flipper to the Blue Peter garden, not running roughshod over the flowers Les Ferdinand-style but in fact on a big square of carpet in the middle of a dug out patch of soil. Six in white sitting in a circle being liberally doused with petals and confetti out of a big wicker bowl by Patti. There's a lot of outstretching of arms going on before the inevitable running around. It's quite paganistic in a way that doesn't suit a poor attempt to mix Mike Oldfield's theme with Love To Love You Baby. Coupled with that for further oddness, one of them is wearing inappropriate dress, a sheikh's outfit, and for once it's not Floyd lumbered with it (Philip, in fact). Some continuity kept, though - The Omnipresent Cherry Gillespie has the shortest skirt and thinnest top of all four women. Tony attempts a joke about a dead garden. It dies. Appropriately.
Billy Ocean – L.O.D. (Love On Delivery)
If all else fails, stick a soul singer in front of keen teens on the tiny tiered stage and let the orchestra do their worst. Billy's chosen to make himself known by sporting a bright pink top. One girl in the audience attempts oneupmanship in the awkward fashion stakes with triple denim (jeans, shirt, waistcoat) and a Wurzels memorial neckerchief.
Elton John & Kiki Dee – Don’t Go Breaking My Heart
The video in a pretend studio, which you used to see a lot but is always worth appreciating to see just how smug Elton's face between lines is.
The Sensational Alex Harvey Band – The Boston Tea Party
For the second time the introduction makes specific reference to the 200th anniversary of American independence, which must have been quite a big thing in that case. And in case we'd forgotten another long running perennial, Tony notes this is "just about the same age as David Hamilton". Just about the only act Tony doesn't actually call "sensational", they're back in the studio to scare the children. Harvey, with bloodhound eyes, fulsome beard and habit of staring down the lens as if it's offering him out, looks like he hasn't been to sleep since his last studio appearance. This is entirely plausible. He has, after all, chosen to appear on prime time BBC television in denim hot pants and a massive hat. There's a small cannon in front of the drumkit but we don't see it go off, and no wonder as you fear what Harvey might have thought it was and what his reaction would have been. Further point: the keyboard appears to be of that Casio-rivalling brand Professional Piano. Surely a Ronseal offshoot. "Showing a pair of sensational legs" Tony lies.
Dorothy Moore – Misty Blue
More Soul Train setpiece, this time far too slow for anyone to appreciably dance to in anything but a sway. "I've never known a time when there's been so many great records about" claims Tony, despite the evidence of this run so far.
5000 Volts – Dr Kiss Kiss
And here's another oddity that, while the records claim it made number eight, seems so out of place it's possible it never actually existed beyond osmosis. A couple of people are seen walking away from the stage after one line, which isn't that sporting but does demonstrate the folly of linking a huge voiced country singer in Linda Kelly sporting a heavy secretary-goes-clubbing fringe with a band who start out tentatively disco-funky - and only a tentative disco-funk band would pose for promo shots like this - before going the full sub-Fox. And by that we mean the most televisually ostentatious talkbox playing we've ever seen, the guitarist gurning to camera and wrapping his lips round the pipe where others (alright, Frampton) do it casually as if we might not notice. Meanwhile the bassist produces a stethoscope and for some reason checks Kelly's shoulder. I'm not making this up. After that's done with Tony introduces "a very surprise guest", which must be a superior level of surprise. It's Ian Mitchell, who seems to be about twelve but is the new bassist for the Bay City Rollers, who in a highly stilted fashion and while sporting an open shirt lets Tony know they played to 50,000 kids in America and they'll be touring here in September. Once Tony has to introduce the next performance he really doesn't know where to look. FYI, Mitchell left in November claiming he was "getting out before I stick my head in a gas oven", not that that stops him playing in America as The Bay City Rollers Featuring Ian Mitchell.
The Real Thing – You To Me Are Everything
A new number one! Presumably the three silver objects are meant to be the stars Eddie Amoo wants to take out of the sky for you, but they look more like forward planning a performance for the Christmas show. Costumes still haven't been synchronised, Eddie in a flat cap, one bandmate in butcher's pinstriped dungarees, another with the magically returned guitar apparently in a woman's orange halterneck top. Awkwardly someone is occasionally clapping along too close to a mike, unless that was an orchestra member wanting to make a point about union rates. Marvellously, at the end Tony facilitates a stage invasion, though once up there none of the kids really know what to do and end up looking like lemons, which is easy enough anyway given they're taking inspiration from Tony Blackburn. War play us out, "see you on Saturday for Seaside Special".
