Nightfly
Screenwriter
Posts: 911
Online Status:
|
Post by Nightfly on Oct 12, 2022 22:22:36 GMT
The unaired pilot may have had a short life on Youtube, but you've done a great job on the commentary as usual.
The Saxon performance with the "lead singer" more preoccupied with whether the fish shop on the way home from the recording stays open late on Thursdays is forever etched into my mind. Also Peter Powell trying to keep B.A. in check was a good laugh from what I can remember. I wonder if he gave him any presenting advice ? "Hey, B.A. - If you ever get your own presenting gig and the girl from Bow Wow Wow is on the guest list, make your excuses and leave".
|
|
|
Post by Perfect Pseudonym on Oct 17, 2022 11:47:09 GMT
07/08/1980
So, this is it. The strike is over, Hurll is in place, the TOTP Orchestra are no more and various back room staff members of the show can now stop practising their air guitar techniques in the mirror. TOTP is back. And the first thing we see is Peter Powell in a sort of Radio 1 image clothing blue jump suit thing which is partly flapping down at chest height showing the yellow inner lining. Although they now have fancy on-screen text imaging, they presumably forgot to set Peter’s name, so it is written on the front of his jump suit.
“We’re back” he says, and then explains that the “we” means himself and his co-host who then comes in to view. B.A… oh, it’s Elton John. Glassless and wearing the same kind of tifter when he was on the show in a non-presenting capacity a couple of months ago, but differently coloured in blue with a red band, and wearing a somewhat crumply oversized Shoestring-esque suit jacket with a loose tie. Elton has presented the show before, in December 1977, and solo, so this should be a breeze for him. In what might be an Irish, or Scottish, or Welsh accent, he says it’s a pleasure and asks what is on the show tonight. Peter duly obliges over the Whole Lotta Love backing. Sorry Yellow Magic Orchestra, you’re soooo last July.
Abba - still pic first (as all of these have), then brief footage of all of them on stage clustered round Benny’s Yamaha keyboard Diana Ross - as Cleopatra I think (footage from the vid later) Roxy Music - their TOTP performance of Over You, not actually the song featured today Tom Browne - the L&Co performance later, although Sue seems to be missing in the clip Hot Chocolate - “Every one’s a winner” says Powell and there’s a brief shot of them in mid-appearing (or disappearing) guise on the No Doubt About It dry ice fest. Neither songs are on today Kelly Marie - today’s TOTP appearance by the looks of it. So if they can show that, why the old different song clips of Roxy and Hot Chocolate? Gap Band - the on-stage pageantry we’ll be seeing later Gibson Brothers - 13 March TOTP appearance doing Cuba Sheena Easton - footage of her dancing around in front of some fluorescent lights as if she’d snuck into a Gary Numan video Bad Manners - The 24 April TOTP when they did Ne-Ne Na-Na Na-Na Nu-Nu (had to copy and paste that)
Tom Hark - The Piranhas
It’s a brief return to Pete to introduce the first act and here they are. Although a relatively average and totally manageable five piece set-up, for some reason it looks like there’s a whole lot more of them on stage. It actually reminds me a little of when Pigbag fetched up to do Papa’s Got An Etc.
All five are wearing white gloves for reasons unknown. Probably to spark internet theories 40-odd years later. I have none. As it’s a band that veers on the wacky side of presentation, the drummer is at-front and standing and actually slightly forward looking in that he has the vague Latino looks of a Blue Rondo A La Turk member. With his slicked back hair and topless torso, he’s obviously the band (and/or self) appointed eye candy for the ladies. However, as he chooses to bash away using fish as drumsticks, he’s going to have to have a thorough going over with some carbolic on his hands before he can go a-wooing. Ah, the gloves. Now I can see why he’s wearing them. I’ve no idea what kind of fish, but I don’t think they’re piranhas as what he’s using are more slender, and a bit more, well, drumstick like. I mean who’s ever heard of anyone using piranhas as drumsticks? Ridiculous notion.
