Chart Music: the Top Of The Pops Podcast - #68 (Pt 4): 1.5.80 – The Ken Of The Eighventies

Episode Date: December 10, 2022

Neil Kulkarni, Simon Price and Al Needham hit the final straight on this very decent episode of The Pops. After getting our obligatory serving of the Nolans, it’s the double-Harringtoned attack of The Beat, Kate Bush prepares to go Zorbing in a nudist camp, there’s a GLORIOUS Number One, and then we have to listen to Johnny Logan’s pain over some kaleidoscopic studio lights. And a BPT update!Video Playlist | Subscribe | Facebook | Twitter | The Chart Music Wiki | Patreon Hosted on Acast. See acast.com/privacy for more information.

This is the first radio ad you can smell. The new Cinnabon pull-apart only at Wendy's. It's ooey, gooey, and just five bucks for the small coffee all day long. Taxes extra at participating Wendy's until May 5th. Terms and conditions apply. This will certainly have an adult theme and might well contain strong scenes of sex or violence, which could be quite graphic. It may also contain some very explicit language which will frequently mean sexual swear words sharp music It's Thursday night

It's just gone past quarter to eight It's May the 1st, 1980 And your host, Al Needham, that's me Is hunched over the portable telly in his bedroom With a copy of the brand new Smashes by his side, deciding which skinny tie to wear at the youth club later on, but most of all, cramming every second of this episode atop of the pops into his gaping maw. Hey up, you pop craze youngsters and welcome to the

final part of Chart Music 68 as we rejoin the episode in progress. Skinheads are magic! Well we're having a great wall of time and that's the great wall of noise. That was Mudderhead and Leave In Here.

Hi girls! Great singers but not as good as the Nolans who don't make any way. A wall of noise, that was not a head-on leave in here. Hi, girls! Hi, Tom! Great singers, but not as good as the Nolans, who don't make any way. Vance, surrounded by even more appallingly bouffant young ladies, tells us that we've had the Great Wall of China, but now we've witnessed the Great Wall of Noise. He then sings, Hi, girls! And they respond with,

Hi, Tom! So that Vance can coat them down when he tells them they're nowhere near as good as the next act, the Nolans with Don't Make Waves. Jimmy Hendrix, Public Enemy, U2, Joy Division, Marvin Gaye, Elvis Presley, Public Image Limited, Bruce Springsteen, Sly and the Family Stone, Bob Dylan, Led Zeppelin, James Brown. None of those have ever been covered on chart music, but we're about to talk about the fucking Nolans for the fifth time. This is the follow-up to I'm in the Mood for Dancing,

which got to number three for two weeks in February of this year. It came out a month ago and entered the charts at number 58 and when it soared 24 places to number 38 the following week they were ushered into the top of the pop studio which gave it a nine place leg up to number 25 this week it stayed at number 25 but no matter it's the fucking nolans they're back at last yes at last we've done the nolans as you say so many fucking times and it's almost become a running joke when i'm on the show that it's a shame it's not don't make waves well yeah at fucking last it is don't make waves yeah you better like it simon yeah nice shit um yeah um i i want to talk about it in terms of disco evolution okay

because this subclade begins with the common ancestor of rock the boat by hughes corporation right uh produced by john flores um who is obviously of Hispanic descent, but from Los Angeles. But then Rocky Baby by George McRae, produced by Casey and the Sunshine Band, Miami. So it's got that kind of Latino feel that both those records have. So you've got that as the ancestors. Then, most importantly, I think in this case, Dancing Queen by ABBA,

because that was ABBA's attempt to make their own Rock Your Baby and to take that kind of Latin syncopation. And Don't Make Waves is post-ABBA. Not that I'm by any means placing Don't Make Waves on the same level as Rock Your Baby or Dancing Queen, but it's got the DNA of that Latin disco sound filtered through Northern European mum-pop sensibilities. What I love about the structure of this song is that the intro, vocally, kicks in halfway through the chorus. That bit that goes, So let our hearts roam free if you want to love me.

It's like halfway through, and that's a really clever little songwriting trick Because it's the most exciting bit of the song And it's a really clever way to get you hooked in To do like half of the chorus Before you actually do the song It's produced by Ben Finden And co-written by Finden

With Robert Pusey and Mike Myers Not the Austin Powers one Probably not the baddie from Halloween You never know They were all established journeymen And hacks of middle of the road pop right um their fingerprints are all over the doolies for example who are very much the john the baptist to the nolan's jesus findon did loads of schlager and europ prior to this, which you can kind of tell. But he did also produce and co-write

Lovely Hurts Without You for Billy Ocean. And even better than that, Red Light Spells Danger. Oh, wow. Which is literally one of the greatest records ever made. So this guy, he's a hack who knew what he was doing and capable of flashes of genius. For me, this song is a tiny flash of genius and by far um the best thing the nolans ever did right the performance here is is

bog standard nolans doing their symmetrical sororal choreography in silver jackets and salmon tops and black slacks and bright pink belts with i thought a slightly phallic dangle on the end of each funky belt that's it is it that's the belt yeah yeah they're wearing funky bells i mean they look as if all the women in greece were outfitted by the k's catalogue you know i mean i'm so glad what we cleared it up in the same episode we cleared up what a funky belt was this is really good um but yeah the whole thing it's total cruise ship there's no sex no sleaze just wholesome entertainment um although looks can be deceptive which maybe we'll talk about in a minute i'll hand over to neil now well i mean it's interesting you say this is like one of that that probably your

favorite nolan i mean i i kind of wish this was any of the other singles off the Making Waves album, because sexy music, I'm fairly sure that might have formed the melodic inspiration behind my sister's game of disco lights, by the way. Oh! Might have been made for a better performance.

Or the mighty, you know, Who's Gonna Rock You, co-written by Billyy ocean funnily enough but i would love who's gonna rock you to be on this episode because they might have played the video which starts with one of the greatest sight sound gags ever um linda nolan starts the song um on the recorded version with a kind of disco yowl and in the video to to make that believable she's running a bath about to hit the town and then she puts her foot in this hot bath and she does this loud yeah your room which is worthy you know it's like baby face finlesson or something oh my god that's like there was this tradition in the local cinema in barry i don't

know if i've talked about this before no but you know um cinemas in those days probably not so much anymore would have local adverts in the trailers as well as sort of national ones and there was one in barry for a local kind of carpets and flooring um retailer and uh what it was there was a woman getting up in the morning in her dressing gown and she's walking down lovely thick plush carpeted stairs until she gets to the bottom

and it's cold tiles and when she puts her bare foot on the cold tiles everybody in the cinema would scream and it's just this thing that became a local tradition and i i fucking loved it i wonder if there's anything else out there like that just these like weird little local things that grow up but in response to the advert the woman in the advert doesn't scream she

just sort of flinches a bit but people would scream and yeah yeah you just reminded me of that it's a nice memory to have the thing is the thing is with this song it sounds like it was written at a much slower pace and has been kind of a little bit artificially discoed up, I think, that doesn't really suit the kind of rather dreary anthemic melody. I don't think they benefit from what they're wearing. No. As has been mentioned. I know they couldn't wear the same thing as they did on the Lena Zavaroni show. But when they do this on the Lena Zavaroni show, they wear these sort of purple pantsuits that are way more flattering.

What this really made me think about that, I was reading a thing with a video director, an interview with a video director from the early 80s. And he was talking in general about when he's got in trouble with his videos. And he said that in one of the Nolan's videos he does, Maureen Nolan looks tearfully at a picture of her old boyfriend and then throws it in a river. And this video is banned in case it made people throw litter. For fuck's sake. So there you go, Nolan's kicking out the jams. But yeah, a bit of a low spot for me in this show. I mean, like Bucks Fizz in a few years' time,

the Nolans are trapped in that limbo between actual pop stardom and the cabaret circuit, as reviewing the stage a few months hence bears out. The image of the Nolans has been given a glossy veneer of late, a fact that was reflected throughout their recent show at Wembley. Surely not the stadium. There were the smooth and sexy costumes, provocative and exhausting dance routines,

a material that will go down a treat on the disco floor. These contrast somewhat disconcertingly with the clean cut, girl-next-door giggles, but no matter. By the enthusiasm shown at this concert, there is a place in the hearts of many middle-aged, middle-class mums and dads for this kind of entertainment. Like the Osmonds, they are family life on parade. Middle-of-the-road classics, ancient and modern, abounded with the newest and youngest of the group, Colleen, leading the way with Touch Me In The Morning. She's 15, everyone. A medley of songs from the last few decades provided a range of styles from a neat Charleston number to rock around the clock

and, much to the astonishment of the audience, a quick blast of punk. What? Yeah, and I'd love to know what punk. Well, the thing is, in terms of their sort of family-friendly, wholesome image, obviously that was deceptive. I think we have to talk about what happened backstage at this very episode

of Top of the Pops. Yes. Motorhead and the Nolans did meet up and there was an attempt by Lemmy to cop off with one of them. And I found interview quotes from Lemmy to cop off with one of them. And I found interview quotes from both sides to confirm this happened. So here is from Lemmy's side, right? He says, no, there was no fling, but it wasn't for the want of trying.

They are awesome chicks. People forget those girls were on stage with Frank Sinatra at the age of 12. They've seen most things twice. We were on top of the pops at the same time as them and our manager was trying to chat up Linda, the one with the bouffant hair and the nice boobs.

He dropped his lighter and bent down to pick it up. Linda said to him, while you're down there, why don't you give me a dot, dot, dot? It blew him away. We didn't expect that from a Nolan sister.