EDIT NEWS: There isn't any, it was only ever a half hour long show this week. Makes this gig a lot simpler.
Tony Blackburn in charge this week, and he pretends to forget the show's name... until reminded by himself in a thought bubble. Cliche, I know, but this really isn't too far from one of the set-ups in Smashie & Nicey: End Of An Era. Really did their research, they did. Still can't work out what Archie Bell and the Drells are doing in their chart still. They seem to be doing laps of an inflatable boxing ring.
Sutherland Brothers & Quiver – When The Train Comes In
We start on a close-up of a 'SBQ' badge, which is one way of self-identifying. Since we last had them round Iain Sutherland has solved the problem of his receding hairline rather too well with a Breton fisherman's cap and a fulsome beard while his band have gone in for Doobie Brothers-style funk rhythm guitar, if that's not too much a suggestion led on by the train theme. Also, Bruce Thomas looks even more like Chris Langham than last time. There's plenty of dancing going on to their hi-hat heavy FM rock which from its middle eight's interplay sounds like the last chorus is just getting in the way unnecessarily, with the crowd giving each other plenty of space. Tony is so excited he bellows his link out. "Gonna be a smash, that one!" It wasn't.
Candi Station – Young Hearts Run Free
"Listen to the words of this one" Tony advises, good advice given nobody could have been concentrating on the track when presented with Flick's interpretation. As with Thin Lizzy it's awkwardly shuffling audience members intercut with a performance clip in which Candi seems to be wearing a dream catcher, which cocks up when the director fades back in seconds too early for the second chorus and we see another audience, this time American ergo confident, which had clearly been intercut by whichever US programme Staton was recorded for. Both her and the kids prove there was lots of elbow movement inherent to 1976 dancing.
The Champ's Boys Orchestra – Tubular Bells
Tony gets a head and shoulders shot with the studio lights above him, which just means loads of empty blank space as if Rusty Goffe had taken over the camera. And what's the song, Tone? "From Tubular Bells, it's called... from Champ's Boys". Idiot boards are called that for a reason. This week's big idea is to take advantage of the long hot summer and send Ruby Flipper to the Blue Peter garden, not running roughshod over the flowers Les Ferdinand-style but in fact on a big square of carpet in the middle of a dug out patch of soil. Six in white sitting in a circle being liberally doused with petals and confetti out of a big wicker bowl by Patti. There's a lot of outstretching of arms going on before the inevitable running around. It's quite paganistic in a way that doesn't suit a poor attempt to mix Mike Oldfield's theme with Love To Love You Baby. Coupled with that for further oddness, one of them is wearing inappropriate dress, a sheikh's outfit, and for once it's not Floyd lumbered with it (Philip, in fact). Some continuity kept, though - The Omnipresent Cherry Gillespie has the shortest skirt and thinnest top of all four women. Tony attempts a joke about a dead garden. It dies. Appropriately.
Billy Ocean – L.O.D. (Love On Delivery)
If all else fails, stick a soul singer in front of keen teens on the tiny tiered stage and let the orchestra do their worst. Billy's chosen to make himself known by sporting a bright pink top. One girl in the audience attempts oneupmanship in the awkward fashion stakes with triple denim (jeans, shirt, waistcoat) and a Wurzels memorial neckerchief.
Elton John & Kiki Dee – Don’t Go Breaking My Heart
The video in a pretend studio, which you used to see a lot but is always worth appreciating to see just how smug Elton's face between lines is.
The Sensational Alex Harvey Band – The Boston Tea Party
For the second time the introduction makes specific reference to the 200th anniversary of American independence, which must have been quite a big thing in that case. And in case we'd forgotten another long running perennial, Tony notes this is "just about the same age as David Hamilton". Just about the only act Tony doesn't actually call "sensational", they're back in the studio to scare the children. Harvey, with bloodhound eyes, fulsome beard and habit of staring down the lens as if it's offering him out, looks like he hasn't been to sleep since his last studio appearance. This is entirely plausible. He has, after all, chosen to appear on prime time BBC television in denim hot pants and a massive hat. There's a small cannon in front of the drumkit but we don't see it go off, and no wonder as you fear what Harvey might have thought it was and what his reaction would have been. Further point: the keyboard appears to be of that Casio-rivalling brand Professional Piano. Surely a Ronseal offshoot. "Showing a pair of sensational legs" Tony lies.