I remember this tune as a thing long before this particular rendition came out, but I think until then had always been an instrumental. Main-man Boring Bob Grover added some lyrics and a vocal line for their version. Although presented in a very light-hearted way, the lyrics are very much for the times fear of nuclear devastation, and fearing a world where no-one will ever hear or see of Pigbag. Still, it’s a lot more whistleable than Kate Bush’s take on it.
Upside Down - Diana Ross
Back to Pete ’n’ Reg, and after admitting that he can’t whistle, Powell addresses the elephant in the room, and explains that they’re back after a 9 week absence due to the Musicians Union. Elton explains that there’s been quite a change in the charts and having tried to kill off disco (you’re going to need more than Little Jeannie in your arsenal mate), it just keeps on going and Diana Ross is at number two. Which he visualises by raising a single digit in the air. Make of that what you will.
Di is obviously not in the building, so it’s the video. Well, it’s a video. Utilising various different images (moving and static) of Motown’s First Lady from all sorts of different eras and with absolutely no lip synching to this tune going on at any stage. I suspect that it’s maybe something the Beeb have cobbled together as L&Co were already booked. But if it is the official video, it’s a rather shoddy effort. Especially as throughout the footage she remains the right way up.
Another Nile Rogers and Bernard Edwards production, having already worked wonders with Sister Sledge and Sheila (and) B Devotion. The two in-house Chic vocalists must be feeling a little bit unloved at the moment. Wish I could ease their sadness by remembering their names, but can’t be bothered to Google. I’ve already had to look up the Bad Manners song, I can’t be going back there so soon. However, unlike Chic, Sledge and Sheila I’ve never really took to this one. Compared to those other works it’s always seemed a little empty and underfed. Don’t know if its Diana’s presence or not. She has a nice voice, but has never been a great voice as far as I’m concerned, and I just don’t think it was the right one for the sort of thing Niles and Bernie were going for.
Oh Yeah (On The Radio) - Roxy Music
It’s back to this weeks’ star duo, but Elton takes the solo for this one by giving a bit of factual explanation/gossip that Ross wasn’t happy with the mix R & E did of Upside Down so took it away and remixed it herself. In his opinion the original mix was slightly better. Tell it like it is, Elts. I have heard this fact before but never the original mix, so despite my stubbornness only one paragraph ago, I took myself off to YouTube. It’s not that much different really, but enough for me to agree with Elton’s appraisal. Oh, and while I was in internetland, they were Alfa Anderson and Luci Martin. You’d have done it better justice, girls. Elton then introduces Roxy Music with “Oh Yeah”, and Pete comes in on backing vocals with “On The Radio”.
As with Over You, they’re in the studio again. Bryan back to what he knows best - miming without a guitar. As a compare and contrast it’s interesting to see that we’ve now passed the point that Paul Thompson stopped being the drummer of Roxy Music. I’m sure there’s no truth in the rumour I’ve just posited that he went on holiday with Robin Nash. In his place is Peter Sutcliffe. This time I’m very much sure that it is Andy Mackay on the stage, and on the keyboards, presumably with Paul Carrack bound and gagged inside. He does a bit of multi-tasking by getting up for the non-existent sax solo, before slinking back to the keys. Gary Tibbs very much in the beginning stages of his transformation to an Ant.
I did used to like this one a lot when it was current, but its lustre has worn out on me a little bit now. It is a much better proposition to Over You and has a nice glidey feel, but I suppose I’ve somehow managed to hear it a lot more than would be expected over the years. The motoring YouTube channel Smith And Sniff (motoring presenter Jonny Smith and Top Gear/Grand Tour scripter Richard Porter) have speculated what car Bryan Ferry is in when he’s hearing the music. I can’t remember for sure, but I think they concluded it was a Jag. I reckon he’s more of an Alfetta GTV man myself.