None of us did. We were supposed to be the smelliest, loudest motherfuckers in the building, but we more than met our match. We were in awe. Wow. You couldn't mess with the Nolan sisters. That's from Lemmy's point of view. In Colleen's version, it was Lemmy himself, not the manager,

who dropped something on the floor and bent down to pick it up, only to be given the while-you're-down-there-love treatment from Linda. And Colleen says the look of shock on his face was priceless. He thought he'd have to watch his behaviour in front of the Von Trapps. And there was Maria Von Trapp being so crude. From that point on, he realised we were ordinary people and we got along great. Colleen also says Lemmy was the nicest, most intelligent, philosophical person you could ever meet. He'll probably be turning in his grave

now I've said that, though I was terrified when I met him for the first time in 1981. She's got the year wrong there. I was a Nolan sister and he was this scary looking heavy metal guitarist. Colleen continues, but he found out that the Nolans weren't that innocent either. When we did Top of the Pops, he bent over to pick something up in front of us, and Linda said, while you're down there. So there we go.

It's confirmed by both sides. Wow. So the following week, Don't Make Waves soared 10 places to number 15, and two weeks later it got to number 12, its highest position. The follow-up, Gotta Pull Myself Together, got to number nine for two weeks

in October and November of this year, by which time Linda and new member Colleen Nolan teamed up with Mickey Moody of Whitesnake, Bob Young, a songwriter for Status Quo, Cozy Pal and Lemme in the Young and Moody band for the single Don't Do That. Which is one of the great incongruous

hookups in pop history, along with Shawoddy Woddy supporting Einstein's End of Noibout. But yeah, it's just a sort of standard kind of blues rock knees up, very much in the same vein as who was it who did Hold Me? It was Maggie Bell and B.A. Robertson. Yeah, that kind of blues rock knees up, very much in the same vein as, who was it who did Hold Me? It was Maggie Bell and B.A. Robertson.

Yeah, that kind of feel to it. That's what it's like. Yeah, and not the only collaboration between the Nolans and Motorhead, as we'll discover later. Don't make waves I can hear you still, baby Don't make waves Poor ladies who started in Ireland, now they're totally international.

And no one's at 25 on the charts in Don't Make Waves. Now, let's go into the bathroom and see the mirror and the beat. After telling us how international the Nolans are, Tommy, on his own this this time invites us into the bathroom and guides us towards the mirror and introduces the next band the beat with mirror in the bathroom we've wanged on about how fucking skill the beat are many a time and off on chart music and this their third single which was written before they'd even got a deal with Two-Tone or anyone else, is the follow-up to Hands Off She's Mine, which got to number nine in March of this year.

It's also the third cut from their forthcoming debut LP, I Just Can't Stop It, which comes out at the end of the month. It's automatically entered the chart this week at number 58, but that is not going to deter Top of the pops from ushering them into the studio two words boys fucking yes this is amazing yes and it's another moment in the show where i feel like pulling some of the audience up by the lapels and just snarling oh yes what are you doing how are you staying still this is fucking astonishing yeah you know the beat whenever they're on top of the pops they're always dazzling

because they're just a band that have so much they've got two absolute stone cold heartthrobs in dave and roger your sax had just been the coolest motherfucker on earth oh yes i mean this song had particular resonance in my household at the time because it put my sister, Mira, through that thing that no kid wants, having their name mentioned in a popular song. Oh, of course. Mira in the bathroom, yeah? Oh, no, no. I mean, I got the same a year or so later

when Dollar's little-known B-side Neil Kulkarni as a wanker got some radio play. But for a while, this song massively wound my sister up and as her little brother i felt that residual resentment too but my god what a record and and i mean as you say i mean i mean what's a year for albums and singles 1980 years suzy banshee's coming out with kaleidoscope diana ross diana the linton crazy johnson i'll be mentioned warm leatherette remaining light more specials it's just an amazing year for albums. You've got to put I Just Can't Stop It in that company. And in the NME 50 tracks of the year for 1980,

the Beat have three singles in the top 30, which no other band does. Two top 10 singles already this year. It's only May the 1st. And this has the words nailed on hit written all over it. Oh, without a doubt. And they've been sitting on it as well. That's really crucial. Yes. It reminds me of a quote from not dave wakeling in the other dave where in

an interview that year he says i think there are three things you should have in a band you should be sort of poppy weird and you should be able to dance to it and that is this record to a t it's such a weird little record in today's issue ofits, which I would have had close to me while watching this, the singles page absolutely frothed at the gash over this song. In short, their best yet wrote a small creature in shorts. Pumping rhythm, clip guitar, a song that is the very model of simple insistence, and the whole thing is topped off with some marvellous sax playing

that weaves in and out of the structure hear it twice and you feel like you've known it for years and fucking hell that small creature in shorts was not lying oh too right i don't think this was the first time i heard the song i think i heard it on the radio a few times but yeah the minute you hear it it's like fuck me point me in the direction of the record shop now which is mental for a record with i mean really no chorus bar repeat of the title but eventually the lack of a chorus becomes its own chorus this incessant repetition yes and this hovering around this very sort of downward minor key pattern but it's massively danceable rhythmically there's these long lines of lyrics

where the lines grow into these sinister insistences on you know watching yourself whilst you're eating and stuff it chilled me as a child it still chills me now and watching this performance you get the sense with the way that the beat put this across just how much they've waited for this moment not only is this song an old song that's more reflective of them as personalities than perhaps the covers were. But it feels like the first moment where this band are able to exert some autonomy over what they put out, and it's a really important statement.

They're brilliantly served as well, I have to say, by the antics of the backroom boys at Top of the Pops with some excellent mirrored split-screen action and stuff. Yes. Appallingly served by the audience, but fuck me what a moment in the episode this is. Yeah. It's not just the sort of computer-y stuff they do

with the split screen horizontal and, you know, Dave Wakelin being mirrored. It's literally the handheld looking glass that Roger has, isn't it? And he does that thing where he angles the looking glass just perfectly so he can stare into it and see down the camera. That's a lovely little touch, isn't it?

This song, as you say, was always in their locker. They had it at their sleeve. I interviewed Dave Wakelin a couple of years ago now, and he was telling me about this, that, well, basically it all began in the summer of 78 when he and Andy Cox went down to the Isle of Wight to earn a bit of money fitting solar panels to houses. And they were staying in a house in Blackgang, China,

which has since fallen into the sea. And while they were there, they just started playing in local bands for something to do. But they decided they wanted to start up their own thing and they advertised locally for a bassist. That's how they found David Steele. Could have had Mark King. Mark King could have been in the beat fucking hell.

Power of the Universe, yeah, jeez. But yeah, David Steele, the man that Wakelin describes as the Mozart of the band, he's the one on this performance and pretty much every performance who does that mad ankle-tangling dance, which Saxa called The Shuffle. And Dave said that they all tried to copy it,

but none of them could do it. It's only he can do it. A lot of the songs on that first album, I Just Can't Stop It, were written down in the Isle of Wight while they were fitting these solar panels, including Mirror in the Bathroom. David Steele was training as a mental health nurse.

Yes. But he decided to move to Birmingham with the other two and they went back and carried on to give the beat a chance. And songs like this are all about his bass lines, really. And it was

yeah it was always up their sleeve as they started playing live and their reputation grew there was a sort of watershed moment where they played john peel's roadshow at aston university which is their first gig with proper pa and lights john peel went fucking ape shit for them right he outreduced them as the best band in the universe after the undertones right so the reputation was spreading and jerry dammers um came along to check them out because he'd heard rumors about them and saw them as kind of competition i suppose obviously he's blown away and he offered them a record deal with two-tone and he said to them i mean he already had in mind he said that mirror in the bathroom for the first single right and they said to him yeah yeah that's probably the bathroom for the first single, right? And they said to him, yeah, yeah, that's probably the one. But then when Damers showed them the paperwork,

the contract with Two-Tone and Chrysalis, and it said that Chrysalis would keep the song for five years and they couldn't have it on their album, right? So they said no. And the way they got around it quite diplomatically was they said, all right, you can have Tears of a Clown and you can argue with Smokey Robinson about whose song it is. And also Tears of a Clown, and you can argue with Smokey Robinson about whose song it is. And also, Tears of a Clown, or, you know, the first beat single, whatever it may have been, was coming out at Christmas.

So they said, just watch, it'll do better if we hold on to this one. You don't want a song about one of Dave's nervous breakdowns, save that for the new year, when everyone's thinking about killing themselves in February. Which is really smart, because, you know, they're sort of leading two-tone along sort of implying that yeah you know we'll stick with you we'll put that single out but of course what they had up their sleeve was they're going to quit so they they do Tears of a Clown slash Rankin' Full Stop on two-tone and then they leave and in a way surprising but also very canny that this isn't even the first single on their own label. As you say, Hands Off She's Mine comes first,

which is a brilliant song, but it's a bit more lightweight and a bit less substantial than Mirror in the Bathroom. So they were just sort of finding their feet and building their audience. And it was a superb move to set up their own label, Go Feet, rather than just signing directly to Arista, because in a way it became their mirror,

if you'll pardon the pun, of Two-Tone. They had their own identity. The parent label, in Two-Tone's case, it was Chrysalis. The big, bad label is hiding behind this kind of independent-looking front. And it's really important as well that the beat had a girl as their logo, the beat girl. Dave Wakelin's talked about this as well,

about they wanted to provide a counterpoint to the kind of blokey thing of Two-Tone having Walt Jabsco. It's in the hope that girls would feel more welcome coming to their gigs. And, you know, apparently that did work. That's my next tattoo, by the way. The other thing about this, already it's not Scar. Because Tears of a Cl rankin full stop very very

high octane sped up scar even hands off she's mine although that's almost got a kind of afrobeat element to it's got an african thing going on but by this point i don't know what it is i guess it's funk um it's paranoid funk it's funk having a nervous breakdown as uh dave puts it it's a dance record about mental illness for fuck's sake which shouldn't work but it's about agitation and paranoia and it sounds agitated and paranoid so

in that sense it is musical onomatopoeia even the thing about having a glass table where you can watch yourself while you're eating as an adult you think of reflective surfaces and you think of cocaine you know so that there is that kind of cocaine paranoia or keith joseph it is funk but i think sax is up there auntie a little bit um in in terms of the way i mean what dave's playing on the guitar it's almost jazz he's playing some really

quite weird shit on his guitar so yeah it doesn't neatly fit into any pigeonhole you'd care to shove it into it's just this unique little thing and i keep saying little thing it's a fucking massive thing yeah sax is very much the joey the lips isn't he of the beat i love him because whenever he's interviewed at the time people want to know you know what have you learned from this and he just keeps saying nothing i'm not learning anything from these guys but he loves them i love how dave wakeling and rankin roger do uh reflect the subculture that they are part of by wearing harrington's yes and they just really look the part but saxa has saxons yes um but you know he's he's old yeah but he's he's old he said he can wear what the fuck he wants he He's old, you know.

