REMEMBER WHEN - 9TH JUNE 1979

TW	LW
1	1	Blondie	Sunday Girl
2	2	Roxy Music	Dance Away
3	19	Anita Ward	Ring My Bell
4	5	Earth Wind And Fire & The Emotions	Boogie Wonderland
5	4	Peaches And Herb	Reunited
6	16	E.L.O.	Shine A Little Love
7	3	M	Pop Muzik
8	15	McFadden & Whitehead	Ain't No Stoppin' Us Now
9	7	David Bowie	Boys Keep Swingin'
10	9	Shadows	Theme From The Deer Hunter (Cavatina)
11	11	Donna Summer	Hot Stuff
12	6	Abba	Does Your Mother Know
13	10	Gary Moore	Parisienne Walkways
14	18	Sparks	The Number One Song In Heaven
15	13	Eruption	One Way Ticket
16	12	Police	Roxanne
17	21	Skids	Masquerade
18	8	Art Garfunkel	Bright Eyes
19	20	Undertones	Jimmy Jimmy
20	25	Tubeway Army	Are Friends Electric
21	33	Sister Sledge	We Are Family
22	24	Edwin Starr	H.A.P.P.Y Radio
23	14	Amii Stewart	Knock On Wood
24	32	Clash	I Fought The Law
25	NEW	Squeeze	Up The Junction
26	22	Damned	Love Song
27	23	Monks	Nice Legs Shame About Her Face
28	30	Dollar	Who Were You With In The Moonlight
29	17	Boney M	Hooray Hooray It's A Holi Holiday
30	36	Elvis Costello	Accidents Will Happen
31	29	Cheap Trick	I Want You To Want Me
32	38	John Williams	Cavatina
33	NEW	Quantum Jump	The Lone Ranger
34	37	Gerry Rafferty	Night Owl
35	34	Tubes	Prime Time
36	26	Mike Oldfield	Guilty
37	31	Lene Lovich	Say When
38	NEW	Chas & Dave	Gertcha
39	28	Linda Clifford	Bridge Over Troubled Water
40	27	Dickies	Banana Splits

This was the fourth single to be pulled from the 'Parallel Lines' album. This was still quite unusual at the time (Michael Jackson hadn't started his comeback yet), but even more unusual was that it spent three weeks at number one, and wasn't actually very good really. This was one of those rare occasions in the 70's when an act reached number one due to their popularity rather than the actual content of the single. Of course Blondie would start to give us good stuff again with their next single release.

And the comeback was complete. Roxy Music had split in 1976, but after three solo albums Bryan Ferry was starting to experience difficulty in selling his music. So the band reformed, but the first single "Trash" was considered just that by many people and struggled to number 40. But then "Dance Away" was quickly released and became their biggest hit to date spending three weeks at number two, and signal the beginning of the most successful period in their history.

This song had been written with Stacy Lattisaw in mind. But schoolteacher 'Anita Ward' ended up recording it and taking it to the top of the chart for a two week stay. Copies of this single had leaked out to Radio stations about a month prior to release, and it was already popular in discos before it's entry into the chart at the beginning of June. But this was her only hit, and I believe she went back to teaching a few years later, only to have another stab at stardom in the 90's.

This classic duet reached number four and spent ten weeks in the chart. I love it, but a friend of mine claims that this is one of the worst five records ever.
Anyway, this was their second hit following their other '79 hit "Shake Your Groove Thing". I do have an earlier single by them called "Down Where It's At", but that didn't chart and neither did any other releases by them.

This was also their best year for commercial success. This was the first single from the 'Discovery' album, and had been their fourth consecutive (official) single release to peak at number six. Many of their diehard fans seemed to have abandoned them by this stage due to their commercial approach. But, I still liked them, and 'Discovery' is my favourite E.L.O. album.

