REMEMBER WHEN - 30TH JUNE 1979

TW	LW
1	2	Tubeway Army	Are Friends Electric
2	1	Anita Ward	Ring My Bell
3	6	Squeeze	Up The Junction
4	5	Earth Wind And Fire & The Emotions	Boogie Wonderland
5	8	Quantum Jump	The Lone Ranger
6	3	Roxy Music	Dance Away
7	4	Blondie	Sunday Girl
8	7	McFadden & Whitehead	Ain't No Stoppin' Us Now
9	12	Edwin Starr	H.A.P.P.Y Radio
10	13	Gerry Rafferty	Night Owl
11	9	Sister Sledge	We Are Family
12	10	Shadows	Theme From The Deer Hunter (Cavatina)
13	14	John Williams	Cavatina
14	16	Dollar	Who Were You With In The Moonlight
15	21	Eddy Grant	Living On The Front Line
16	15	Skids	Masquerade
17	11	E.L.O.	Shine A Little Love
18	24	Amii Stewart	Light My Fire / 137 Disco Heaven
19	19	Lene Lovich	Say When
20	27	Chas & Dave	Gertcha
21	25	Village People	Go West
22	37	Ruts	Babylon's Burning
23	28	Janet Kay	Silly Games
24	NEW	Sex Pistols	C'mon Everybody
25	22	Clash	I Fought The Law
26	29	Thom Pace	Maybe
27	32	Beach Boys	Lady Lynda
28	17	Donna Summer	Hot Stuff
29	35	Thin Lizzy	Do Anything You Want To
30	39	Slick	Space Bass
31	NEW	Dooleys	Wanted
32	20	Peaches And Herb	Reunited
33	31	Kevin Keegan	Head Over Heels In Love
34	NEW	Patrick Hernandez	Born To Be Alive
35	36	Wings	Old Siam Sir
36	NEW	Bonnie Tyler	Married Men
37	NEW	UK Subs	Stranglehold
38	18	Sparks	The Number One Song In Heaven
39	33	Voyager	Halfway Hotel
40	NEW	After The Fire	One Rule For You

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 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 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.

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 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.

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".

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.

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.

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.

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.

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.

Amii was having her second hit of the year, and what would turn out to be her biggest hit when it peaked at number five. Amii of course came from what would turn out to be a hitmaking family. Her Mother "Miquel Brown" was to have minor success in the mid 80's with songs such as "He's A Saint, He's A Sinner", while Amii's sister "Sinitta" had many hits during the late 80's/early 90's including "So Macho" and something about a big red "GTO" (though why she'd want to sing about the Dooley's record company is beyond me).

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.

This was their third hit of 1979, and the smallest only reaching number 15. It was also the least suspect (if you get my drift). Of course it was encouraging people to go to San Francisco, but most didn't realise the implications of that. I'm not condemning them for any of the songs (they were after all, good disco records), I'm just stating that such things were not as easily tolerated then as they are now.
The Pet Shop Boys reached number two with a cover of this song in 1993, since when it has become a football terrace anthem (1-0 to the Nottingham/Arsenal/whatever).

This would be the Sex Pistol's last top ten hit when it reached number three. Despite John Lydon (Johnny Rotten) no longer being with the band, 1979 was most successful year in the chart. This was the second Eddie Cochran cover sang by Sid Vicious to make number three. So tame that even my Mother liked this. It has to be said though, it was good.

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.

Regulars will know that I found those surfing records that the Beach Boys gave the world during the 60's at best, irritating. For those of you who think that all singles by Status Quo sound the same, and they're a bit of a joke, or all records produced by Stock, Aitken and Waterman (Kylie, Rick Astley, Mel & Kim etc) sound the same and are also a joke, then that's how I feel about the Beach Boys and their 60's output (except for "Good Vibrations" which is a true classic). But they had come back earlier in 1979 with a minor hit "Here Comes The Night" which was disco influenced and very good. They now followed it with "Lady Lynda" which used the melody from a hymn ("Jesu Joy Of Man's Desire") at the beginning, climbed to number six and became their biggest hit for nine years.

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.