Oh, God, yeah. You don't want him in a bomber jacket like Tommy Vance, do you? As with the specials of Madness and with a band that we're going to see later on, there was endless playground debate amongst the fourth and fifth year contingent over if you could be a mod and like this sort of thing. But for a newly minted 12-year-old like me and my peers,

there's no qualms whatsoever this is fucking me yeah well it is a little bit more mod than a lot of the scar bands there was a bit of argument in the music press over whether the beat were mod or not well it's because it's so sharp what they're doing you know it's got that kind of nervous energy that a lot of the best stuff by the jam also had so yeah I don't think it's too much of a leap for Jam fans to be Beat fans and Beat fans to be Jam fans, put it that way. We're having a go at Saxon for wearing band T-shirts.

Dave Wakelin's got not one but two Beat badges. Yes, yes. On his Arrington, yeah. And, of course, talking about the Beat girl, there will be the second most plastic mod badge ever after Madness Modness. No, probably the third, because there was the other one wasn't there there was the secret affair badge with a nutty boy looking through a keel well fucking plastic plastic cut out badge of walt jabs go and the beat go on a

scooter oh i've got it i've got that one yes i actually had an even more shonky beat badge than any of those, which was, it was just a round button badge. But, you know, the logo was the letters all kind of wonky next to each other. But the B was like a flat symbol for music from staves, you know. But on this one, they just put a normal capital B. For fuck's sake. but I still wore it because I'd spent 25p on it pathetic it's a very mod lyric in any

case with it as apparent nods at narcissism obviously it's a bit deeper than that but yeah I would be watching this and absolutely champing at the bit for me Saturday afternoon excursion into town and it goes without saying that whenever this hit the decks at the community centre or the youth club it would go the fuck off absolutely i mean we all do a bit

of djing right you know and um i run my own club night spellbound 80s night and obviously we play the beat when i stick this on people absolutely lose their shit it's just such it's just you cannot fail with this track yeah yeah i mean no matter what you were into round our way practically everybody danced the same it that rhythmic leg kicking dance yeah the only difference was what you added to it so the punks would kick their legs but also windmill their arms around the mods and the rude boys would kind of like pump their fists close to their chest and the skinheads would just try to kick the punks and the mods so yeah just one dance but so many variations a council estate can can it's funny though the mod the mod confusion because i mean i remember reading an interview dave waitling when he says that at the time they're playing gigs and literally the mod revival crowd

would be in the audience like just shouting mod they'd shout mod until they heard some mod music um and he'd say you know this was big hit and um you know uh sort of back in the 60s and the people would lose their shit but i mean the thing is this is closer to that mix of black musical obsession and artiness that is mod um far more than the fucking merton parkers or something you know chords yeah oh god yeah the whole album um i just can't stop it it's totally a dance record start to finish it's just incredible and i think um the beat have kind of slipped through the cracks of history a little bit and i think we've talked about this before when we've dealt with a beat but in a similar way that uh you know you've got your blur versus oasis but really the best band out of that lot was pulp it was always

oh who do you refer specials or madness well actually maybe the beat you know they they just don't seem to get a look in in those conversations and they really should i suppose some of it is to do with the fact that they never fully got back together uh that well there was there was one gig they played the role festival hall but even then steel and cox were missing from that that they never fully got back together. Well, there was one gig. They played at the Royal Festival Hall, but even then, Steel and Cox were missing from that. Yeah, yeah, it's such a missed opportunity. But the sound of that album,

it's hard to tell whether one is just projecting this onto it because you know the fact, but it was the first album that was produced digitally. Bob Sargent, yeah, Bob Sar bob sargent was yeah on that album and it's very neat and clipped and sharp and you think is that because it's recorded digitally or is that just completely irrelevant i don't know but it's an interesting fact about it anyway yeah but it is an album that does seem to be left out of conversations about what the best album 1980 is for instance and it should be in every conversation about that because it's it's really up there so the following week mirror in the bathroom soared 41 places to number 17 and a week later began a two-week run at number four and at the end of the month i just can't stop it smashed into the lp

chart at number three the follow-up the double-side best friend slash stand-down Margaret, only got to number 22 in September, but they righted the ship when Too Nice To Talk To got to number seven for two weeks in January of 1981. What a banger that is as well. Fuck me. Near and a bad bro. Here in the bathroom Here in the bathroom

Here in the bathroom Now that's one of them. OK, what's in a name, girls? Show them. And here's another name to conjure with. This is Kate Bush. Outside Gets inside Through her skin Vance, standing above three more Tricia Yates types in black harrington's tells us that there's some great british records about and that was one of them he then instructs the girls to turn around to reveal that they have kim linda and sharon printed on their backs this is supposed to be an acceptable way to introduce breathing by kate bush we last encountered kate bush on chart music number 58 and this her sixth single is the follow-up to the

kate bush on stage ep which got to number 10 in october of 1979 it's going to be the first single taken from her next LP, Never Forever. It came out a fortnight ago and entered the charts last week at number 44. This week, it's risen 15 places to number 29, which gives Top of the Pops the opportunity to whack a video on. But let's put Kate Bush to one side for a moment, chaps. Let's talk about Arrington's, eh? Because 1980 was the year of wearing clothes with your name on i mean practically everyone at our school who had an

harrington would do the following you get your harrington almost certainly from the market and then you take it to another bloke in the market who did printing and you get the name on the top rocker get a t-shirt transfer of whatever you fancied underneath and then you get a clanking in on the front left hand side and you're good to go you're 1980 compliant nobody did that in my town no you're joking no oh man everyone did that in my town yeah maybe it's a midlands thing out did they do the transfer as well neil well yeah these what they did was of course they did

these iron on kind of or so on sort of letters in the back I've said before you know there was a choice I had specials or you could have madness but you didn't have

your own name on it the own name thing that wasn't as common in the heat of two tone it was kind of between specials and madness yeah as to what you had on the back

but I mean you know I was what seven going on eight and I still had that. It was something that everyone felt part of around here anyway. It would be Walt Jabsco or a specials transfer or the Madness M. That was pretty big.

But you could have all sorts on it. I knew one lad who had Blonde on the back of his. Wow. Yeah. And of course, I've mentioned Gormy Dorner, who had OMD on the back of his Arrington a year or so down the line. I feel like I haven't lived, because I would totally have had the Madness M if I'd been able to.

But I just don't think there was a shop in Cardiff that did that. Yeah. But what bothers me about these three girls is that their names are in different fonts. Yeah. Two of them have got, like, this sort of wild west handbill kind of font yeah it's very cowboy font yeah yeah and the other one's just got a sort of sans serif um font i don't know what it is but it's like come on girls yeah isn't it funny how there were different fonts for different areas because around our way it was all cooper black you know the dad's

army phone it was cooper black around our way as well, yeah. Yeah, there you go, Midland style. But, oh, man, once again, the market sorting you out. The decline of the market has resulted in the decline of pop culture, I feel, in this country. Now it's all fucking street food and all that shit. Indeed, use your markets, people, or you'll lose them. Anyway, big year for Kate Bush, 1980. She started off by regaining the best female singer title at the daily mirror rock and pop awards in february and uh three weeks ago pamela stevenson did her on

not the nine o'clock news right you know yeah yeah you buy my latest tits because you like my latest tits she's just written a letter to faith brown thanking her for her impersonation of her and um you know would you like to meet up for a drink there's an unauthorized biography that's coming out very soon which claims that she's a mystical pothead dominated by appearance and that poster of her with all the nipplage dominates every record shop in the kingdom and is gawped up by yous like me when we think no one's looking so yes she's all over the shop in 1980 i can't believe that our generation ignored kate bush at the time yes and it was only the stranger things generation

who finally gave her any credit glance to camera and here she is in a video presenting the disturbing tableau of, you know, what happens when you lose the end of the cling film. Yes. It's an odd video, this. But, I mean, you know, whenever Kate Bush... As I've said before, I've done Kate Bush before on Chart Music and mentioning the terrifying wideness of her eyes, etc. I can't help but think of my missus whenever I hear Kate Bush.