Funkin’ For Jamaica (NY) - Tom Browne
Powell on his own is glad to see that Bryan Ferry’s better now for their forthcoming tour, but doesn’t expand on that. Whiplash from a rear ender when his GTV spluttered to a halt on the outside lane perhaps? He then brings on this week’s Legs & Co’s extravaganza.
Alright, let’s get it out of the way. Phwoar, grrrrowlll and other sounds that Sid James makes but I can’t transcribe in word form. Yes, it’s a scantily clad performance this week. Frilly underwear, suspenders, stockings and whatever else is available on the Victoria’s Secret website. I imagine. Some of the girls appear to have odd-coloured stockings as well, as if they had to don them quickly as his wife had unexpectedly returned home downstairs. As with the pilot performance, Pauline and Patti are set apart from the others. This time by being in yellow, the other four in a more blue themed state of undress.
It’s a very lively performance starting with them all cocking their ears to the general rabble of chattering voices at the start of the record and then indulging in a very smiley routine of shuffling around, spinning and then realising they’ve left their clothes in the dressing room. We then get to the bit that we see at the start of the show, which is when Sue has separated from them for a bit of a solo routine. Quite why they chose this bit to show I don’t know, but maybe Sue’s absence from the pilot was a bit ‘political’. Or, the video editor decided that this bit would have to do before having to go off somewhere a bit private.
When it gets to the middle-eightish bit when more chattering happens in the record, each of them get a solo turn in front of the camera. And despite being around since 1976, they are given first name introduction captions during their turns. This definitely is a new start. Of the last year they have left.
As for the record, this has gone the opposite way to Oh Yeah (On The Radio) in that I didn’t think much of it at the time, but really do like it now. It’s a busy record with lots of chattering, but some pleasant vocal passages do break out from time to time. Tom Browne was a bit of a Mike Oldfield in that he didn’t actually sing but got a presumably publicity shy female vocalist in to do it. I’m not sure what Tom’s role was in it all. Might have been the trumpeter, or might have been the third chatterer on the left. But a good groove as they say. In 1980.
Are You Getting Enough Of What Makes You Happy - Hot Chocolate
Back to a solo Powell again, and having already laid bare the hard facts about the MU strike, he shoots and scores again by describing L&Co’s performance as scantily dressed. He then takes us into to the 30-21 section of the chart, with the next act conveniently holding that latter position.
“Everyone’s a winner” says Powell for a second time (let it go, Pete, it was a hit in 1978, it’s not coming back) before lazily announcing the first four words only of the correct title. Actually the correct form of the title does seem to be a minefield, as sources vary as to whether it is just those first four words, if it is bracketed, or if it is actually called Are You Getting Enough Happiness. As far as I’m concerned it’s always been the full title I’ve given it. And this is my write-up, so there.
An interesting question following on from a naughty knickers Legs & Co performance, but that’s how the programme sequencing cookie bounced. I haven’t heard this in quite a while, and was quite pleased to as it is a pretty good song. Lyrically it seems to be mining the same sort of theme as Some Guys Have All The Luck where a fabulously rich pop/rock star is bemoaning the lack of lady attention he is getting, but it is delivered in a nice upbeat way. Excellent clavinet work on the chorus and a nice subtle bit of dub effect during the middle-eight.
It’s an in-studio performance, but this time they’ve been allowed to appear straight away instead of having to get Scotty Lee Travis to beam them in first. And Errol’s been doing some research in the last couple of months and has established it’s no longer the 70s, so the winged collars are out and although the black sparkly thing he’s got on is still a bit Look-In cover, he is heading in the right direction. The rest of the band also have relatively shiny attire, except the bassist who’s just gone for a t-shirt. It’s only him who’s the winner as far as I’m concerned.
Feels Like I’m In Love - Kelly Marie
Back to Powell who doesn’t mention Every One’s A Winner this time. But does say Turn It On Again. Which was a Genesis single wasn’t it? Wrong group, but right year at least. He then takes us to the middle 20-11 section, before navigating us to one of the new entries. Which was actually in the 30-21 section, but Errol Brown insisted it was going to be them or the deal’s off.
