Proof that even on the smallest stages with a close viewing audience, one person on their own on the TOTP stage can be a very lonely existence. After some uncertain swaying and arm movement, he goes for a proper dance move at 1:31 and takes a few seconds too long to recover. Sorry about the uploaders' extra graphics, it can't be helped.
Wednesday, 29 June 2011
Monday, 27 June 2011
The Alternative TOTP Canon #18: Marillion - Lavender
He'd be miming anyway! He's led the audience in under false pretences!
Friday, 24 June 2011
TOTP 10/6/76 (tx 23/6/11): Tea Party mandate
Odd Twitter #totp comment of last week, which was spotted during the Saturday showing: "do the bbc have any old totp from 1976 that DONT have 'our kid'?" Er, yeah, all of them apart from last week, the Christmas show and possibly one of the lost shows. At least it's not the endless, endless get out clause "this is why punk had to happen". Because obviously Malcolm McLaren was sprung into action solely by JJ Barrie and Mud, and any week now the entire top 30 is going to be overtaken by punk records. There's a distinct air overtaking these shows of nostalgia somehow not being how it used to be, that what was actually showing at a time when Top Of The Pops was another branch of light entertainment, as it was for most of its lifespan, was somehow wrong and it must be the BBC's fault, not yours. Even those who made their name from easy nostalgia are looking on bemusedly. Still, onwards.
Oh yeah, another week off on 6th July, meaning another week of nothing but Alternative Canons.
Anyway, this week's big news - the director has discovered split screen. Noel gets to trial it in the time honoured looking one way/looking back over the other shoulder/into full screen all in real time effect. Before long they'd have invented a way to run tapes back to back and no doubt DLT would soon enough use it to have a conversation with himself.
The Surprise Sisters – Got To Get You Into My Life
I don't know if the recording has this much Philly soul influence - it was produced by Tony Visconti, it says here - or if the BBC orchestra are doing this cover a good service, because the Sisters (the actual Sutcliffe sisters, for the record) don't look the most with-it of vocal acts. Their step-step-step-bend choreography is half-hearted at best and they still manage at one point to visibly get their mike wires tangled, while two of them are wearing dresses that don't exactly flatter their figures and appear to be made out of the purple wrappers from Milk Chocolate Hazelnut Quality Streets. Another one appears to have nearly finished growing a quiff, an unbecoming look in that set-up. Vocally, well, maybe they were merely the Nolans ahead of their optimum time. It doesn't help when a directorial decision means they all end up facing away from camera on the second chorus lead-in, but the die had rather marvellously long been cast when on the first chorus one of the Sisters looks directly down the camera with hand on hip and stern of expression while her colleagues face straight on. After that point she's plainly minding her own business. By the third chorus she's stopped bothering to sing/mime. Our favourite moment comes at this point where the one nearest the camera appears to have been confronted by a sudden, hitherto repressed memory. It's Noel's breakfast show record of the week, somehow.
The Real Thing – You To Me Are Everything
More mismatched wardrobes this week including a ripped T-shirt and a hat with an even wider brim than last time, now of cartoon UFO proportions, but no guitar and everyone more spaced out, in one member's case so he can lead into the start of the lead vocal with some impromptu Pete Townshend windmill air guitar. Maybe he got bored with trying to mime handclaps. Most glaringly, Eddie Amoo is wearing a T-shirt with, possibly picked out in sequins, the legend 'U 2 ME R EVERYTHING'. Somewhere Prince was taking notes.