Pop Muzik by 'M' made it's debut in April 1979 and got as high as number two. It went back to number 15 when re-released ten years later. The original 12 inch single was released as a special double grooved record which is a really weird concept that I still find difficult to get my head around (despite owning a copy). You put the needle down at the beginning of the record and never know whether you'll get "Pop Muzik" or "M Factor".
I preferred the follow up single, the much less successful "Moonlight And Muzak".

This is one of the all time great dance records and went as high as number five. This has been covered so many times. It was used at the beginning of, and as the title of Enigma's number eleven peaking 1981 hit, was taken to number 22 by Luther Vandross in 1995. The melody was used as the backing track for Jocko's "Rhythm Talk" Rap single in 1980, and was even on the CD single of Wet Wet Wet's huge 1994 hit "Love Is All Around".

Like Edwin Starr, the Shadows were also making a brief comeback. This was their last top ten hit ever. This track was featured on their highly successful 'String Of Hits' album. The other version was the only hit for Classical Guitarist John Williams who peaked at number 13 with his accoustic version. John should not be confused with the American orchestra leader with the same name.

Donna reached number 11 with this wonderful track from the 'Bad Girls' album. Such was Donna's workrate that during this period she seemed to be releasing a new album every six months (most of them double albums). This album could have spawned at least eight hit singles had they been released. But that didn't happen and by the time the second single was charting, she was probably already hard at work on her next project.

Abba's 14th hit was the first to feature the men (Benny and Bjorn) on lead vocals. They had previously sang vocals on quite a few tracks, including some on their "Greatest Hits" album, but none of them had been issued as singles and/or become UK hits.
I thought that it was quite a good track, but the B Side "Kisses Of Fire" was even better. It reached number 14, and was quickly followed into te chart by more tracks from the wonderful "Voulez-Vous" album. Yes, that's right, I'm praising an Abba album. Aside from "Chiquitita", I still think that this was one of the best albums of a year that produced more than it's fair share of great albums.

Nice tune by Gary that was enhanced by the vocals of Phil Lynott. It was one of two occasions that Gary's name appeared in the top ten listings. This one reached number eight, then in 1985 he hit number five with "Out In The Fields" (also with Phil Lynott).
At this time I was working with Bramwell Jones maintaining the grass and shrub beds in the Hightown and Hermitage estate areas of Wrexham. Bram was in his mid 50s at the time and was convinced that the Shadows had originally recorded this song. I disagreed with him once, he wouldn't have it, so I left it at that. They did record it later though.

This was the first single of the first successful comeback by Sparks. It reached number 14 to become their first hit in three and a half years, and their biggest since 1974. There was a really good longer version on the B side, but I think that was more down to Giorgio Moroder ( a member of the band for five years) than the Mael brothers.

I already knew this song, as it was on the B Side of one of my Mum's Neil Sedaka singles. It was a song that was almost entirely made up of song titles, quite clever really. And this was a very good cover of it. Or was it just that singer Precious Wilson's legs were good to look at ?
It reached number nine and that was the last we heard of them.

They'd been around for a couple of years and even many people not following the music scene with enthusiasm were aware of them. But it wasn't until 1st May 1979 that they finally entered the UK top 40. This was a full year after it's original release, and much of it's belated success was down to it being an American top 40 hit. It reached number 12 and set the scene for the huge success to follow.
It reached number 17 a year later as part of the "Six Pack" release, and the same position when remixed in 1997.