So off we go to the stage to witness a Scottish songstress in a jumpsuit. Joined as she always seemed to be by her two black male backing dancers. Are they always there wherever she goes? Hope she doesn’t have a two-seater.
This was written by Ray Dorset, the main man of Mungo Jerry, and actually the Jay Kay of Mungo Jerry as a lot of people didn’t seem to realise that it was a band. I believe it was written with the intention of giving it to Elvis to sing. However, he had enough tracks to go on My Aim Is True and passed on it. So consideration was given for the other one over in Memphis to have a go at it, but he’d already checked out, so it hung around for a couple of years. And then young Kelly Marie (not real name) didn’t have anything available for her first album, so was lobbed this. Given a disco makeover and some added syn-drum woo woos it took off mightily. Obviously I hated it back in the day, but time has been somewhat kinder and I do tap my feet to it whenever I hear it. This is an eventual number one, so I might be gouging a hole in my living room floor. Apologies in advance you lot downstairs. But you really should return my egg whisk.
This was her debut appearance on the newly remixed TOTP stage and shows no sign of nerves. But I guess it might be a safety in numbers thing what with her travelling companions taking a lot of the heat off her. The vocal sounds a bit more piercing than on the record, but she is clearly miming, so was that re-recorded? As I noted at the start, this appearance was used for the “in this week’s show” section whereas the other studio performances weren’t. It certainly hadn’t been on before so I reckon it must have been an earlier pre-record that had been made available to the video editor. Maybe because it was felt best that she shouldn’t be in the building at the same time as someone else coming up in a while, because tensions. Or I might be fantasising.
Oops Upside Your Head - Gap Band
In front of a possibly fishy smelling drum kit, are Powell and the return of John, who while he was away had realised he was wearing Eddie Large’s jacket and had changed into a green PVC jacket with a sort of red shirt under it. But keeping his hat on. Powell banters with him over the costume change and Elton then goes into posh mode to introduce this American group and then checks with Peter over what the associated dance with this is. He explains that it’s a rowing motion, and Elton therefore likens it to Henley. Ah, that’ll be why the posh voice then.
Instead of hearing the single harmonic bass pluck which starts this track, we’re straight over to NTSC-land and a somewhat over populated stage full of people who had already started without us about two minutes ago. Despite the live setting it is very much the recorded version soundtracking things but someone forgot to turn up the bass setting as it is the most tinniest rendition you’ll ever hear. Which is a bit of a misstep for a track that’s very much all about the bottom end.
The Gap Band were essentially three brothers called Wilson. Surname obviously. Mr and Mrs Gap didn’t have three sons and decided to call them all Wilson. Would be very difficult for them to understand which of them is the one being told to remain (which is a very niche reference, but I’m hoping it might land with at least someone out there in Forumland!). However, so that they could be picked out from the 20-odd other people who aren’t called Wilson, they are in red and sparkly cowboy attire, including the hats. The rest of them have to make do with being in white.
Initially I couldn’t deduce if it was originally a proper live show with the studio audio post-dubbed later, or if they were performing to playback at the time. But this was answered at the end by them taking a curtain call to the unheard applause while the track continues on its merry way. Anyway it’s a very busy performance with lots of moving around on the stage. It’s certainly hard work for the cameraman, that’s for sure.
This is a little bit in the same zipcode (they’re all American) as Funkin’ For Jamaica, and to a lesser extent Use It Up And Wear It Out. Rhythm and groove first, song later. It’s alright though, but the days have now long gone when I could get down on the floor to perform the canoe choreography that somehow attached itself to this track. Well, I could get down eventually, but I might need some help if you want the dance floor cleared for the next disc.