Thin Lizzy were having a great deal of commercial success in 1979. The album "Black Rose" had reached number two in the album chart, and this was the second top Twenty hit from it reaching number 14.
This was also the second hit this year to mention the death of Elvis Presley. The first by Generation X (King Rocker) included the line "Round Five, Elvis took a dive, waiting for the towel more dead than alive". This hit included the lines "Elvis is dead, the king of rock and roll is dead". These facts won't change the world, but I thought I'd mention them anyway !

Not to be confused with Slik the band that Midge Ure was a part of during the mid 70's, Slick were a disco outfit who reached number 16 with this great single. It was their only hit, but they almost charted with the follow up "Sexy Cream". If my good memory hasn't deserted me, "Sexy Cream" was banned by Radio One, I can't imagine why :D

Incredible ! The Dooleys had managed four hits in the previous two years. All four were simple inoffensive songs that your grandparents would whistle along to. Then came this. It was also inoffensive, but after what had come before, it seemed as though the Dooleys rocked (well, kind of). They had the biggest hit of their career reaching number three.

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.

Yes, it's that Kevin Keegan, the one who says "tremendous" more often than Hilda Ogden used to say "Would you credit it ?". Complete with his permed hair, this football icon took this to number 31. To be honest, it wasn't as bad as you might imagine, but he had no further hits apart from his appearance on "This Time" by the 1982 England World Cup Squad.

This big disco hit made number 10 in the mainstreram chart. But, this single is now more famous for the rumour that Madonna sang backing vocals on it. If this is true, then maybe Madonna should have sang the lead vocal. I know she isn't exactly a singer of the calibre of Gladys Knight, Elaine Paige or Diana Ross (though she has improved through the years), but this Hernandez character was simply awful. He sounded like he was straining to sing (I could say straining to do something else, but there is no room for toilet humour here).

Not the best single they ever made. Sounded a little messy to me, like it had just been thrown together in five minutes. This was a complete turnaround from the polished performance of the previous "Goodnight Tonight" single. It peaked at number 35, while the next single "Getting Closer" fared even worse by failing to make the 40 at all.

This peaked at number 35 and become Bonnie's last hit for almost four years (which was a shame as she had waited 18 months for this one). This track was taken from the film "The World Is Full Of Married Men" and Bonnie was shown singing the track as the opening credits were on screen. Mick Jackson was shown singing the song as the closing credits ran, and his version was also released as a single, but failed to chart. That is Mick Jackson, not Michael.

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.

This was quite a nice song from a band that only had this one hit. Not that much of a hit either, it peaked at number 33. I didn't have a clue what happened to them afterwards, until bass player Chris Hook contacted me in February 2002. He was now running his own design and multimedia comapany and playing with a band called 'Bluefish' in Berkshire. Guitar and Keyboard player Paul Hirsh was playing the keyboards with Status Quo on tour. Drummer John Marter had just returned fromfrom a World tour with 'Fish' of 'Marillion. While singer Paul French was writingLibrary and Classical music, and had recently released an album titled "Dorset Shores" about his adopted new home area. He also told me that that there are vague plans for a re-union sometime in the future. Let's hope that it happens.
What this reminds me of though, is that at the time I was working as a gardener for Wrexham Council. When I wasn't cutting grass, I was cutting hedges or tidying up shrub beds. So, most of the time my radio was with me, and I remember this track being played a lot while I was working near a block of flats named "Meifod Place".

This was the only week in the chart that After The Fire had, even though they later had a big hit in the States with "Der Kommissar". I seem to remember them trying to promote themselves as a 'Christian Band' at about this time. This one brings back similar memories to the ones I associate with the Voyager single, and I still think that it's a very good track.

It had a Barry White style talking bit at the beginning, and it then turned into "I Will" part 2. Pity, Ruby was a great singer. It reached number 43, and I didn't hear of her again afterwards. Funny how all five of her American hits had been released in the Sixties, while all four of her hits and near hits in the UK had come in the Seventies.

I had to remind myself of this one, but how could I have forgotten ?
Great track that you just knew wouldn't be a big hit here, but would be massive in the States. And yes, it had two weeks at number ten over there from a total of 18 weeks in the chart. Over here, it reached number 45. Their best single "Simone" didn't make it on any side of the Atlantic.

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
Please be patient waiting for my reply :-)
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12		Shadows		Theme From The Deerhunter (Cavatina)
13		John Williams		Cavatina