This was their second hit in this, their best year for chart success. It climbed to number 14.
I had a portable radio at the time, it was the 'Masquerade' model. One day Harry asked me if the radio was related to the Skids. Daft question really, I can't see how a radio could be related to anyone, but I humoured him anyway. Harry was a few years older than me, and I'm not sure whether Harry was his real name, or whether he earned the nickname due to his likeness to "Flash Harry" from the St. Trinians films (played by "George Cole"). He lived up to the "Flash Harry" thing for a while, he drove a replica of the John Player Special car. I had something of a run in with him a couple of years later though. One Saturday night there was a disco on in the Ruabon Community Centre, so myself and a friend went to see if we could get in. Harry wasn't someone you would think of straight away when it comes to choosing a doorman, but there he was. He seemed so full of his own self importance as he told us that we couldn't go in, but that was that, we went elsewhere. That night, someone stole the brake lights from his car. The following day and everytime I saw him afterwards, he accused me of being the culprit. I always protested my innocence and even suggested that he reported it to the police, but he wouldn't have it. I haven't seen him since the beginning of 1983, but if I bumped into him tomorrow, he'd still accuse me. I should have taken his new ones and slashed his tyres.

Art Garfunkel hit the top and had the biggest selling single of the year with this. "Bright Eyes" was taken from the film 'Watership Down', and spent a total of six weeks at number one. It was Art's second solo hit, and his second number one, his previous being "I Only Have Eyes For You" back in 1975.

A four week stay at number one, and a whole new sound. I remember the week when it climbed from seven to two, Mr Bates announced the record and then said, "But, what does it mean ?"
It was of course Gary Numan's vision of the future where robots/androids would be used for everything (company, sex, whatever), and they would be called 'friends' and all look exactly the same, like tall grey men. The B side "We Are So Fragile" was pretty good too, as was the album 'Replicas'. This was the beginning of perhaps the last great movement in music. Other synth bands such as OMD, Human League, Depeche Mode would soon follow him into the chart, but Gary himself had been influenced by Ultravox, who in turn had been obviously influenced by David Bowie's 'Low' and 'Heroes' albums. Kraftwerk should also be credited with having a lot of influence on the whole movement, as well as Giorgio Moroder.

This number nine peaking single was Edwin's second top ten hit of the year. The 12 inch extended version of this track is brilliant, and I have a story behind it. In 1996, I was at a record fair in my local area, and who walked in, but Edwin. He was there for the sole purpose of buying this 12 inch single, and he got it.

This is the highest charting version of this song. It reached number six as opposed to the previous highest, number ten by David Bowie in 1974. This was also Amii's last hit when re-issued in 1985 and peaked two places lower. Her Mother Miquel Brown made her chart debut in 1984, followed by her sister 'Sinitta' in 1986. Amii spent one week at the top in the US with this song.

Another commercial cover by so called 'bad boys'. This actually sounded very good and they made it sound as though it was a true Clash original. But it climbed no higher than number 22, maybe due to it costing more than the average single (It was ironically called 'The Cost Of Living EP'). It was re-released in 1988 when it reached number 29.

After managing to release a single before the Sex Pistols in 1976 ("New Rose"), following it with two albums and three more singles, the Damned split in February 1978 without a hit single to their name. Later that year, they reformed as 'The Doomed' with Lemmy of 'Motorhead' on bass, only for him to quit after after one gig to be replaced by Henry Badowski of 'Chelsea'.
In 1979 three quarters of the original line up (Dave Vanian, Captain Sensible & Rat Scabies) recruited Algy Ward (ex-Saints), and decided to be called 'The Damned' again. At last a hit single !
Fully deserved too, this was a very catchy song (seems like they went out to have a hit). It reached number twenty and they didn't better that position until 1986.

This was Hudson Ford, the one time 'Strawbs' members who'd had a couple of hits in their own right in 73-74. It was a novelty hit that reached number 19, but still doesn't seem too bad even today.
I can't think about this song without remembering one Saturday night in Ruabon's Railway Club. A drunk who looked remarkably like the man who would become my supervisor two years later (and my best man five years later) Andre, seemed obsessed with the song and sang along with it all night. Even as he left the pub he shouted "Shame about the boat race".

This was the second hit for Dollar, and also the second to peak at number 14. I clearly remember on one particular Sunday as the record faded out (with the song's title being repeated), Simon Bates quipped "Not telling you, ner ner ner ner ner". I can never hear this song without thinking of that.