Marianna - The Gibson Brothers
Back to Powell on his own (Elton possibly backstage getting his next on-screen lines from Bernie Taupin) and says it’s time for the audience in the studio to work their ticket. Which sounds a little ominous but as far as I’m aware, the recent revamp for the studio didn’t involve the addition of any chimneys, so perhaps it’s just a bit of dusting. He then intros the next act who are live, and live right now. Talk about filling for time.
And it’s off to three more siblings. As it’s just them (and them right now) that comprise the whole band, there’s no need for matching cowboy outfits and can very much treat this as dress-down Thursday. After all, the Hot Chocolate bassist did.
The task of working their ticket as given by Powell to the audience turns out to be a requirement for them to align with this party atmosphere by bopping around and waving balloons. Apart from a very rigorous display by a couple of Tracys, this is generally adhered to within acceptable levels of minimum gusto. In order to add to the party atmosphere, and owing to space restrictions, the two winners of the who can get their clothes back on the quickest after Funkin’ for Jamaica competition are also brought in to the proceedings. Namely Rosie and Lulu. Although as both of them are neither wearing skirts or trousers or indeed any over lower underwear attire of any description, I suspect a bit of cheating went on. Hope Sue doesn’t flounce off again.
Unlike many so-called brothers in music, these three were indeed the real deal. But the family name being Francfort, not Gibson. The Francfort Brothers. No, doesn’t work really. I think they made the right decision. Hailing from Martinique, so having a bit of French about them, they came and went in about a space of a year having deposited four hits unto us. This one being the last of them. As for those hits, Ooh What A Life was and is an absolute corker and a perennial fave of mine, Cuba nearly as good but not quite, Que Sera Mi Vida wasn’t too bad, and this current one is the runt of the litter. I mean it’s still not bad, but compared to the others, there has to be one left in the shop. But is improved on this showing by the half undressed third of L&Co.
However, as the performance is reaching its end and just before the endlessly repeated “No 14 FRANCFORT GIBSON BROTHERS” text is displayed on the screen, we get a camera view right in the bowels of the audience where we see Pauline and Gill getting in on the action. There’s some skinny dopey 1980-youth in a stripy shirt being actually danced at by Gill, and is not in any way appreciating it. Stupid f**ker.
“Just like old times” says a once again solo Powell as we return to him. Not sure if he was referring to the Gibson Brothers, dopey audience members or presenting TOTP on his own, but in any case surely that’s the wrong thing to say. It’s all new, Peter. Forget the past (especially Every One’s A Winner), there’s no room for nostalgia in this new Hurll era.
And just to prove this new forward looking philosophy, he takes us through a little montage of what was happening while they were away. Aside from the many ACAS meetings.
Use It Up And Wear It Out - Odyssey A very small bit of the unbroadcasted pilot is made available to the viewing public of 1980 as the Sue-less L&Co routine to this is shown. The main focus being on Gill’s bottom shaking. Good call, video director. Now wash your hands.
Xanadu - Olivia Newton-John & Electric Light Orchestra No fidgety still soft-focus pic of Liv here. This time it’s a clip from the film. Well I’m assuming it is as I’ve never seen it. I mean she’s not on the Shake Shack with John Travolta, so it must be. No ELO lurking around though. Again.
Crying - Don McLean Brown living room. Acoustic guitar. Next.
Back to Powell who says that “crying” was the operative word for the next act, as she nearly hit the big time, but didn’t hit Top Of The Pops. And here’s why.
Which then takes us to a clip from The Big Time BBC programme, in the TOTP office. A smug looking bearded bloke at a desk tells a standing bloke who looks a lot like ELO’s Bev Bevan that Sheena Easton’s single has gone down. He then tells Bev that he’d better go and tell her. No doubt he will, before having a few words with bearded bloke’s superior about lack of visible credit on TOTP’s Xanadu coverage.
Back to Pete who gives us the happy ending to that rather doom-laden clip. Because her new single has reached far greater heights than Modern Girl ever did. So up yours, beardy.