Dion & The Belmonts – The Wanderer
Noel takes a moment to salute the eclectic nature of that week's chart, mentioning "comedy numbers like JJ Barrie - oop, no, sorry, wash my mouth out, The Wurzels..." Maybe this was a thread carried over from his radio show, because you can't imagine The UK's Favourite DJs were all entirely mad about No Charge any more than those reading this are. Dion, for whom this was a hit first time in 1961 and whose chart rundown shot is a close-up of an album sleeve, is deemed to be representative of "a more nostalgic feel", even though chief retrospective agent Paul Nicholas had by now left the top 30. Dion had in fact tried a Spector-produced comeback the previous year and would release another album in 1976 but presumably his old label fancied a major spoiler. It certainly couldn't be much more spoilt than by the Ruby Flipper treatment, a Patti solo number in a plunging neckline jumpsuit in front of some curtains. The decision to interpret this must have been taken fairly late because Patti doesn't seem to really know what to do and the director is as clueless, breaking out the split screen for an eye close-up, a side of face shot and a longer image of her arm with hand clenching and unclenching in time to the beat. Second go: pursing lips, head and shoulders, seperating of fingers in time. Third attempt: feet close-up, upper face close-up, non-committal moving. By this stage it's looking more likely that Flick was really too busy that week.
The Sensational Alex Harvey Band – The Boston Tea Party
"Rather appropriate for bicentennial year" suggests Noel, who doesn't seem entirely sure of what's going on. In fairness, neither would Harvey.
Zal Cleminson doesn't make the most convincing Pierrot clown, does he? The crowd are giving dancing a go but it's far too awkward for any sort of proper feet engagement. For someone noted for theatrical onstage behaviour, much as he's giving it plenty vocally Harvey's body language on the second chorus, regarding those who are throwing themselves into it with a withering eye with arms sternly folded, gives away his uncomfortableness with the idea that this should be flung at the pop kids. Now, you see that thing he's holding up from a holster towards the end?
Archie Bell & The Drells – Soul City Walk
"If you're wondering what he was holding in his hand, that's known as a drell spoon". A what? Furthermore, he's planting props on bands in lieu of proper links? This does sound like the sort of thing Noel might do, in truth. The Drells aren't around this week, maybe fearing damage to their glittery jackets and Northern club night issue frilly shirts if they have to be shoved in suitcases for transit.
Flintlock – Dawn
Described enticingly by Noel as "some gentlemen from Dagenham". In fact the kids would have known them from Thames' children's sketch show You Must Be Joking! and its 1976 follow-up Pauline's Quirkes, making this something of a sortie onto enemy territory as far as youthful telly is concerned. Despite such exposure this was their only top 30 single, and peaking at 30 at that. The reason seems apparent, namely they were a poor screaming tartan-encrusted 15 year old girl's Bay City Rollers with added too much smiling and a sax solo that sounds like a goose being worried. History will remember them. For their namecheck in Half Man Half Biscuit's Everything's AOR, of course.
Bryan Ferry – Let’s Stick Together
It's about this point that Noel stops making sense. "It's a very very long time since we've had an artist on Top Of The Pops from behind the Iron Curtain. In fact I can't remember the last time." Er, yeah. Meanwhile Bryan's got his spiv tache and white suit with bowling shoes on for the semi-famous video clip with ostentatiously lurking Jerry Hall.
Osibisa – Dance The Body Music
Percussion! So much percussion! And band style possibly filched from Sly & the Family Stone. Course, it's unlikely many would have heard African rhythms and call and response like this in Britain at the time. Noel's actually laughing when we come back to him to find he pronounces it Os-sea-bee-ser, but he can't have been that truly enthralled as we see him in the background looking distracted before wandering off to the other side of the cameras, a crane shot revealing just how small that studio audience really is. There's a half empty bottle of wine on the keyboard stand, which may have helped. Noel, when not put off by a mysterious cheer after the applause has died down, tells us they've "just come from that part of the world where they grow little Rolf Harrises". It's called Australia, Noel. We're adults. "No, not the west country..."
The Wurzels – Combine Harvester
Now that's a segue. Repeat of the tractor-aided second studio performance, should you need to know, though Noel feels the need to add a top of his voice "ooh-arr!" just as the vocals start. A cursory exit, but Noel does give a namecheck to our playout Young Hearts Run Free by Candi Staton, though the edit fades it out right as it hits the chorus.