Not only because my missus kind of looked like her, but also because she was a huge Kate Bush fan. And these albums were a big part of our life together. And actually, my wife, she was kind of emblematic, I think, of who Kate Bush fans were in this period that we're talking about here. She was a bit too young to feel part of punk, my wife. But she'd grown up in households that were full of music. And, you know, her dad was a cliff fan and her stepdad was a kind of prog fan who had like dark side of the moon and

genesis albums and all kinds of prog so ultimately she was someone who responded to kind of a slight bit of originality singularity and this fully realized musical visions kate bush had that appeal to a definite set of people i'm not saying she had no fans in london but what i mean is she appealed to the suburban loner i think kids who feel a bit solitary kids whose folks had floyd and genesis albums kids who loved bowie kids for whom punk wasn't really gonna cut it and you know perhaps i mean notwithstanding the annoyed female heavy metal fans of the sounds letters page earlier fans who weren't interested in the fantasies of metal but did want some lushness and musicality and fantasy to their pop music and for those kids

especially girls to find a pop star who had this look to aim for but also that sense of building pop from their kind of bedroom imagination outwards yeah that a literary imagination as well a very readily imagination i think this is really important and you know we're looking at this video my days what an odd weird thing to have on the nation's top pop show yes this song that sings about chips of plutonium twinkling in every lung um you know it's crazy i mean everything else on this show you can kind of connect to something else but this only really connects to kate bush and i think that's why it connected to these kind of suburban loners out there was your wife a misty reader by any chance neil i suspect she was yes kate bush is so missed it's not true yeah this

single um partly inspired by side three of pink floyd's the wall but mainly inspired by a documentary about nuclear war that she watched earlier this year which i'm pretty certain is if the bomb drops uh that episode of panorama about the government's preparations for nuclear war, i.e. the fucking isn't in there. It was the first chance the British public got to see clips of the Protect and Survive public information films. But it's best known for the interview with the market trader who was asked by Jeremy Paxman what he'd do if he heard the four-minute warning and replied, it's a waste of time, isn't it, going anywhere.

You've had it, ain't going anywhere you've had it incha you've had it incha no messing about you've had it incha and yeah the song sung from the perspective of a fetus rather in the manner of belly button window by jimmy hendrix in a smash it's interview earlier this month she says it's about a baby still in the mother's womb at the time of a nuclear fallout, but it's more of a spiritual being. It has all its senses, sight, smell, touch, taste and hearing, and it knows what is going on outside the mother's womb, and yet it wants desperately to carry on living, as we all do, of course.

Nuclear fallout is something we're all aware of and worried about happening in our lives and it's something we should all take time to think about we're all innocent none of us deserve to be blown up and this baby wants uh wants a cigarette as well because it's about the nicotine it's a little song in it yeah i didn't really pick up on the meaning of it at the time i I've got to be honest. No, you wouldn't. You just think, oh, a song about breathing, that's fucking boring. Look, I'm doing it now.

Yeah, I probably thought, well, is Kate Bush doing a slow song? So it's basically another Wow or The Man With A Child In His Eyes. I probably bracketed it with those and didn't really listen very closely. But when you sort of dig into it, she was kind of obsessed with obstetric matters, right down to her first album being called The Kick Inside. Yeah, but all that stuff about chips of plutonium twinkling in every lung, fucking hell.

Yeah, and she was concerned with events in the Middle East, according to an interview I found. Presumably 1980, she's talking about the Russian invasion of Afghanistan and what might come from that. But the record company didn't get it either. They were apparently concerned that the in-out-in-out bit was pornographic. Oh, no! Yes, exactly.

They thought it was pornographic. They thought it was shagging. But the thing is, she's so confident at this point, not just as an artist, but in terms of how secure she is with the record label that she's able to make this the lead single from the album when you know the more obviously commercial babushka was ready and waiting and even army dreamers i suppose yes of course you know later on she'd go way out on a limb and make an album as experimental as the dreaming which didn't have any massive hits

at all even though sat in your lap which was a mental berserk record got to number 11 yeah and then later still she finds the kind of perfect balance of the populist and the avant-garde on the hounds of love but this single at this time is a bit of a flex yeah yeah yeah she's showing a muscle saying you know i can do this so the video um only the second one we've seen so far isn't it it's uh yeah like neil's mentioned it's kate wrapped up in cling film inside a plastic bubble basically it looks like she's about to go zorbing in a nudist colony yes she's invented all in soft focus so we don't see out so sorry about that dad yeah she's attached to that plastic umbilical cord with the amniotic fluid

represented by polythene it's very cheap isn't it like to modernize it looks very cheap if someone like billy eilish did a song like this now you can imagine the cgi production values of the video be mind-boggling but i quite like the inventive sort of make do and mend almost blue peter like approach to representing what's what's going on and to be honest a plastic bubble's gonna be just as safe as a fucking door taking off its hinges and lent against your wall yeah duck and cover fuck that yeah i mean we don't see the end of the video which sees kate coming out of the bubble top of the pops cuts it off before it gets really harrowing so we don't get the male voiceover which i believe is

roy harper i don't know describing the effects of different tonnages of nuclear weapons and then you've got kate and her band in hazmat suits staggering about in a field after a blinding flash or uh wading through a lake looking traumatized with the backing vocals saying, we're all going to die. I mean, eat your heart out, Robert Smith. And then there's this weird happy ending where a nuclear explosion is shown in reverse. And then you've got Kate and all her mates all recreating Edgar Degas' Dégéné Celeb, which was also, of course, recreated by Bow Wow Wow

on their album sleeve. So, yeah yeah an odd video and maybe a slightly cowardly decision by top of the pops to cut it before it gets really bleak but then i suppose they were pressed for time yeah there is cheapness there but even in this two minutes that we get she's totally compelling and draws the eye and i can't think of many of the pop stars at that time who yeah thrown into a load of cling film would have made it quite so absorbing in a way. It's an amazing trick. Yeah, she was always a little bit, I'm a tree, and now she's, I'm a fetus.

Yeah, it's still that kind of slightly amdram thing going on there. So the following week, Breathing nudged up three places to number 26 and a fortnight later got to number 16 its highest position the follow-up babushka returned her to the top five for the first time since wuthering heights in april of 1978 getting to number five in august of this year and when the lp never forever came out a month later it smashed into the chart at number one making her the first woman in uk chart history to do that is this the first big song of the 80s about nuclear war well i mean more specials is about to drop in it and that's got man at cna so yeah that wasn't a single though was it no well

that's really interesting to me as well that um a lot of the other bands were much more route one in their nuclear fear like man at cna literally starts warning warning nuclear attack and you've got kate bush sort of doing this narrative from the point of view of a fetus she's always got a slightly different twist on these things yeah yeah which which kind of is one of the reasons they sort of passed me by at the time because i probably needed it sort of absolutely rammed down my throat um but yeah in coming um at nuclear war from the position of a fetus it's oddly reminiscent of the very last image in threads the horrifying image which you don't see of course yeah yeah horny as fuck man i don't know if i've mentioned this before right

but i'm going to chuck it out anyway but the last scene of threads right so it's a girl who was born after nuclear war, giving birth to a baby, and she's screaming, and you can see a filling in her mouth, right? Was that an actual fuck-up, or was it the director keeping it in to say, look, it's not real? I don't think it was the latter.

I think it must have been a fuck-up, because the rest of it is so consistent. I watched Threads again the other day, and that startling thing, the way the language simplifies towards the end and people can only speak in real it's just astonishing so i reckon that was a fuck up i've never noticed that before you know um the image that everybody remembers from threads is um the woman pissing herself yes when she's out shopping right that woman she she's on IMDB as urinating woman. And that's her only acting job.

Imagine that being your only acting job. Where can you go from there, man? Yeah, yeah. Oh, she's etched in the memory of a generation. What else is there to achieve? Yeah, yeah. I still can't believe they haven't built a fountain in Sheffield of the pissing woman. With it all trickling down her leg.

That'd be a great place to meet, wouldn't it? Oh, yeah, I've got my first date tonight with this girl. Where are you going? Well, we're going to meet at the pissing woman's leg, obviously. Yeah, never mind the left lion. Definitely one of the most original singers in the whole world. That's Kate Bush at number 29 in the chart and the song is called Breathing. What's number one? Thank you. J-O, J-O, J-O, J-O, J-O, J-O. Vance, crouching on a rostrum at the back of the studio,

tells us that Kate Bush is one of the most original singers in the world. Then he jabs her thumb at the main stage and tells us that the band we're about to see, who are lumbering on with holdalls, towels and a steely determination, are this week's number one and deserve to be. It's Gino by Dex's Midnight Runners. We dealt with Dex's Mark II in chart music number 60, but this is their second single, and the follow-up to Dance Dance, which got to number 40 in February of this year. It was written as a backhanded tribute to William Francis Washington,

the Evansville, Indiana native, serving on a U.S. Air Force base in East Anglia, who would slip out to front assorted R&B bands in Greater London, becoming the front person of the Ram Jam Band, who released two live LPs which made the top ten in 1966 and 1967 and got to number 39 in the singles charts in March of that year with Michael the Lover. Although their label, EMI, leaned on them to make it a B-side, preferring their cover of Breaking Down the Walls of Heartache, the band stuck to their guns and it came out in the middle

of March, entering the charts at number 61. Two weeks later, when it was at number 37, they were ushered onto the top of the pop stage, which moved it up to number 29. Then it soared to number 12, soared again to number 2. And this week it's tapped Call Me by Blondie on the shoulder and said, excuse me, please, but you're standing in my space. And here they are in the studio making a very memorable entrance oh indeed chaps say what you say well i mean first off tommy's spot on with his intro um he says this is number one because it deserves to be yeah and that's exactly how i felt at the time because i'd never heard a song that had so much in it all of it good and i think this appearance might have been my first encounter