9 To 5 - Sheena Easton
So off we go to the stage to witness a Scottish songstress in a jumpsuit. But with no black male backing dancers of any quantity with her. Terrible division of resources. You’d have thought Kelly would have given one of hers to Sheena. Bev should really have seen to that.
I’m sure the story of Sheena’s rise from ordinary wee Lanarkshire lassie to Las Vegas conquering saucy multi-property owner acquaintance of Prince is well known. All courtesy of Esther Rantzen and the afore-mentioned Big Time programme. A sort of Pop Idol/X-Factor of its day. I seem to remember it also turned another ordinary housewife type into a newsreader or something. She probably didn’t have Prince on speed-dial herself, but might have reported his death.
As it’s an early (well actually very first - you can’t get earlier than that) TOTP performance of Sheena, there’s still a lot of the primary school teacher about her. And a very attractive one if I may say so Miss. Ooh, she’d definitely get an apple. It’s a straightforward basic swaying performance. Just Sheena, her mic and the odd ignored balloon that is launched towards her.
To any Americans reading, you’ll know this (or may have forgotten it) as Morning Train, because your very own Dolly Parton got dibs on the original title first. Yes it is terribly twee, and in this much more learned equality world, a somewhat achronistic subject. But come on, who can resist launching into that chorus? Just ask Oz. I must admit that I did prefer Modern Girl if I had to choose between the two. But it’s alright, despite any protestations that beardy may have had, it will get its time again.
Lip Up Fatty - Bad Manners
Ah, Elton’s back, and not using his long absence for another costume change surprisingly. I do have theories about this period of absentia but I’ll leave it there. Excuse me while I sneeze. Anyway, Pete congratulates Sheena from afar and Elton stumbles a little over his intro to the next one, but gets it all together to raise a thumb up at the title. Yep he’s very obese aware is our Reg.
It’s to the stage to see Douglas Trendle and his merry band, probably including one or two members of the Piranhas that aren’t Boring Bob or Fish Hands. I just missed out on writing about their previous single, the one with ne’s and na’s in it (can’t be bothered to copy and paste again), so it is nice to have a catch up with them now. Especially as Buster gets to sing some proper words this time. As to be expected he’s a great spacehopper of energy and vitaiity, in his half buttoned Do It All employee overall and as always has the look of someone who would be extremely intimidating to you on a bus, but in a humorous and slapstick kind of way.
This was always a favourite at the comprehensive back in the day, and still sounds great now. Well, if I was to put the record on it would sound great. Because despite any anarchic spirit that the Manners may have, they seem to be one of the few acts who have actually toed the line and completely re-recorded the track especially for Top Of The Pops, which was the conditions laid down, but not often followed. And as it would have obviously have taken half an hour, it sounds abysmal compared to the lively original. Buster’s vocals have obviously been re-done as well, and is also obviously miming to them. I wonder if the TOTP Orchestra would have done a better job.
Back to Powell on his own again (wish I could stop sneezing) who with clenched fist back announces the title, says he’s not going to argue with them, and then thanks Dougie and the crew. Pete is definitely on the inside when it comes to the new breed of 1980. If Elton was actually around, he’d probably be calling him Reggie. He then says it’s good manners to let us know what’s happening with the brand new top ten. If Pete was any slicker he’d be on the Piranha drummer’s head.
10) Give Me The Night - George Benson Video trickery showing three George Bensons at once. All in different profile as if it was a moving mug shot.
9) Oh Yeah (On The Radio) - Roxy Music Despite by now having this week’s performance in the can, they’re still showing the Over You clip. Lazy.
8) Could You Be Loved - Bob Marley & The Wailers The same live clip and sound as in the pilot, with Bob in that Jamaica football shirt he got down the market
7) Oops Upside Your Head - Gap Band Brief reprieve of the live cowboy-themed spectacular we saw earlier
6) Babooshka - Kate Bush Since my previous writing on this, I’ve learned that the video shown on the pilot was a performance from another Beeb show and not the video. This time we are getting a clip of the actual video in which Babooshka appears to be Xena: Warrior Princess. And not just half of her either.