EDIT NEWS: The full version won't be on iPlayer until Sunday, I think, but it says here it included Slik (keeping to that no third appearance on the edited version rule), Lee Garrett again, Lulu and Philip from Ruby Flipper (obviously all seven got credited at the end despite only three appearing) doing The Continental for whatever reason that was deemed TOTP worthy andthe Elton John & Kiki Dee video (no it wasn't, I was working off an inaccurate list).
Oh yeah, another week off on 6th July, meaning another week of nothing but Alternative Canons.
Anyway, this week's big news - the director has discovered split screen. Noel gets to trial it in the time honoured looking one way/looking back over the other shoulder/into full screen all in real time effect. Before long they'd have invented a way to run tapes back to back and no doubt DLT would soon enough use it to have a conversation with himself.
The Surprise Sisters – Got To Get You Into My Life
I don't know if the recording has this much Philly soul influence - it was produced by Tony Visconti, it says here - or if the BBC orchestra are doing this cover a good service, because the Sisters (the actual Sutcliffe sisters, for the record) don't look the most with-it of vocal acts. Their step-step-step-bend choreography is half-hearted at best and they still manage at one point to visibly get their mike wires tangled, while two of them are wearing dresses that don't exactly flatter their figures and appear to be made out of the purple wrappers from Milk Chocolate Hazelnut Quality Streets. Another one appears to have nearly finished growing a quiff, an unbecoming look in that set-up. Vocally, well, maybe they were merely the Nolans ahead of their optimum time. It doesn't help when a directorial decision means they all end up facing away from camera on the second chorus lead-in, but the die had rather marvellously long been cast when on the first chorus one of the Sisters looks directly down the camera with hand on hip and stern of expression while her colleagues face straight on. After that point she's plainly minding her own business. By the third chorus she's stopped bothering to sing/mime. Our favourite moment comes at this point where the one nearest the camera appears to have been confronted by a sudden, hitherto repressed memory. It's Noel's breakfast show record of the week, somehow.
The Real Thing – You To Me Are Everything
More mismatched wardrobes this week including a ripped T-shirt and a hat with an even wider brim than last time, now of cartoon UFO proportions, but no guitar and everyone more spaced out, in one member's case so he can lead into the start of the lead vocal with some impromptu Pete Townshend windmill air guitar. Maybe he got bored with trying to mime handclaps. Most glaringly, Eddie Amoo is wearing a T-shirt with, possibly picked out in sequins, the legend 'U 2 ME R EVERYTHING'. Somewhere Prince was taking notes.
Dion & The Belmonts – The Wanderer
Noel takes a moment to salute the eclectic nature of that week's chart, mentioning "comedy numbers like JJ Barrie - oop, no, sorry, wash my mouth out, The Wurzels..." Maybe this was a thread carried over from his radio show, because you can't imagine The UK's Favourite DJs were all entirely mad about No Charge any more than those reading this are. Dion, for whom this was a hit first time in 1961 and whose chart rundown shot is a close-up of an album sleeve, is deemed to be representative of "a more nostalgic feel", even though chief retrospective agent Paul Nicholas had by now left the top 30. Dion had in fact tried a Spector-produced comeback the previous year and would release another album in 1976 but presumably his old label fancied a major spoiler. It certainly couldn't be much more spoilt than by the Ruby Flipper treatment, a Patti solo number in a plunging neckline jumpsuit in front of some curtains. The decision to interpret this must have been taken fairly late because Patti doesn't seem to really know what to do and the director is as clueless, breaking out the split screen for an eye close-up, a side of face shot and a longer image of her arm with hand clenching and unclenching in time to the beat. Second go: pursing lips, head and shoulders, seperating of fingers in time. Third attempt: feet close-up, upper face close-up, non-committal moving. By this stage it's looking more likely that Flick was really too busy that week.
The Sensational Alex Harvey Band – The Boston Tea Party
"Rather appropriate for bicentennial year" suggests Noel, who doesn't seem entirely sure of what's going on. In fairness, neither would Harvey.