Dorothy Moore – Misty Blue
More Soul Train setpiece, this time far too slow for anyone to appreciably dance to in anything but a sway. "I've never known a time when there's been so many great records about" claims Tony, despite the evidence of this run so far.
5000 Volts – Dr Kiss Kiss
And here's another oddity that, while the records claim it made number eight, seems so out of place it's possible it never actually existed beyond osmosis. A couple of people are seen walking away from the stage after one line, which isn't that sporting but does demonstrate the folly of linking a huge voiced country singer in Linda Kelly sporting a heavy secretary-goes-clubbing fringe with a band who start out tentatively disco-funky - and only a tentative disco-funk band would pose for promo shots like this - before going the full sub-Fox. And by that we mean the most televisually ostentatious talkbox playing we've ever seen, the guitarist gurning to camera and wrapping his lips round the pipe where others (alright, Frampton) do it casually as if we might not notice. Meanwhile the bassist produces a stethoscope and for some reason checks Kelly's shoulder. I'm not making this up. After that's done with Tony introduces "a very surprise guest", which must be a superior level of surprise. It's Ian Mitchell, who seems to be about twelve but is the new bassist for the Bay City Rollers, who in a highly stilted fashion and while sporting an open shirt lets Tony know they played to 50,000 kids in America and they'll be touring here in September. Once Tony has to introduce the next performance he really doesn't know where to look. FYI, Mitchell left in November claiming he was "getting out before I stick my head in a gas oven", not that that stops him playing in America as The Bay City Rollers Featuring Ian Mitchell.
The Real Thing – You To Me Are Everything
A new number one! Presumably the three silver objects are meant to be the stars Eddie Amoo wants to take out of the sky for you, but they look more like forward planning a performance for the Christmas show. Costumes still haven't been synchronised, Eddie in a flat cap, one bandmate in butcher's pinstriped dungarees, another with the magically returned guitar apparently in a woman's orange halterneck top. Awkwardly someone is occasionally clapping along too close to a mike, unless that was an orchestra member wanting to make a point about union rates. Marvellously, at the end Tony facilitates a stage invasion, though once up there none of the kids really know what to do and end up looking like lemons, which is easy enough anyway given they're taking inspiration from Tony Blackburn. War play us out, "see you on Saturday for Seaside Special".
EDIT NEWS: There isn't any, it was only ever a half hour long show this week. Makes this gig a lot simpler.
Friday, 1 July 2011
TOTP 17/6/76 (tx 30/6/11): Boogie down production
The big news of the week on this particular corner of the TOTPsphere is a repeat-specific Twitter account - not me, but unofficial and with the mission statement "Who wishes Top Of The Pops 1976 had pop-up captions like TOTP2? (Puts hand up) Well, we're gonna fix that via the magic of Twitter!" Actually, no, the good thing about this run is it doesn't feature captions that are either bone-dry or too postmodern for anyone's good. Luckily, this is neither. Unfortunately, it has far more readers and, thanks to tweets from the likes of Gideon Coe and Pete Paphides, far more awareness than this blog has ever managed. And while I'm championing the competition, another recap blog has popped up.
Did you see that interview in which Aung San Suu Kyi criticised the way the BBC World Service has been marginalised and turned into a rolling news and current affairs network, dropping the vast majority of the entertainment and interest programming that provided succour to her during her years of captivity and in doing so running down its core services? No, you didn't, as BBC Enterprises span it into a "DLT LOL" story. Suu Kyi clearly has no concept of snooker on the radio but merely grabbed onto something where "the listeners would write in and I had a chance to hear other people's words. It made my world much more complete". And it might not have been his show after all, although that Suu Kyi partly remembered Travis' name in the interview and specified the music requests element (and that the letter is from the producer of the other show) suggests otherwise.