5) 9 To 5 - Sheena Easton You see, we do get the earlier TOTP performance here. Did Bryan Ferry kidnap the video tape of their performance or something?
4) More Than I Can Say - Leo Sayer Oh, if only it were Mike Martin. But it’s the official video with Leo walking moodily on a rocky beach in front of a rough sea, as if he was Phil Daniels after a bit of nightclub balcony diving. Nobody would have caught him though.
3) Use It Up And Wear It Out - Odyssey The pilot L&Co performance again, but a bit where all five are shaking their shoulders. If this is still at number three, why did they waste a slot earlier by putting this in the “things that happened while we were away” section? Sort it out Michael. And see where Elton’s got to.
2) Upside Down - Diana Ross A clip of that video or montage reel or whatever that was we saw earlier
The Winner Takes It All - Abba
A small tweek from the pilot is that this time we don’t briefly go back to Powell to reveal the number one after a brief tease. It is actually shown at the end of the top 10 listing and the video is segued into as an unseen Powell announces the pole positioner. Thankfully he doesn’t call it Everyone’s A Winner Takes It All. Hmm, one for the mash-up experts out there.
After the monochrome stills of happy Abba members which accompany the intro, it’s then onto Agnetha moving and in colour to take us through her heartbreak. It’s a very Agnetha focused video as indeed is the song. So we get lots of shots of her looking thoughtful in an empty cafe, looking thoughtful as she wanders around some sort of fishing village and looking thoughtful while Benny tries to avoid bashing her face as he plays the piano. There are occasional flashbacks of her with the other three in happier times, but that was then and this is now.
It can’t be denied that this is an immaculate record. The trouble is, it is too immaculate. And too final sounding. If this was literally the last record they put out and then called it a day, it would have been perfect. There is such a massive emotional heft to this record that even a hardened Abba-sceptic could probably find it in their hearts to wish them a slightly tearful farewell.
But they followed it up with a song about stage lights while Frida’s in Glasgow, and the emotional investment that had been put into this one ends up feeling a bit of a cheat. It’s as if Abba were the band who cried wolf. Or elk. What is that they have in Sweden? Anyway it’s number one again next week so I can have another there’s something in my eye moment followed by an immediate desire to key a Volvo then.
Give Me The Night - George Benson (credits)
And it’s back to Powell for the last time, and who’s that with him? Green PVC jacket, red shirt and blue tifter. Didn’t he co-present TOTP once? Anyway, Elton is looking a bit swayey shall we say, and is clutching an inflated green balloon that looks like it might have more than air in it. Powell thanks him for joining us (which I’m really hoping is meant in that sarcastic way when someone arrives late) and Reg thanks him back in that whistle stop tour of United Kingdom accents he was doing at the start.
Pete then wishes him well with his new single which Elton has probably forgotten he’d recorded and introduces George Benson, which Elton doesn’t like and shuffles awkwardly out of shot with his balloon. Thankfully an off-screen audible pop followed by an on-screen mini snow storm doesn’t happen. Meanwhile Powell exits right and the audience behind get to their feet to groove away, as they have been told they do like this. And to keep liking it for the minute and a half of credits followed by no credits because the camera’s going nowhere. And it’s so much better watching these ordinary kids (aside from an air hostess for some reason) than watching the Zoo poseurs we’ll eventually get.
Elton may prefer his balloon to George Benson, but I think it’s pretty good myself. Although a somewhat formulaic dance/disco track it has a nice smooth feel to it, and spices up a bit when it gets to “so come on out tonight” bit. And I’ve always liked George’s schtick of be-doo-be-doo-ing in tandem with his guitar playing.