Zal Cleminson doesn't make the most convincing Pierrot clown, does he? The crowd are giving dancing a go but it's far too awkward for any sort of proper feet engagement. For someone noted for theatrical onstage behaviour, much as he's giving it plenty vocally Harvey's body language on the second chorus, regarding those who are throwing themselves into it with a withering eye with arms sternly folded, gives away his uncomfortableness with the idea that this should be flung at the pop kids. Now, you see that thing he's holding up from a holster towards the end?
Archie Bell & The Drells – Soul City Walk
"If you're wondering what he was holding in his hand, that's known as a drell spoon". A what? Furthermore, he's planting props on bands in lieu of proper links? This does sound like the sort of thing Noel might do, in truth. The Drells aren't around this week, maybe fearing damage to their glittery jackets and Northern club night issue frilly shirts if they have to be shoved in suitcases for transit.
Flintlock – Dawn
Described enticingly by Noel as "some gentlemen from Dagenham". In fact the kids would have known them from Thames' children's sketch show You Must Be Joking! and its 1976 follow-up Pauline's Quirkes, making this something of a sortie onto enemy territory as far as youthful telly is concerned. Despite such exposure this was their only top 30 single, and peaking at 30 at that. The reason seems apparent, namely they were a poor screaming tartan-encrusted 15 year old girl's Bay City Rollers with added too much smiling and a sax solo that sounds like a goose being worried. History will remember them. For their namecheck in Half Man Half Biscuit's Everything's AOR, of course.
Bryan Ferry – Let’s Stick Together
It's about this point that Noel stops making sense. "It's a very very long time since we've had an artist on Top Of The Pops from behind the Iron Curtain. In fact I can't remember the last time." Er, yeah. Meanwhile Bryan's got his spiv tache and white suit with bowling shoes on for the semi-famous video clip with ostentatiously lurking Jerry Hall.
Osibisa – Dance The Body Music
Percussion! So much percussion! And band style possibly filched from Sly & the Family Stone. Course, it's unlikely many would have heard African rhythms and call and response like this in Britain at the time. Noel's actually laughing when we come back to him to find he pronounces it Os-sea-bee-ser, but he can't have been that truly enthralled as we see him in the background looking distracted before wandering off to the other side of the cameras, a crane shot revealing just how small that studio audience really is. There's a half empty bottle of wine on the keyboard stand, which may have helped. Noel, when not put off by a mysterious cheer after the applause has died down, tells us they've "just come from that part of the world where they grow little Rolf Harrises". It's called Australia, Noel. We're adults. "No, not the west country..."
The Wurzels – Combine Harvester
Now that's a segue. Repeat of the tractor-aided second studio performance, should you need to know, though Noel feels the need to add a top of his voice "ooh-arr!" just as the vocals start. A cursory exit, but Noel does give a namecheck to our playout Young Hearts Run Free by Candi Staton, though the edit fades it out right as it hits the chorus.
EDIT NEWS: The full version won't be on iPlayer until Sunday, I think, but it says here it included Slik (keeping to that no third appearance on the edited version rule), Lee Garrett again, Lulu and Philip from Ruby Flipper (obviously all seven got credited at the end despite only three appearing) doing The Continental for whatever reason that was deemed TOTP worthy and
Tuesday, 21 June 2011
The Alternative TOTP Canon #17: Jonathan Richman and the Modern Lovers - New England
Don't worry, Jonathan has spent most of his career making the unwary this baffled. There's a very definite pregnant pause after they finish.
Sunday, 19 June 2011
The Alternative TOTP Canon #16: Farley Jackmaster Funk - Love Can't Turn Around
An early chance to see how TOTP coped with the house music influx, a full year before Ibiza was discovered, and a showcase, described as "life changing" by journalist Joe Muggs, for vocalist Daryl Pandy, who died on the 10th. From 2:26 you'll see how much he's going for it, something you'll notice gets next to no audience response leading him to have to start shouting at them. By the end he's so exhausted himself he has to have a little lie down.
Friday, 17 June 2011
Going badly
From BBC2's much recalled TV Hell theme night of 1992, John Peel runs through the best of the worst, I assure you nowhere near as familiar then as they are now. How unfortunately prescient the link at 2:50 in part three now seems.