DLT, anyway, reading the name off a medallion - a medallion - around his neck, with unhilarious consequences. Notable point in the chart rundown is the reappearance in The Wanderer's wake of Leader Of The Pack at 21, illustrated not with a Shangri-Las shot but with a stock photo of a moped. Not a particularly raucous machine either.
T Rex – I Love To Boogie
Fronted by the man the EPG called Marc Bowland - though it was the name he used when first recording, so maybe they were onto something. T Rex were doing better critically than commercially at the time and Bolan wasn't in the best of health, positively anaemic in appearance with shorter hair and no great commitment to the vocal delivery cause. Sounds slightly Dylanish in his vowels, actually, plus the odd sheep noise. He's got the rest of the look nearly down pat, though, a wide tie with no shirt over a luxurious velvet jacket and widening face augmented with cyan eyeshadow. It's just the energy was being saved up so Billy Elliot could expel it.
Gallagher & Lyle – Heart On My Sleeve
On the other hand, a look that always ages. Not the beard, the cloth cap, and doubly the swept back mullet and accordion. It's the latter's deathly bellows that puts the colour in a slip of a slow song's cheeks but also means it can never attain whatever emotional touch it was going for, not with that always going on in the background. Gallagher and Lyle clearly believe in filling a stage, though, as while the drummer seems to be in an adjoining postal district the bassist has to share a backing vocal mike with two blokes of indeterminate use, one in polo shirt and floppy hat, looking for all the world like they work in lighting and got called in to stop the wide shots looking so barren. The audience are up for it this week, though, swaying like it means something to them. Two are prominently wearing gypsy bonnets.
Peter Frampton – Show Me The Way
"Some amazing, amazing things done with a tube in the mouth and all sorts of goodies" DLT promises of the video clip as seen on the full version a couple of weeks ago without ever specifying what those goodies might be once the appeal of a talkbox has palled. Maybe he means the massive red lighting sign above the band spelling out 'FRAMPTON'. What a manly 70s man Frampton really was, with his aftershave commercial open shirt and glorious mane.
Brotherhood Of Man – My Sweet Rosalie
First band to have two songs on the TOTP repeat run, if I'm not mistaken. Having apparently topped "all the charts around the world" they have a new single which DLT thinks will "go right to number one". (SPOILER: it didn't. It went right to number thirty. This, though, was not the last we'd hear of the band, not by a long chalk, but we'll cross that flagrantly Fernando-shaped bridge when we come to it) It's probably fair to say that having lightning strike twice was foremost on the minds of songwriters of both songs Tony Hiller, Lee Sheriden and Martin Lee, though. It starts with a xylophone melody followed by a Martin Lee solo spot while everyone else takes part in synchronised light movement. Then there's some collective arm swinging on the chorus as Lee seems to be telling us in the light variety harmony style about his undying love for... hang on, we've been here before, haven't we? And so on the last line the music winds down, one of the girls makes "me?" signs at Lee's shoulder and "she's the only one for me, the cutest little puppy dog you'll see..." Bloody hell. Brotherhood Of Man - the M Night Shyamalan of 70s lounge pop and with a similarly wayward quality detector. It's not even a cute dog. Though how they got the dog on stage, given the other two had it in their arms for the climactic pose immediately and surely the music and movement would have scared it away were it untethered on stage, let alone risk being spotted by the camera and the end ruined, remains a mystery.