Anyway, that’s the first of the production series Hurll episodes in the can (apart from the bit Bryan Ferry nicked) and it’s fair to say that Elton hasn’t passed the audition. At least the staff can get in the toilets now.
|
|
Nightfly
Screenwriter
Posts: 911
Online Status:
|
Post by Nightfly on Oct 17, 2022 17:57:57 GMT
Another great review ! I think Tom Browne and Bad Manners would be the Nightfly Hitpicks amongst this lot. Of course the latter band had the wonderful harmonica player Winston Bazoomies. I just like mentioning his name every so often . I wonder if he's on the Electoral Register as Bazoomies, W ? This edition seemed to have the "also rans" from artists I liked. Sheena Easton - preferred Modern Girl and I can't get the Not The Nine O'Clock News parody of 9 to 5 from my mind. The Gibson Brothers - preferred Cuba, particularly as their TOTP debut the year before with an embarrassed Danny Baker Dad dancing in the audience before he became a TV gobsh.. presenter in his own right. Roxy Music - love 'em, but this was one of their Friday afternoon jobs.
|
|
|
Post by Perfect Pseudonym on Oct 17, 2022 18:29:06 GMT
Thanks chaps
I suspect that Oops Upside sounded a lot more substantial on your car Motorola than it did on the video in this show!
Wasn't there a sort of more modern revisiting of it a few years ago, called Oops Up or something? One of those rap lads? I'm quite sure it offered no improvement on the original.
Yes, I think it was a two-horse race between Cuba and Ooh What A Life. The latter does edge it for me, on account of being a hit in the summer of '79 which was a particular favourite time for me. But Cuba is so so close.
Modern Girl I think is better because it has quite good verse lines. But the chorus is a bit annoying, and not as satisfactorily belt it out loud as 9 To 5. And yes, I forgot about the Not The Nine version!
|
|
|
Post by D.C. Burtonshaw on Oct 17, 2022 19:10:22 GMT
Many thanks for the huge and superbly detailed review again PP! The later group that did a sort of psuedo cover of Oops up Side your Head was Rap/House outfit " Snap" around 1990 onwards - I was at a club in 1990 one night when the DJ was trying to promote Snap's "New single" and the club goers seemed to remember the original and sat on the floor in homage to it I seem to remember. I didn't - was sitting in the bar with mates.....
Talking of later covers - Pat Sharpe and Mick Brown - Capital Radio DJ's did a cheesy cover in 1990 which got no 22.
Winner takes it all from Abba does seem so final I agree...... a lot of fans knowing the behind the scenes situation thought it was looking like it was all coming to an end.......
Yes Lip Up Fatty by Bad Manners was also changed a fair bit in my school at the time - often by bad boy kids trying to wind up the Dinner Ladies....... (Still a favourite which gets over 55's on the dancefloors at Ska/Mod DJ night's I got to at the pub from time to time!!).
|
|
Cartman
Producer
Posts: 4,032
Online Status:
|
Post by Cartman on Oct 17, 2022 19:24:53 GMT
Sheena Easton was quite big for a short time, 1980/81, then disappeared. I liked Modern Girl, which I thought was better than 9 to 5, which was ok. She had another hit later in 1980, One man Woman, which I liked, and Take my Time, I think this was early 81. The last thing I remember her doing was the Bond film theme, For your eyes only, again a good one. After this she seemed to disappear.
(PS, used to fancy her too...😀)
I liked Bad Manners too, my favourite of theirs was the excellent Special Brew from late 1980.
|
|
Cartman
Producer
Posts: 4,032
Online Status:
|
Post by Cartman on Oct 17, 2022 20:00:42 GMT
On the topic of Abba, I agree with DC, The winner takes it all was a great song, listened to it many times that summer of 1980, often in the car radio coming home from work.
There was a feeling that their long and great run of hits which had started in late 75 with SOS was coming to an end. To me, they had one more great song, Super Trouper at Christmas 1980, then tapered off, their output in their final couple of years, 81/2 wasn't to the same standard imo.
|
|