with this band and this band who i think me and simon actually have discussed it previously that dex is this brilliant mix of kind of a manifesto and magic but you can tell this appearance seems like it's another militarily planned thing by roland the way that they strut on like boxes to the ring and they march on, they throw their coats off like it's a soul review. All of them deep in their Johnny for Mean Streets look. Well, they do a bit more than that, Neil. They chuck their fucking towels and

a couple of hold-alls into the audience and the audience aren't expecting it and they're fucking real back in shock. Oh, it's a hell of a way to come on when you're number one. mean i think the reason this song appealed to me and still appeals to me and i think you know dex is obviously still appeal to me but perhaps in particular appeal to music journalists a lot is that like so much of their work this song is about what being into music feels like yeah you know you

fed me you bred me i'll remember your name this is a song about how music can sustain you and raise you and how keeping the memory of that alive can become a badge of faith a bit of a lodestone you need in an increasingly transitory world it's number one and it's one of the best fucking things on the show the way they come on is amazing yeah at this point i do want to once again plug our back catalog you mentioned chart music 60 and if you want to know how much dexys mean to me and to neil it is all there in chart music 60 where you know i talk about being a lonely teenager staring at my bedroom window but dexys making it feel all right to be alone and made it feel essential to be alone in

fact i talked about that sense of inner strength and self-reliance and self-discipline they gave me and the conviction that even if the entire world doesn't agree with you, doesn't mean you're wrong. And how they chime with this kind of puritanical streak I had and all that kind of pent up emotion and angst I had within me. So that's all the Enchante Music 60, as well as Neil's thoughts on Dexys.

If you want to hear that, go there. But to talk specifically about this era of Dexys and this song first of all to me that the way they storm the stage it's like a hooligan firm taking the away end you know Dexys have taken top of the pops here yeah yeah it's a great way of um circumventing the awkwardness of the beginning of the single because you know you've got crowd noises yeah chanting and all that kind of stuff. It'd be an awkward thing to start miming to.

So by doing that... It's as if it's really happening, the chanting. And of course that, the chanting, was something that would happen at Gino Washington gigs, the Gino, Gino thing. Yes. So, yeah, I wonder how much negotiation it took between Kevin and the Top of the Pops producers

to say, look, we're not going to just stand there we're going to storm on the stage um but obviously they they had their way um he's a very persuasive man and yeah the towel thing it echoes the lyrics you know that that man took the stage his towel swinging high so yeah it actually kind of act out what the song's about how would it have felt to be a member of dex's midnight runners and you're marching onto a stage that's got a massive number one hanging above you yeah yeah because all the best shit from the previous performances in this episode is now suddenly on stage at the same time so you've got you've got the round kind of things that saxon had you've got the kind of scaffolding that motorhead had and you've got this wonderful big number one logo so it's a fucking amazing

moment obviously um the song owes a lot to zoot money's big role band you're one and only man you've all heard that right yeah yeah and uh the vocal tics the obviously general johnson from chairman of the boards although apparently kevin has denied that being the reason right but that but he's a bit like that you know whatever whatever the obvious source of something is he'll misdirect you say oh no no it's not that but i think just being what they were at this time was a stroke of genius because subculturally they appealed to your scar kids and your mod kids but they're not a mod band they're not a scar band they're not a punk band they're a post-punk soul band which

is an absolute stroke of genius at this time. Soul was there for the taking in terms of that big, brassy, stacks, Atlantic, Southern, you know, as in the Southern states of America, version of soul, that kind of Otis Redding version of soul. It was there to be grabbed and to be used and to be repurposed. And they did it fucking brilliantly.

And to be a member of Dexys at that time you must have just felt such kind of self-confidence and self-belief particularly when this record hits number one you think you know all this shit we've been put through of of of rehearsing in freezing cold sheds with uh you know a two bar electric fire in the corner freezing our bollocks off and earning no money and all having to wear the same donkey jackets and hats because kevin says so suddenly it must all pay off you must think yes this is why we're doing it you know yeah with with absolutely no sacrifice of ambiguity that's the whole thing if the whole dex's project is in a way an experiment of seeing sort of how punk's

diy idea could be applied to other music i.e soul. soul, then Gino, I mean, Gino could have become just a homage, a love song to an old singer. But it's not that. The ambiguity of the lyrics is really key. You know, look at me as I'm looking down at you. I'm not being flash. It's what I'm built to do. That suggestion that the only way of actually paying homage to these gods

is to topple them in a way. And there's this weird thing, you know, they never knew like we knew, me and you, we're the same. It's almost like Chapman and Lennon. It's a real odd thing. And now you're all over your song is so tame. The thing that Pricey mentioned, it is really important. And I do realize it probably is a homage, but it felt like when you're watching it, that that was a vocal tick that wasy mentioned. It is really important. And I do realise it probably is a homage, but it felt like when you're watching it,

that that was a vocal tick that was his own. And it wasn't an ooh or an uh, or some resurrection of some old soul motif. It was his. It was something new, something part Irish. It's like he was blowing a raspberry. Yeah, but it's his.

It's spontaneous, but it's, I don't know, part Irish, part brummie just part just nutty i agree with what you were saying about the song being backhanded and what neil was saying about the importance of those lines now just look at me i'm looking down at you and all that stuff you know your song is so tame because if he doesn't do that you know what this song becomes just a you know a tribute a straight tribute to an old soul singer it's when smoky sings by abc and that's just no good

and it's precisely because of that sort of psychological intrigue of kevin turning the tables on his hero that the song works i think it also leaves it hanging in the air that in 1992, someone's going to be singing about Kevin Rowland and saying the same thing. Yeah. And what really comes across on this performance, I mean, it seems like a simple and obvious thing to say, but the horns on Dexter's records, they're the kind of the most strident thing in the mix,

but they're also a true statement of intent. It's the horns that play the riffs that a punk band or a guitar band might have put in. And it's the horns that play the riffs that a punk band or guitar band might have put in and it's the horns that surge you into those moments where dex is just just lift off into this blissful groove particularly on the academic inspiration bit and the thing about horns is they do that thing of just avoiding all the pitfalls of a white rock band there's no guitar phallocentrism there's no soloist ego there's this collective

feel and that is ever important with dex's yeah yeah i think big jimmy patterson jimmy is really important on this track for exactly that reason because it's that hook isn't it it's so memorable that the horns on that it really really drives the track because tempo wise it's not fast it's yeah yeah without that hook it would plod a little bit. But it's more of a kind of marching thing. It propels you. I mean, if there's one thing you can say about Robin Nash at the end of his reign,

he's very up for taking a punt on a new band. I mean, Dance Dance, their first single, it was only at number 60 when he invited Dexys on, and that got it up to number 40. So, you know, who knows what would have happened to him were it not for that Top of the Pops performance. And this is already the fourth earring of Geno on Top of the Pops. Two in-studio performances and a play-out or over-the-chart rundown.

Right, yeah, yeah. And this is a song where every time it's going to appear on Top of the Pops, it's going to draw loads more people in. Because, honestly, I'd honestly, I'd never heard a song with this many hooks in it, with this much going on. And it was just thrilling. You wanted more of it.

You wanted more and more of it. And as you said earlier, Simon, you know, what band are they? Are they Mod? Are they Scar? Again, like the beat, there was debate over Dexys. But no, this had come on at the U Club.

It got danced to. And for this, we'd do our other dance, which was called the Rude Boy Dance. You basically clenched your fists and crossed them over at the wrist, put them in front of your chest, and then bended at the knee up and down. Imagine if you'd been putting handcuffs

and you were dying for a piss. It looked just like that. And yeah, we'd dance like that to this, Message to You, Rude, and anything by UB Forte. So there you go. I sort of feel like the Chart Music Video channel needs some dance instruction videos now. It does, doesn't it? Yeah.

The other thing is, I mean, you know, I didn't know the lyrics to this song for 20 odd years, really, you know, but it didn't matter. Are you saying he doesn't sing in a clear manner? It didn't matter. Are you saying he doesn't sing in a clear manner? But of course, you know, when you get to find out what Dexie's lyrics are, the songs actually get better. They get even more impossibly better when you know the words. Yeah, I wonder how Gino Washington felt about this at the time.

I mean, he's getting a massive plug, but he's by some bloke saying, yeah, you're old, I'm better. Yeah, much like the lyrics. I'm sure he felt ambiguous. I've been to see him live and before he comes on his band get a chant going

Gino Gino and they actually go da da da da da da so he's obviously decided to embrace it you know

as mentioned before I saw him in 1986 at the Hippo Club in Nottingham and it was the first time I'd seen anything remotely approaching a soul review and

i fucking loved it and yes he came up to me afterwards and said oh i see a lot in you you've got a lot of potential and all this kind of stuff and i just walked out floating on air just thinking oh my god gino washington thinks i'm skilled not realizing that he was doing the same thing all over the country picking out lads on their own in the audience and just saying you're fucking brilliant I can see a lot in you because he did it to Ian Brown at the same time

yeah but it was you it wasn't your mate it was you you can have that exactly yeah completely I'm not a fucking anti-vax monkey cunt and this performance has elements of

what would go on to be the dexys projected passion review where he's doing that kind of testifying thing he falls to his knees at one point it's kind of weird that he's got a guitar around his neck um because uh that just doesn't seem a very kevin thing but uh obviously at that moment it worked but yeah just the falling to your knees thing that brings such a drama to that moment in the song top of the pop sort to consider the some lucky that dex's didn't start the song the way they started at gigs just standing there in total silence waiting for everyone to shut up and then having a go at people and telling them to fuck off to the pub if they're not prepared to listen amazing i mean yeah this could have gone on for fucking ages

this song being number one actually i, I can vividly remember, took me by surprise. Me too. I was delighted that it was number one for my birthday. It just felt right, you know what I mean? Well, it really knocked me sideways because what happened with me was I was at the school of horror that I mentioned earlier on in the episode and for some reason, one week,

I didn't get to listen to the Top 40 rundown. I think we've been set on a fucking freezing cold cross-country run or something like that that evening so when when it came to it this week i remember listening to the top 40 on sunday evening and thinking oh wonder what's happened to that that song that i like uh that that gino song just waiting for it you get to the top 10 you think oh well i'm oh well okay and it's had its run it's probably fallen out of the charts. What I didn't realise was it had soared the previous week to whatever it had.