Mud – Shake It Down
"Mud stands for Maniacs Under Demolition..." Hang on, what's this? The admittedly piss-in-the-wind two plays unless you're number one rule for the edited version has been broken! Admittedly there's much less worthy songs it could have been done for than Disco Mud - and it wasn't falling as everyone seems to think, it was heading down but then rebounded to 12 for no good reason before resuming its stately progress out - but we lost a Ruby Flipper routine for this. And then to compound matters the second verse is completely edited out, meaning we lose a bit of fresh comedy business involving bassist Ray Stiles (see the whole thing here - the green trousers are back, then). Then the reason why we've got it again becomes clearer as DLT lumbers onto the stage, only Stiles dealing him a brief glance, and heads behind the drumkit. Once there, while Dave Mount makes excellent confused faces, he finds he can't think of anything to do. Join in? Sway? Pretend strangulation with his mike cord? It's a dilemma. Oh, Les has taken his shades off. He means business. So does the director, if business is good in giving the unwary photo-sensitive epilepsy. Don't mind telling you, I'm going to miss this song. Were it up to me I'd launch a BBC supportive campaign to get it up the charts on downloads. Les Gray certainly missed it as he re-recorded it with his solo band, and it's on Spotify and various download sites (some of which credit it as a 2010 release but in fact it came out in 2002, Gray being detained by rigor mortis well before last year)
Murray Head – Someone's Rocking My Dreamboat
Earnest man, Grand Old Opry shirt, song that's delivered in the style of the Inkspots, largely because it's a cover of one of their songs and Head clearly has no better ideas about arrangement, essentially dreaming of being Robin Sarstedt. He does rescue it with the single most awkward looking backing band of all, ageing jazz men mixing with a Bob Carolgees-a-gram on over-florid double bass playing. Eventually Head puts his guitar down and goes for the jazz standard extemporising while a man with 'GET UP AND BOOGIE' on the back of his cardigan is being a traitor to himself. By close he's threatening the audience with a large pot plant. That's one way to make an impression if all seems lost.
Candi Staton – Young Hearts Run Free
Oh, he's got Ruby Flipper's name right at last. This is a right dog's dinner even by Flipper standards.
Yeah, maybe they were right when they said it should never be done on TOTP. Cherry on lead again, you'll notice, taking the lead in interspersed clips of her and the Paul Nicholasalike as the titular young hearts, but clearly BBC4 are going all out to annoy the PC BRIGADE message board, um, brigade. Floyd Pearce actually finds a role more off-beam than the TVC15 jockey, seemingly dressed as the housekeeper from Tom & Jerry. He doesn't lift up his pinny to reveal multicoloured stockings at any stage, but maybe that's being saved for the routine for the 12" mix. He's giving the literal interpretation a good going over, though, as are two of the girls in bonnets ("you'll get the babies but you won't have your man") and the third bloke in flat cap and blacked out teeth ogling a clearly visible Page Three ("while he is busy loving every woman that he can"). And yes, Floyd "just can't break away" when his ankle is grabbed. It's a story of many layers, this, the dream (of a completely different looking woman) to return to the days of youth when nothing else mattered. Cleverer than it looks after all, and they got six of the seven in for once. TWEET OF THE WEEK: "i want ruby flipper on.totp 1976 to.do a similar dance routine to a lady gaga song!" That'd be prescient of the show.
Liverpool Express – You Are My Love
"We have some nurses from Great Ormond Street here". Yes, Dave, they were the people in nurses' uniforms grabbing onto your elbows in the last link and you forgot to specifically mention them then, didn't you? This one "could well be a monster hit sound" - closer this time, it reached number eleven. That might be because the image of the performance was burned onto the retinas of a generation of viewers, the VT editor having been granted a solarisation effect and been overkeen to use his new toy. More of an impression than the record, which sounds like someone not quite understanding 10cc.
The Wurzels - Combine Harvester
Of course DLT introduces it in a pirate voice, with the suggestion we "get out to the garden sheds, get hold of the tools, throw them around". He does know what the country is, doesn't he? Doesn't he? It's the first performance again, if you're keeping notes, Pete Budd giving it so much suggestiveness to camera he felt moved to comment on it. Yeah, the Wurzels are on Twitter. I think I may have stumbled across social media's black swan event. Say what you like about the logic around these lyrics, but at least a combine harvester and its key have more in common than a key and some rollerskates. He's still not properly playing that sousaphone. DLT does a poor Tommy Cooper impression that's more growling than catchphrases apropos of nothing, visibly delighting the girl next to him for quite some time, before Rod Stewart's Tonight’s The Night plays us out.
EDIT NEWS: the Dolly and Lizzy videos again plus a Ruby Flipper routine to Sold My Rock ‘N’ Roll by the unrepossessingly named Linda & The Funky Boys that looks like this. Basically, many and varied ways of going round in a circle.
Did you see that interview in which Aung San Suu Kyi criticised the way the BBC World Service has been marginalised and turned into a rolling news and current affairs network, dropping the vast majority of the entertainment and interest programming that provided succour to her during her years of captivity and in doing so running down its core services? No, you didn't, as BBC Enterprises span it into a "DLT LOL" story. Suu Kyi clearly has no concept of snooker on the radio but merely grabbed onto something where "the listeners would write in and I had a chance to hear other people's words. It made my world much more complete". And it might not have been his show after all, although that Suu Kyi partly remembered Travis' name in the interview and specified the music requests element (and that the letter is from the producer of the other show) suggests otherwise.