Tuesday, 14 June 2011
TOTP 3/6/76 (tx 13/6/11): here comes the summer
This repeat run is evidently proving so successful BBC4 have to keep moving it around to give other programmes a chance. No messing about for Tone, a fade from a spotlight into his face and small medallion, a simple "hello and welcome" and we're off. Incidentally James & Bobby Purify never appeared in the TOTP studio, perhaps because their label was worried about their cardboard selves getting damaged in transatlatic transit.
The G Band – Don’t Make Promises You Can’t Keep
The G Band? They did it by themselves, the leader was not present, Tony confirming they've "changed their name since Gary Glitter retired, of course". Glitter would, needless to say, go on to have another five top 40 singles, though none in the rest of this year, so on that score he kept his promise. Fair to say that without the leader's influence the Glittermen have come a little unstuck. For starters they've decided one drummer is enough, though whether the displaced sticksman the one with a Panama hat or the one in what seems to be a judo top with wings wielding a banjo isn't clear. Their idea of stage decoration for something that manages to neither be one style (glam) or another (MOR) is two totem poles, one seemingly painted as a parrot, and small fake cacti. This wasn't a hit. They never had one again, so ruining the reputation of the Glitter Band.
Dolly Parton – Jolene
Clearly too many lights for anything but a US country show and too much taffeta for TOTP styling. Someone seems to be trying to grow a full garden out of window boxes behind Dolly, even though that's clearly not the local fauna of Nashville.
New Edition – Sunshine Saturday
No, not the Bobby Brown one. Tony has two girls with him, Trish and Jackie by name, and it's as if he isn't thinking of informing an audience 35 years into the future as he refers to their appearing "a lot of times on television last year" and "the theme music to a particular show I'm going to tell you about in a moment". In fact they were Mike Batt's studio band, Chris Spedding and all, allied to the resident dancers from Seaside Special, the BBC1 prime time ratings killer for which this was that theme, in which a big top would be transported to a Torbay-level seaside town for a variety showcase typically involving Dana, Mike & Bernie Winters, dog obedience-based humour and Tony Monopoly. Getting some of the 'band' to introduce the rest of the 'band' is a new one, so it's no wonder the audience don't know where to look. In fact, not only are they in the studio, they're also out on the road doing the same routine. A man who looks the embodiment of the 70s pub singer right down to the dark glasses and is wearing white trousers so tight you can, as they say, see his religion sings about how he can't wait for the evening sun over still photos of the dankest, murkiest British (Brighton?) pier, people not so much lapping up the experience as there out of force of expediency. Meanwhile back on location our man is missing coconuts, performing with circus elephants at their back and perform some sort of pushing-based routine on a bus. Then we see lifeboats leaving massive wakes followed by water skiiers and powerboats, all under those same leaden skies that would go on to make Triangle such a glamorous hit. It looks like variety as decreed by communists. You are having fun. You are having fun. You are having fun. Seaside Special is back June 17th. You will have fun.
Gallagher & Lyle – Heart On My Sleeve
Ruby Flipper time, and the timeshare continues as it's just the four this week against a supposed moonlit sky with some very flimsy... are they meant to be palm trees? The choreography this time: walk around in unison a bit like the Monkees, twirl occasionally, then pair off in the middle for a bit and ballroom. It doesn't help that there's no discernible groove to dance to, but if the boys could get through TVC15 the thinking evidently was they could get through anything. Regular readers will not be surprised to learn Cherry's involved and giving it the little eyebrows to camera given half a chance. They will also not be surprised to hear Tony call them Ruby Slipper and make a reference to David Hamilton.
Thin Lizzy – The Boys Are Back In Town
It's Mr Thin Lizzy! This is pretty much where the withering goes on hold trumped by the weight of subsequent status, except to say that to the oft seen and clearly not TOTP as-live footage of the song footage of the audience hoofing nervously has been added. One girl is being gently moved by the hips by the arms of her boyfriend behind her, aware the camera is closing in on them and desperately not wanting to show that she wants this to stop as she only came in case Mud were on again.