And now it had soared to number one. I had no idea. So, yeah. And it was like, what? Hang on, what? You're kidding me? Yeah. I'll never forget that moment.

It's so exciting. Chaps, you know that when we research, we roll deep. And we've pulled out a quote or two from the Nolan sisters already. But I want to go back there because Ann Nolan's book a few years ago wrote about Dex's Midnight Runners. Oh, right. Quote, for our first time on Top of the Pops with the song Spirit, Body and Soul, we could wear what we wanted.

Now I cringe at the spandex trousers we picked. Surrounded by punksks we were like fish out of water a sex pistol spat on our dressing room door presumably because that's what he thought a punk ought to do we didn't care we had a great time i must interject there because sex pistols were never on top of the pulse in person yeah yeah maybe it was one of the skids who was on or maybe one of the doolies i suspect the doolies but she goes on years later we got a letter from kevin roland of dex's midnight runners he was going through counseling and wrote to apologize for saying nasty things about us. None of us could remember him saying anything unpleasant,

but part of his recovery programme, apparently, was that he said sorry to anyone he'd insulted when you were in the grip of your demons. I think this is the only time Dexys Midnight Runners and the Nolans are on the same episode of Top of the Pumps, Charles. So it must have been backstage of this episode. Maybe. Maybe he said he didn't believe them when they said they liked Frank Sinatra.

Who knows? Well done. Well played. So, Gino would stay at number one for one more week before being stood down by the next single we're going to hear. It would become the seventh best-selling single of 1980. One Below the Tide is High by Blondie, One Above Together We Are Beautiful by Fern Kinney.

The follow-up, There There My Dear, got to number seven in August, and the LP Searching for the Young Soul Rebels got to number six on two non-consecutive weeks in the same month. Great album. Oh, amazing album. The only thing about me and my relationship with that album is

when i first got it i was totally confused about the cover did you think it was him worse than that neil i mean we all know what the photo's about don't we well it's basically the ethnic cleansing of part of belfast isn't it yeah well yeah we know that now but at the time i looked at that photo of that lad holding his suitcase being being rushed into a car thinking, oh, look at that poor sod, he's got to go on holiday and he doesn't want to. He's thinking about all the telly he's going to miss. Fuck's sake. English people are such ignorant cunts about Northern Ireland.

It's embarrassing, man. Oh, that is pure Partridge. That's where Alan Partridge goes about Sunday Bloody Sunday. It really does encapsulate the frustration of a Sunday. Next is Midnight Vomits, and that's the number one record. It's called Oh, Gino. Say goodnight, girls.

Goodnight! Goodnight, everybody. See you soon again on Top of the Pond. After a shot of a flashing red light, followed by a shot of the disco ball, we pan upward to find three more girls on Tommy Vance's gun tower, with Vance himself standing in front of the rail with his leg awkwardly crooked around the bar. Fucking hell. Health and safety, everyone.

Oh, yeah, I thought he was going to go over. Yeah. I mean, you know how it is when some men, not all men, but when some get to a certain age and the daughters start bringing their mates home. And it's not like they're coming on to them or anything, but, you know, they're desperate to put over that, dad's still cool yeah yeah yeah yeah there's no way that

would be allowed on bbc nowadays i mean can you relate to this neil do you start sort of swinging your leg over chairs or over balconies or balustrade yeah i can't say i do and you know i mean i'm constantly sitting astride chairs talking to you know the kids in class yeah oh are you that teacher yeah i call them yeah you're banging your cane on the floor calling them guys you know yes and those um those jeans that vance is wearing that are they saxons they're definitely boot cut yeah they're a bit like the ones that travolta wears in greece or uh maybe maybe the fonz so they've got a bit of flair on them because that's the era just a bit of a kick yeah just a little bit absolutely yeah

by 1980 they would have been well on saxons weren't they yeah yeah yeah he then gets the flower of the nation's youth to say goodnight and bids us farewell without even plugging the Friday Rock Show or the next track, What's Another Year, by Johnny Logan. Born in Frankston near Melbourne in 1954, Sean Sherrod was the son of an Irish tenor who was relocated to the old country at the age of three. an Irish tenor who was relocated to the old country at the age of three. After learning to play guitar and dabbling in songwriting as a teenager, he became an apprentice electrician while working nights as a club singer and playing the lead role in a production of Joseph and the Amazing Technicolor Dreamcoat. In 1978, he changed his name to that of the love interest in the 1954 Joan Crawford western Johnny Guitar, signed with the French record label Vogue, and put out the single No I Don't Want To Fall In Love, which failed to chart. by Vogue. He signed with the local label Release Records in 1979, and his next single, Ange, was his first go at the Eurovision Song Contest, coming third in that year's Irish National Final. This single, the follow-up to Angelina, which I think is the retitled version of Angie but don't

listen to me, what the fuck do I know, was written by shea healy a former cameraman at rte who became a tv presenter and spent the 70s writing parodies of abba songs and a musical about elvis which came out two months after the king's death it was written for the 1980 irish song for europe originally offered to the show band singer Glenn Curtin, but when he turned it down, it was put Logan's way and rearranged by Bill Whelan. After absolutely battering the competition in the national heat, it was on to The Hague, and 12 days before this episode was broadcast, it became Ireland's second Eurovision winner after Dana 10 years previously. Rushed out across Europe in the wake of his victory,

it smashed into the UK chart this week at number 15, the highest new entry. And here's another chance to hear about 40 seconds of it over the usual kaleidoscopic sweep of the studio lights. And even in the 40 seconds, i guess you can almost hear why he won this is this insipid kind of crisscross style ballad yes christopher cross i should say um it's as if this year someone's decided that your revision has to grow up so no more silly performances on the actual show he was as i recall sort of sat on

the stage very downbeat yeah in terms of who should have won this year i think perhaps telex's eurovision which came 17th they wanted to come last i believe um or you know papa penguin by sophia magli from luxem A sad story, what happened to them. Really? Go on. Oh, God, yeah. One of them committed suicide, and then the other one did not leave their house until she died, basically.

Oh, fuck. Sort of about 10 years late. They were very, very tied together. Well, penguins do mate for life, you know. What happened to Papa Penguin, though? I have no idea what Papa Penguin... Well, he presumably swam south, you you know or was eaten by a polar bear perhaps perhaps i mean this song it's kind of it's about kind of grief and lost love but it

layers it with that arrangement in so many stratums of syrup yes it just never gets dark or anything it just becomes this very lovelorn, you know, Ewan McLove nonsense. Although I should say, hats off to the Bat Room Boys this week for lots of reasons. But I had a massive spliff on the go the other night, and I watched this Asian wedding-style manipulation of the light. Cool dad there. Got some serious 2001 Space Odyssey vibes. It's a good one.

It's a good kaleidoscope this week yeah according to those who value the eurovision song contest johnny logan's pretty much seen as the man who saved it in his darkest hour because you know as we can recall israel had won it two years on the bounds and they just said no we're not fucking having it this year we can't afford it and also it was scheduled during one of their religious holidays so no not interested mate right spain and the uk knocked it back because they were being minge bags and although the netherlands stepped in at the last minute they did it on the absolute cheap using the same video sequences as they did in 1976 when the last hosted it so it was getting pretty important that the next eurovision

had to be won by some country that actually wanted it and here comes ireland yeah yeah johnny logan saves the day with his maudlinness yeah i was going to say it's quite rare for such a miserable song to win the eurovision song concerts but then i remembered two years previous as we've mentioned before on child music a barney b's about kids getting beaten up so yeah poor old johnny logan sounded sad upon the radio moved a million hearts in mono yeah because we've we've just heard um an anglo-irish spin on pop deck season but here's what actual irish pop sounded like at the time i think withvision, it has become a gay thing, because gay culture has always been finely tuned to appreciating

camp in the Susan Sontag sense of failed seriousness. And it's become quite a young thing, I think, these days. Due to bands like Maniskin winning it, and, you know, hipster acts like Daddy Freya entering it. But it definitely wasn't

young or gay in Johnny Logan's day. Oh, no. There's only one audience who are buying What's Another Year, and it's the mums. And it's not just mums, it's mums at their wits' end, numbed out on Valium and Gordon's gin, contemplating divorce or already divorced, I reckon. This record, it's not getting played by Radio 1, as I remember.

It would be on radio one precisely twice a week Tuesday lunchtime Sunday evening um for the duration of its chart room that was it the place you would hear what's another year is radio two and specifically Wogan would have been playing it Johnny Logan Terry Wogan gotta have a system right um so we don't see Johnny as you say yeah instead we get that fisheye kaleidoscope view of the lighting rig and credits like vocal backing the maggie streder singers costume and lou bass floor manager jeff warmsley lighting don babbage but if if we'd seen the um the eurovision, we'd have seen a dreamboat.