DLT, anyway, reading the name off a medallion - a medallion - around his neck, with unhilarious consequences. Notable point in the chart rundown is the reappearance in The Wanderer's wake of Leader Of The Pack at 21, illustrated not with a Shangri-Las shot but with a stock photo of a moped. Not a particularly raucous machine either.
T Rex – I Love To Boogie
Fronted by the man the EPG called Marc Bowland - though it was the name he used when first recording, so maybe they were onto something. T Rex were doing better critically than commercially at the time and Bolan wasn't in the best of health, positively anaemic in appearance with shorter hair and no great commitment to the vocal delivery cause. Sounds slightly Dylanish in his vowels, actually, plus the odd sheep noise. He's got the rest of the look nearly down pat, though, a wide tie with no shirt over a luxurious velvet jacket and widening face augmented with cyan eyeshadow. It's just the energy was being saved up so Billy Elliot could expel it.
Gallagher & Lyle – Heart On My Sleeve
On the other hand, a look that always ages. Not the beard, the cloth cap, and doubly the swept back mullet and accordion. It's the latter's deathly bellows that puts the colour in a slip of a slow song's cheeks but also means it can never attain whatever emotional touch it was going for, not with that always going on in the background. Gallagher and Lyle clearly believe in filling a stage, though, as while the drummer seems to be in an adjoining postal district the bassist has to share a backing vocal mike with two blokes of indeterminate use, one in polo shirt and floppy hat, looking for all the world like they work in lighting and got called in to stop the wide shots looking so barren. The audience are up for it this week, though, swaying like it means something to them. Two are prominently wearing gypsy bonnets.
Peter Frampton – Show Me The Way
"Some amazing, amazing things done with a tube in the mouth and all sorts of goodies" DLT promises of the video clip as seen on the full version a couple of weeks ago without ever specifying what those goodies might be once the appeal of a talkbox has palled. Maybe he means the massive red lighting sign above the band spelling out 'FRAMPTON'. What a manly 70s man Frampton really was, with his aftershave commercial open shirt and glorious mane.
Brotherhood Of Man – My Sweet Rosalie
First band to have two songs on the TOTP repeat run, if I'm not mistaken. Having apparently topped "all the charts around the world" they have a new single which DLT thinks will "go right to number one". (SPOILER: it didn't. It went right to number thirty. This, though, was not the last we'd hear of the band, not by a long chalk, but we'll cross that flagrantly Fernando-shaped bridge when we come to it) It's probably fair to say that having lightning strike twice was foremost on the minds of songwriters of both songs Tony Hiller, Lee Sheriden and Martin Lee, though. It starts with a xylophone melody followed by a Martin Lee solo spot while everyone else takes part in synchronised light movement. Then there's some collective arm swinging on the chorus as Lee seems to be telling us in the light variety harmony style about his undying love for... hang on, we've been here before, haven't we? And so on the last line the music winds down, one of the girls makes "me?" signs at Lee's shoulder and "she's the only one for me, the cutest little puppy dog you'll see..." Bloody hell. Brotherhood Of Man - the M Night Shyamalan of 70s lounge pop and with a similarly wayward quality detector. It's not even a cute dog. Though how they got the dog on stage, given the other two had it in their arms for the climactic pose immediately and surely the music and movement would have scared it away were it untethered on stage, let alone risk being spotted by the camera and the end ruined, remains a mystery.