Our Kid – You Just Might See Me Cry
Now this is what we can do. "Two of them are 12, two are 15" Tony approvingly states. You couldn't get away easily with using that age group for pop purposes now, even on Britain's Got Talent. An apposite comparison as Our Kid won the viewers' vote for New Faces about six weeks earlier, beating "Paul and Avis, young brother and older sister, singers and guitarists from Walsall; Chris North and Jill from Norwich, a speciality magic act; Johnny Hammond, a comedian and singer from the North-East; Simone, a singer from Exeter; and Cops, a five-man group." Hammond actually won the panel vote and has since been described as "the best stand up comic of our time" and "the comedian’s comedian, ahead of his time and completely unaware of his talent". By Chubby Brown and Jim Davidson respectively, it should be stressed. Our Kid, meanwhile, seem conflicted about whether they're meant to be a British teen soul sensation, though the orchestra might have given them an undue push in that direction, or are so laden with variety club cheese they should have cut out the middleman and book a lifetime's worth of Seaside Specials now to appeal to the mothers. In fact they pretty much did the latter, a horde of promotion for this single and summer season runs, and before long they'd worked far more days than they were supposed to under local authority rules and couldn't promote their follow-ups. By their big tie knots and lapel roses were we forced to judge them.
The Rolling Stones – Fool To Cry
The same studio-live footage that's been on the full version a couple of times and has got no less ponderous in the interim.
JJ Barrie – No Charge
Yeah, we sent it to number one. TOTP repay us with another studio performance with all the smarm elan of a used car salesman, a really marauding camera dolly and, to add spice, some intercut pictures of children from Pears Soap boxes. Maybe he was promised them for next time if it went to number one. At the end, a different boy smiles. Barrie never had another hit, despite recording with Brian Clough (or, more accurately, Clough recording over him). Here's Tammy Wynette's even sappier version, and here's Billy Connolly's. Chris White's Natural Rhythm plays out the light scan, and we're all back next Thursday wherever in time we are.
EDIT NEWS: Perhaps confirming our suspicions that no song will be allowed on these edits more than twice unless it went to number one, Cliff and - that girl will be happy - Mud hit the cutting room floor.
The G Band – Don’t Make Promises You Can’t Keep
The G Band? They did it by themselves, the leader was not present, Tony confirming they've "changed their name since Gary Glitter retired, of course". Glitter would, needless to say, go on to have another five top 40 singles, though none in the rest of this year, so on that score he kept his promise. Fair to say that without the leader's influence the Glittermen have come a little unstuck. For starters they've decided one drummer is enough, though whether the displaced sticksman the one with a Panama hat or the one in what seems to be a judo top with wings wielding a banjo isn't clear. Their idea of stage decoration for something that manages to neither be one style (glam) or another (MOR) is two totem poles, one seemingly painted as a parrot, and small fake cacti. This wasn't a hit. They never had one again, so ruining the reputation of the Glitter Band.
Dolly Parton – Jolene
Clearly too many lights for anything but a US country show and too much taffeta for TOTP styling. Someone seems to be trying to grow a full garden out of window boxes behind Dolly, even though that's clearly not the local fauna of Nashville.