He's 25 years old, and he's a moist-lipped, blue-eyed, beautiful boy in the Donny Osmond, David Cassidy mould. And this isn't like Daniel O'Donnell, where the fans want to mother him. They definitely want to shag him. Right, right. So what you're saying, Simon, is, is Donny O'Smond Disney?

Oh, for fuck's sake. So, shit. he oh for fuck's sake so shit leave it in you gotta leave it in i've i've got to disagree with you both i think in that i think it's actually a very good song in its own in its own ruthlessly manipulative way it's it's a very appealingly romantic idea to its target audience that this this beautiful but heartbroken man is so besotted that he will wait for you for a fucking year if necessary oh i think he's gone way past that i think he's accepted that it's not gonna happen happening and it's that's it now he's fucked yeah maybe but i don't know i i just i just think women like that idea of power over a beautiful man that you know it's quite a romantic

thing and i yeah i can imagine karen carpenter singing but he could be a widower as well simon oh did you interpret it that way i interpreted it that way i thought it was about grief but um you know i could be wrong i i see where you're coming from though simon he's a good looking fella yeah i'm gonna make my third attempt to say that i can imagine karen carpenter singing it because i can but the best known cover version is by Shane McGowan from 1998. Have you heard that? No. Because the thing with Shane McGowan's version,

he sounds pissed off and bored with the waiting, as if he's singing to the driver of a bus he's been waiting for. I think Shane is playing it for comedy, which is a shame because i reckon 10 years earlier because shane sang it in 98 i reckon in 88 shane would have done it straight and really done it justice right so as as you say you know the production's bill wheelan who by the way wrote river dance uh the less said about that the better um and you mentioned shay healy who died only last, the songwriter. Best known as the host of a satirical TV show in Ireland called Nighthawks,

which was kind of involved in Ireland's own Watergate scandal when there was an interview with the Fianna Fáil politician Sean Doughty, which exposed a phone-tapping scandal, which led directly to the resignation of the Taoiseach, Charles Hockey. Fuck. So, yeah, fucking everything's connected, man. But, yeah, those comedy songs that Shea Healy wrote for Billy Connolly, mostly. Yes.

I listen to them. The Shit Kickers Waltz, and there's another one called The Orient Express, A Tale of Intrigue and Cross-Dressing. They're both about as funny as a drone strike on a kindergarten. No. But when he pulled a serious song out of the bag like this one, I've got to say, I think he's done pretty well. So the following week, What's Another Year soared 14 places to number two.

And the following week, it deposed Gino to assume its position at the very summit of Mount Pop, staying there for two weeks before giving way to theme from MASH, Suicide is Painless. It would go on to be number one in Ireland, Belgium, Finland, Israel, Norway, Portugal and Sweden, but the follow-up in London failed to chart

and he entered the wilderness familiar to Eurovision winners popping up to write Terminal 3 for Linda Martin which came second in the 1984 contest however he made a reappearance in 1985 as part of the crowd the collective who got to number one in June of that year with a cover of you'll never walk alone for the bradford city disaster fund alongside motorhead and the nolans there it is and two years later he had another go at eurovision with hold me now which he won becoming the first person to win it twice and the single got to number two in june of 1987 held off number one by i want to With Somebody Who Loves Me by Whitney Houston. And in 1992, he wrote Why Me for Linda Martin, which won that year's contest, cementing his title of Mr. Eurovision.

You know what? I've got no memory at all of Terminal 3, the one he wrote for Linda Martin in 1984. I've got no memory of Hold Me Now, which one he wrote for linda martin in 84 i've got no memory of hold me now which you know his historic second winner number two in the uk once voted by the way the third best eurovision song ever really yeah yeah but probably i don't remember it because like rock expert david stubbs i was too busy listening to the young gods in that place i was too serious oh leave david alone no seriously man i was and i i've got no memory of why me either the linda martin winner from 92 um i was too busy listening to suede and the manic street preachers but um but i i know enough about eurovision to

know that over that period between his first win and his sort of win by proxy in 92. The competition did become steadily more self-aware and more knowingly kitsch. And I found an interview with Johnny Logan from an Estonian paper, because he doesn't give many interviews, he doesn't trust the press, where he complains that Eurovision had lost its edge since his day. Lost its edge since his day lost its edge yeah yeah um yeah Eurovision was losing its edge to better looking song competitions with better ideas and more talent and they're actually really really nice one for the hipsters there uh he said that um winning Eurovision was a

double-edged sword he says you enjoy your success at Eurovision and the success of the winning song sure but then you also become the Eurovision winner, and that can be very unfashionable, certainly in England. So he sounded a bit bitter there, and I thought, well, what's all that about? Yeah. I wondered what he meant. Why do you think you're on top of the pops, mate? Well, yeah, exactly.

But it turns out he tried to be fashionable, right? In 1982, he had a new sound and a uh on a song called becoming electric oh which was a total flop now you can imagine how i reacted to this discovery i had to hear it um but it's not out there anywhere on youtube or any streaming services whether legally or illegally i might just have to buy it. Johnny Logan becoming electric. I mean, fucking hell. It could be absolutely outstanding one way or another. Didn't he change his name to just Logan?

Did he? Yes. Oh, nice. Maybe that's where you're going wrong, Simon. It could be his Wired for Sound, couldn't it? Yeah. Or his Me and My Girl Nightclubbing or something like that. Oh, we've got to track that down.

Because, of course, in 1982, Brotherhood of Man changed their name to BHM, didn't they? Right, yeah, yeah. In a doomed attempt to go a bit new romantic. There's probably a whole playlist or compilation album to be made of middle-of-the-road acts going a little bit new romantic. Yeah. Like when Manhattan Transfer did Twilight Zone and stuff like that. Oh, yes. middle-of-the-road acts going a little bit new romantic yeah like when manhattan transfer did twilight zone and stuff like that oh yes i did wonder what what life must be like for johnny logan after his 12-year eurovision imperial phase and i kind of imagined either a quiet retirement

or you know maybe a modest living on the cruise ship and cabaret circuit but no he's always got someone on the go he must be minted right yeah for one thing he loves an advert he's done mcdonald's and center parks so he's not short of a few quid um between 2009 and 2011 he performed in a celtic rock opera called excalibur excalibur which uh i've had a look at it so that you don't have to and um even as a Celtic man myself, I can report that it's fucking shocking. And this year he was in the Belgian version of The Masked Singer as the Red Deer. And there's a film coming out about him called Mr. Eurovision. So I guess once you've done the Freddie Mercury story and Elton John

there's only one left to do isn't it? It's got to be Johnny Logan. He wants to keep entering it until he wins it a third time so he can keep the Eurovision Song Contest. Yeah. The Jules Rimet Eurovision Song Contest as it's called. Yeah.

And that closes the book on this episode of Top of the Pops but two weeks to the book on this episode of top of the pops but two weeks to the day after this episode a secret ballot held by the musicians union revealed that 83 percent of its membership were in favor of a strike against the bbc and the writing was on the wall a week later before a performance of fidelio by the english National Opera at the London Coliseum, which was to be broadcast live on Radio 3, members of the orchestra announced that if any of the BBC's microphones were set up

by the time they arrived in the orchestra pit, they would down tools and walk off, forcing Radio 3 to announce the cancellation of that broadcast and put on a very big record instead. The day after that, the MU announced that it would officially go on strike on June 1st, meaning that no BBC musicians or any other MU members would play a note for BBC TV or radio, forcing Top of the Pops off the air. As the great fizzy pop TV famine of 1980 dragged on,

Robin Nash took the opportunity to step down as executive producer of Top of the Pops and pass the baton to the current producer of the two Ronnies, Michael Hurl. When the strike ended after the BBC offered to dissolve only two of the orchestras and give the 63 musos they were making redundant a fat bonus and a five-year guarantee of freelance work, the strike was off. And when Top of the Pops returned on the 7th of August after a nine-week layoff, Hurl was in full control and change was most definitely afoot. Nine fucking episodes of Top of the Pops didn't happen, man. That's so upsetting, isn't it? Yeah, I wonder which great singles didn't get their chance to be on there.

You know what I mean? Yeah, yeah. What great singles just hovering outside the top 40 didn't get their break? It's heartbreaking, but at the same time, I mean, perhaps as a way of getting, way of getting Nash out and Hurl in, the strike was necessary as a kind of moment. Well, it gave them a lot of time to fuck about and flesh the new top of the pops out.

Do you reckon, right, if they tried to carry on making top of the pops with scab workers, you'd have had scab pop stars? Oh, man. Some pop stars standing shoulder to shoulder with the strikers, maybe like the Beat and UB40 and Dexys or something but then you'd have, I don't know maybe BA Robertson he'd be through there like a shot

BA Robertson did that test broadcast at the top of the post with Peter Powell didn't they? You know that one where they got camera crew and floor staff to step in to pretend to be pop stars we've got to do that one day. Yes, please. I wonder which presenters would be scabs as well.

Most of them, I suspect. Do you reckon Tommy would? Bates wouldn't, because he's turned out to be a bit of a lefty. Yes. Yeah, DLT and the rest, they'd all be totally scabbing it up. So what's on television afterwards? Well, BBC One drops in on the sunshine cab company as alex and chums try to keep lacquer in the country by marrying him off to a prostitute

in taxa i watched a lot of taxa uh during lockdown yeah delighted to find out that alex judd hirsch in taxa proper rude boy if he's not wearing an Arrington, he's wearing one of them MA1 green flight jackets. Fucking proper, man. Louis de Palma knows, don't argue. Then it's part two of Hannah, a dramatisation of the novel about a spinster in Bristol between the war. After the nine o'clock news,

it's part one of the drama series Bull Week about a factory in the Midlands starring Mark McManus, then Paradise in a Dream, a documentary about the Coleridge poem Kubla Khan. Then it's the news headlines, question time, the weather, and they close down at midnight. BBC Two is just about to finish an examination of America's inflation problems in Newsweek. Then in the making, a series of films about arts and crafts in modern Britain follows the theatrical designer Pamela Howard about as she works on the RSC's production of Othello starring... Who do you think is going to play Othello in 1980, chubs?