I won't describe this as rubbish because I don't think that it was meant to be taken as a creative work of art. It's a song written and performed with the intention of appealing to children. Taking it in that context, yes, they did a good job of it, it was extremely popular with children and reached number three.
Now, if you want to look at it in a serious light - - - - -

I already knew this track from one of those free albums that one of the music weeklies gave away in exchange for collecting tokens over a number of weeks. It had originally been a track on their 1977 album 'In Colour' and an unsuccessful single at that time. But this was a live version from their album 'At Budokan', and gave them their only UK top 40 hit, peaking at number 29. There was anotehr good single from that album later in the year, their cover of "Ain't That A Shame". The band were still recording in the late '90s.

This single probably sold more copies due to it's inclusion of the longest word, than the actual song. The song started with the word "Taumatwacky etc" and it was spoken again during the course of the song. The word was used weekly during 'Kenny Everett's Video Show' during 1978 & 1979, when a cartoon face appeared on screen saying it. The song itself dealed with the possibility that the Lone Ranger and Tonto were possibly lovers as they spent every minute of every day together. If the powers that be at the BBC had noticed the lyrical content, they would probably have "acted in our best interests" and removed it from the playlist. But they didn't and the single went to number five.

With their 1977 hit "White Punks On Dope", the 'Tubes' seem to have done exactly what they were supposed to have done. One year earlier and it would have been a song that stood out from the crowd, instead, it was just a song from another band trying to fit in with the current trend.
But this was different. It was a so called New Wave band doing something that wouldn't have sounded out of place in a cabaret bar. They weren't supposed to do this, but it worked for me. Reached number 34.

For those of you who remember all those annoying early 80's hits by Chas And Dave, well, this wasn't as bad as them, it was quite amusing. It reached number twenty.
They had actually come close to having their first hit the previous November with "Strummin", a single that I remember a work colleague (known as Steve Peas) buying.

You're probably not going to like this, but I love this cover version AND prefer to hear this to the original. Linda had such a great voice and the recording has a big happy feel to it (despite the opening lyrics). It reached number 28 and the 12 inch version is available on 'The Greatest 70's Album Of All Time part 2' on 'Dressed To Kill' records (www.dressedtokill.co.uk).

While Boney M had recorded a new song especially for children, the Dickies had taken a children's song and turned it into a punk thrash. It was amusing the first couple of listens, but when it really comes down to it, the Boney M single was better whichever way you took it. Somehow it reached number seven.
"Banana Splits" was a childrens TV show that was broadcast on Saturday mornings in the early seventies. It was one of the worst children's shows of the time, and I only used to watch it for the 'Arabian Nights' cartoon (remember "Size Of An Elephant"), and that 'Mysterious Island' serial. I'm sure there was another cartoon on it too, but I can't remember.

A more than decent dance track from the "Yesterday's Hero" soundtrack, a film starring Ian McShane, Adam Faith, Paul Nicholas & Suzanne Somers. Would surely have been a top 40 hit were it not for three recordings of this track doing the rounds. One of those was by "New Faces" talent show winner "Patti Boulaye", and I can't recall who recorded the other version. This was the only one to make the top 75, and it peaked at number 48.

Disappointment from Hot Chocolate too. This was the first year since 1970 where none of their singles released during the year made the top 30 (their 1978 single "I'll Put You Together Again" was still charting at the turn of the year). This was the closest they got with their 1979 releases, a feeble number 46.

Disclaimer All comments concerning the quality of the songs in this and any other chart, are purely my opinion and not a statement of fact. I believe that we are all equal when it comes to deciding what makes a good song. I do not believe that good songs have to be serious or dull. I am of the opinion that if a single sells many copies, then many people like it, so it must be good whether I like it or not. Good music is everything YOU like, and it's also everything I like.

Email: nige@innotts.co.uk
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10		Shadows		Theme From The Deerhunter (Cavatina)
32		John Williams		Cavatina