Mud – Shake It Down
"Mud stands for Maniacs Under Demolition..." Hang on, what's this? The admittedly piss-in-the-wind two plays unless you're number one rule for the edited version has been broken! Admittedly there's much less worthy songs it could have been done for than Disco Mud - and it wasn't falling as everyone seems to think, it was heading down but then rebounded to 12 for no good reason before resuming its stately progress out - but we lost a Ruby Flipper routine for this. And then to compound matters the second verse is completely edited out, meaning we lose a bit of fresh comedy business involving bassist Ray Stiles (see the whole thing here - the green trousers are back, then). Then the reason why we've got it again becomes clearer as DLT lumbers onto the stage, only Stiles dealing him a brief glance, and heads behind the drumkit. Once there, while Dave Mount makes excellent confused faces, he finds he can't think of anything to do. Join in? Sway? Pretend strangulation with his mike cord? It's a dilemma. Oh, Les has taken his shades off. He means business. So does the director, if business is good in giving the unwary photo-sensitive epilepsy. Don't mind telling you, I'm going to miss this song. Were it up to me I'd launch a BBC supportive campaign to get it up the charts on downloads. Les Gray certainly missed it as he re-recorded it with his solo band, and it's on Spotify and various download sites (some of which credit it as a 2010 release but in fact it came out in 2002, Gray being detained by rigor mortis well before last year)
Murray Head – Someone's Rocking My Dreamboat
Earnest man, Grand Old Opry shirt, song that's delivered in the style of the Inkspots, largely because it's a cover of one of their songs and Head clearly has no better ideas about arrangement, essentially dreaming of being Robin Sarstedt. He does rescue it with the single most awkward looking backing band of all, ageing jazz men mixing with a Bob Carolgees-a-gram on over-florid double bass playing. Eventually Head puts his guitar down and goes for the jazz standard extemporising while a man with 'GET UP AND BOOGIE' on the back of his cardigan is being a traitor to himself. By close he's threatening the audience with a large pot plant. That's one way to make an impression if all seems lost.
Candi Staton – Young Hearts Run Free
Oh, he's got Ruby Flipper's name right at last. This is a right dog's dinner even by Flipper standards.
Yeah, maybe they were right when they said it should never be done on TOTP. Cherry on lead again, you'll notice, taking the lead in interspersed clips of her and the Paul Nicholasalike as the titular young hearts, but clearly BBC4 are going all out to annoy the PC BRIGADE message board, um, brigade. Floyd Pearce actually finds a role more off-beam than the TVC15 jockey, seemingly dressed as the housekeeper from Tom & Jerry. He doesn't lift up his pinny to reveal multicoloured stockings at any stage, but maybe that's being saved for the routine for the 12" mix. He's giving the literal interpretation a good going over, though, as are two of the girls in bonnets ("you'll get the babies but you won't have your man") and the third bloke in flat cap and blacked out teeth ogling a clearly visible Page Three ("while he is busy loving every woman that he can"). And yes, Floyd "just can't break away" when his ankle is grabbed. It's a story of many layers, this, the dream (of a completely different looking woman) to return to the days of youth when nothing else mattered. Cleverer than it looks after all, and they got six of the seven in for once. TWEET OF THE WEEK: "i want ruby flipper on.totp 1976 to.do a similar dance routine to a lady gaga song!" That'd be prescient of the show.
Liverpool Express – You Are My Love
"We have some nurses from Great Ormond Street here". Yes, Dave, they were the people in nurses' uniforms grabbing onto your elbows in the last link and you forgot to specifically mention them then, didn't you? This one "could well be a monster hit sound" - closer this time, it reached number eleven. That might be because the image of the performance was burned onto the retinas of a generation of viewers, the VT editor having been granted a solarisation effect and been overkeen to use his new toy. More of an impression than the record, which sounds like someone not quite understanding 10cc.
The Wurzels - Combine Harvester
Of course DLT introduces it in a pirate voice, with the suggestion we "get out to the garden sheds, get hold of the tools, throw them around". He does know what the country is, doesn't he? Doesn't he? It's the first performance again, if you're keeping notes, Pete Budd giving it so much suggestiveness to camera he felt moved to comment on it. Yeah, the Wurzels are on Twitter. I think I may have stumbled across social media's black swan event. Say what you like about the logic around these lyrics, but at least a combine harvester and its key have more in common than a key and some rollerskates. He's still not properly playing that sousaphone. DLT does a poor Tommy Cooper impression that's more growling than catchphrases apropos of nothing, visibly delighting the girl next to him for quite some time, before Rod Stewart's Tonight’s The Night plays us out.
EDIT NEWS: the Dolly and Lizzy videos again plus a Ruby Flipper routine to Sold My Rock ‘N’ Roll by the unrepossessingly named Linda & The Funky Boys that looks like this. Basically, many and varied ways of going round in a circle.
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