In 1980? I mean, is it a black guy? Please, please let it be a black guy, first of all. Donald Sinden. What? What the fuck? Donald fucking Sinden. You know, there were black actors available by this time. Yes.

This is unbelievable. Donald Sinden. But I mean, Donald Sinden's a great actor in a Shakespearean sense. I mean, he enunciates well. I'm sure he did a good job. I mean, it puts David Baddiel and Jason Lee into perspective. Well, quite. Phil Drabble and Eric Holsor are witnesses to Istra

as the first ever woman takes part in One Man and His Dog. Then it's part four of A Question of Guilt, the drama series about mary blander who was hung in 1752 for poisoning her dad man alive nips over to america to investigate how science is helping couples choose the sex of their baby followed by highlights of the snooker and they rammed off the night with a news night special on today's local elections itv is currently halfway through charlie's angels followed by tvi then it's the sitcom the nesbits are coming followed by shellay the news at 10 highlights of the fa cup semi-final third replay which arsenal

won regional news in your area and they finish off with local election returns closing down at 20 past midnight. So boys, what are we talking about in the playground tomorrow? We're talking about Dexys, The Beat, Motorhead, Saxon. I mean, I think I'll be talking about

just how cool Tommy Vance's voice is because it just is really cool. I mean, I doubt I actually saw this episode because we weren't allowed to watch Top of the Pops in Stalag, Hollingbury. But if I had, obviously, yeah, you've got the excitement of Dexys and the beat. But in terms of WTF, did you see that weirdness?

It's Kate Bush being a cling film fetus and maybe the bloke from Hot Chocolate who saw UFO I think what are we buying on Saturday? Dexys beat Kate Bush moat head Hot Chocolate and

new music I have a very factual and accurate answer to this because I bought the beat Dexys and Rodney Franklin but in later years

I mean I acquired nearly all of them new music Narada Michael Walden Hot Chocolate Nolan's Kate Bush in fact honestly it'd be easier to list the songs I didn't buy at some point But in later years, I mean, I acquired nearly all of them. New Music, Narada Michael Walden, Hot Chocolate, Nolans, Kate Bush. In fact, honestly, it'd be easier to list the songs I didn't buy at some point from this episode.

And what does this episode tell us about May of 1980? I think it says that contrary to sort of 1980 being seen as this in-between a year, it's got a shit ton of delight to itself. And it's actually a year where i think we can legitimately feel it's the uk charts that are pointing the way that 80s music is going to go way more than the us chart oh yes you know in a way this episode is so good it almost makes me feel like i wish we could have had i don't know another 1980 before 81 and 82 came in and changed everything forever

you know and it's an amazing episode, this, and looking at this episode, and also the charts, yeah, we must not undervalue 1980, it's an amazing year. Yeah, I agree with that, and also, you know, even though this isn't my favourite ever, Top of the Pops, I do think it's a wonderful representation of the

show at its best. If a young person asked me what Top of the Pops was all about, I could just show them this. It's got everything, literally from Motorhead to the Nolans and all points in between. And it's got the multitude of genres and subcultures that were prevalent at the time, from metal

to ska to disco. It's all there. I think it's a fantastic episode. And that, Pop Craze Youngsters, concludes this episode. Well, hold on a minute. There's just an important piss troll update. Oh, yes, come on.

This is like Crime Watch update, mate. It's kind of a slight update, a late-breaking plea, really. I've been talking to my dear friend, Hayley Jordan. Hello, Hayley, if you're listening. Who was the person who first alerted me to the Birmingham Piss Troll. And, you know, I'm shocked to discover a couple of things about the BPT, as I'm sure all the cool kids will now be calling it. For starters, it is rumoured, and it has been rumoured, that there may be more than one of him.

No! Yes, That perhaps even there's a whole sort of Shawnee Bean style family of piss trolls scuttling about the canals of Birmingham, you know, in search of that sweet salty yellow gold. It's like the Loch Ness Monster.

There's that theory that the Loch Ness Monster is actually several generations of the same monster. But perhaps more poignantly, BPT, he's not been seen for nearly a decade. The last reported sighting that I can ascertain is a friend of Hayley's who swears down the Birmingham piss troll, ran past his flat in 2012. He's got a flat by the canal,

and he swears down the Birmingham piss troll, legged it past his flat window in 2001 so he seems to have disappeared off the scene a little bit it would be wonderful if any birmingham-based pop craze youngsters could confirm this or establish whether you know um whether the birmingham pistol is gone whether the family have moved elsewhere the canal system in birmingham is big so um yeah any kind of info from the pop craze junctures would be much appreciated let's solve this mystery most definitely yes let's get this man he really is a shit also al i'm thinking sharp music birmingham piss troll

merchandise by christmas come on what the pop craze yum yams who are listening to this need to do now it was all arranged to meet up on a bridge at a certain time and have a massive wazz off it to draw him out you know what I mean the only thing

I can think is you know eventually piss might have just not hit the spot for him and he's moved on to something else but if there's

yeah I mean if there's now a Birmingham shit troll about we need to know good lord and on that note this is the end If there's now a Birmingham shit troll about, we need to know. Good Lord. And on that note, this is the end of this episode of Chart Music. Promotional flange.

www.chart-music.co.uk facebook.com slash chartmusicpodcast Reach out to us on Twitter if it's still there by the time you hear this. At Chart Music T-O-T-P money down the G-string patreon.com slash Chart Music thank you Simon Price goodbye

God bless you Neil Kulkarni my name's Al Needham who's a lucky boy then? Chart music. What will you remember the 80s for? The Falklands? The 87 Hurricane? A certain Prime Minister? Or will you remember the 80s for the music?

Please, please tell me now! The 80s was the decade that gave us the miners' strike, the property boom, and then bust. I'm unfitting a bust. I'm unfitting a cardboard bust. I'm unf and then bust. Do you remember all those royal weddings? The revolutions in home entertainment and mobile phones. And then the stock market crash on Black Wednesday. But above all, the 80s were a decade of great music. And now you can have the greatest hits of the 80s on one special collection delivered right to your door. The greatest hits of the 80s contain 64 top

10 hits and 30 big number ones. On four cassettes for just $27.99. Or four CDs for $29.99. Plus $2.50 postage and packing. You can't get the greatest hits of the 80s in the shops. But we'll rush it to you if you call 0800-700-600 now to place your order. Allow 21 days for delivery. The musical story of the 80s. Order the greatest hits of the 80s

by calling free on 0800-700-600 now. Rock expert David Stubbs. Rock expert David Stubbs. Hi, my name's David Stubbs! Rock expert David Stubbs! Hi, my name's David Stubbs. Rock expert David Stubbs. Rock expert David Stubbs! Rock expert David Stubbs! Bringing you a hard-driving mix of hard rock and hard facts. you a hard-driving mix of hard rock and hard facts. As I record this, it's exactly 25 years since the death of Michael Hutchins of Inexist,

undoubtedly the finest rock band ever to come out of New Zealand. He rocked hard. He lived clean. Take it from the rock expert, the man who knows. He never took drugs. Just ask his wife, Paula Radcliffe, who never took them either. But I'm not here to talk about Paula Radcliffe. I'm here to talk about Whitesnake.

Iconic, hard-driving. If they were a stick of rock, they'd have the word rock running through them. And let me tell you, in 1981, it took balls of thunder to rock like this. As once true rockers deserted the metal-faithy droves to dance under the disco lights to David Van Day's Dollar. Thanks a bunch for turning us off, Larry Grayson. He's a-rollin' and rockin' and rockin' and rollin' rock expert David Stubbs. Rolling Rock expert David Stubbs. Thank goodness help arrived in the form of that 80s heavy rock movement whose acronym trips so easily off the tongue. I'm talking about...

New wave of British heavy metal. White Snake had already laid down a marker three years earlier with their iconic feminist anthem, Lie Down, a modern love song. A woman who truly respects herself, respects a strong man who tells her to lie down, and have some sex done to her. She doesn't knee me in the groin.

Bogus! Anyway, let's get down to Don't Break My Heart Again. Catalogue number EC65437GS29X4. Damn, damn. That should be EC65437G639X4. Stupid, stupid mistakes, stupid. Who could forget the bass line?

Doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom, doom.

I'm standing with my back to the wall, sings Mr. Coverdale. I feel his pain. He's on his guard. If you've ever been taken from behind by a woman, you know what I'm talking about. Mr. Coverdale sure as hell does. Which is why I sent out this message to women to quote Mr. Coverdale right here on this song. Make no mistake, it could be your last because there's nothing like a maudlin empty death threat to convince a woman who just won't lie down to lie down and that's modern take it away al rocking and rolling rolling and rocking, rocking and rolling and rocking! If you want to hear more from me, rock expert David Stubbs, subscribe to me on YouTube. Address, HTTPS, full colon, slash slash, www.youtube.com, slash, watch, question mark, V, equals, QKLEH-OO-H dash O-O-F-D.

8 amps and T equals 134S. This is the first radio ad you can smell. The new Cinnabon Pull Apart, only at Wendy's. It's ooey, gooey, and just five bucks with a small coffee all day long. Taxes extra at participating Wendy's until May 5th. Terms and conditions apply.