New Edition – Sunshine Saturday
No, not the Bobby Brown one. Tony has two girls with him, Trish and Jackie by name, and it's as if he isn't thinking of informing an audience 35 years into the future as he refers to their appearing "a lot of times on television last year" and "the theme music to a particular show I'm going to tell you about in a moment". In fact they were Mike Batt's studio band, Chris Spedding and all, allied to the resident dancers from Seaside Special, the BBC1 prime time ratings killer for which this was that theme, in which a big top would be transported to a Torbay-level seaside town for a variety showcase typically involving Dana, Mike & Bernie Winters, dog obedience-based humour and Tony Monopoly. Getting some of the 'band' to introduce the rest of the 'band' is a new one, so it's no wonder the audience don't know where to look. In fact, not only are they in the studio, they're also out on the road doing the same routine. A man who looks the embodiment of the 70s pub singer right down to the dark glasses and is wearing white trousers so tight you can, as they say, see his religion sings about how he can't wait for the evening sun over still photos of the dankest, murkiest British (Brighton?) pier, people not so much lapping up the experience as there out of force of expediency. Meanwhile back on location our man is missing coconuts, performing with circus elephants at their back and perform some sort of pushing-based routine on a bus. Then we see lifeboats leaving massive wakes followed by water skiiers and powerboats, all under those same leaden skies that would go on to make Triangle such a glamorous hit. It looks like variety as decreed by communists. You are having fun. You are having fun. You are having fun. Seaside Special is back June 17th. You will have fun.
Gallagher & Lyle – Heart On My Sleeve
Ruby Flipper time, and the timeshare continues as it's just the four this week against a supposed moonlit sky with some very flimsy... are they meant to be palm trees? The choreography this time: walk around in unison a bit like the Monkees, twirl occasionally, then pair off in the middle for a bit and ballroom. It doesn't help that there's no discernible groove to dance to, but if the boys could get through TVC15 the thinking evidently was they could get through anything. Regular readers will not be surprised to learn Cherry's involved and giving it the little eyebrows to camera given half a chance. They will also not be surprised to hear Tony call them Ruby Slipper and make a reference to David Hamilton.
Thin Lizzy – The Boys Are Back In Town
It's Mr Thin Lizzy! This is pretty much where the withering goes on hold trumped by the weight of subsequent status, except to say that to the oft seen and clearly not TOTP as-live footage of the song footage of the audience hoofing nervously has been added. One girl is being gently moved by the hips by the arms of her boyfriend behind her, aware the camera is closing in on them and desperately not wanting to show that she wants this to stop as she only came in case Mud were on again.
Our Kid – You Just Might See Me Cry
Now this is what we can do. "Two of them are 12, two are 15" Tony approvingly states. You couldn't get away easily with using that age group for pop purposes now, even on Britain's Got Talent. An apposite comparison as Our Kid won the viewers' vote for New Faces about six weeks earlier, beating "Paul and Avis, young brother and older sister, singers and guitarists from Walsall; Chris North and Jill from Norwich, a speciality magic act; Johnny Hammond, a comedian and singer from the North-East; Simone, a singer from Exeter; and Cops, a five-man group." Hammond actually won the panel vote and has since been described as "the best stand up comic of our time" and "the comedian’s comedian, ahead of his time and completely unaware of his talent". By Chubby Brown and Jim Davidson respectively, it should be stressed. Our Kid, meanwhile, seem conflicted about whether they're meant to be a British teen soul sensation, though the orchestra might have given them an undue push in that direction, or are so laden with variety club cheese they should have cut out the middleman and book a lifetime's worth of Seaside Specials now to appeal to the mothers. In fact they pretty much did the latter, a horde of promotion for this single and summer season runs, and before long they'd worked far more days than they were supposed to under local authority rules and couldn't promote their follow-ups. By their big tie knots and lapel roses were we forced to judge them.
The Rolling Stones – Fool To Cry
The same studio-live footage that's been on the full version a couple of times and has got no less ponderous in the interim.
JJ Barrie – No Charge
Yeah, we sent it to number one. TOTP repay us with another studio performance with all the smarm elan of a used car salesman, a really marauding camera dolly and, to add spice, some intercut pictures of children from Pears Soap boxes. Maybe he was promised them for next time if it went to number one. At the end, a different boy smiles. Barrie never had another hit, despite recording with Brian Clough (or, more accurately, Clough recording over him). Here's Tammy Wynette's even sappier version, and here's Billy Connolly's. Chris White's Natural Rhythm plays out the light scan, and we're all back next Thursday wherever in time we are.
EDIT NEWS: Perhaps confirming our suspicions that no song will be allowed on these edits more than twice unless it went to number one, Cliff and - that girl will be happy - Mud hit the cutting room floor.
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