REMEMBER WHEN - 17th November 1979

No.	LW
1	2	Dr. Hook	When You're In Love With A Beautiful Woman
2	1	Lena Martell	One Day At A Time
3	5	Queen	Crazy Little Thing Called Love
4	7	Jam	Eton Rifles
5	10	Commodores	Still
6	3	Abba	Gimme Gimme Gimme
7	4	Sad Cafe	Everyday Hurts
8	9	Selecter	On My Radio
9	6	Fleetwood Mac	Tusk
10	19	Specials	Message To You Rudy
11	11	Suzi Quatro	She's In Love With You
12	8	Viola Wills	Gonna Get Along Without You Now
13	15	Ramblers	The Sparrow
14	27	Donna Summer & Barbra Streisand	No More Tears (Enough Is Enough)
15	25	B.A. Robertson	Knocked It Off
16	21	Kool And The Gang	Ladies Night
17	26	Herb Alpert	Rise
18	29	Iris Williams	He Was Beautiful (Cavatina)
19	13	Erroll Dunkley	O.K. Fred
20	17	XTC	Making Plans For Nigel
21	18	Earth Wind And Fire	Star
22	NEW	Madness	One Step Beyond
23	20	Chic	My Forbidden Lover
24	40	Isley Brothers	It's A Disco Night (Rock Don't Stop)
25	12	Buggles	Video Killed The Radio Star
26	30	Dynasty	I Don't Want To Be A Freak
27	37	Thin Lizzy	Sarah
28	14	Dooleys	Chosen Few
29	22	Cats UK	Luton Airport
30	24	Charlie Daniels	The Devil Went Down To Georgia
31	16	Michael Jackson	Don't Stop 'Til You Get Enough
32	NEW	Matchbox	Rockabilly Rebel
33	NEW	E.L.O.	Confusion/Last Train To London
34	NEW	Gibson Brothers	Que Sera Mi Vida
35	NEW	Boomtown Rats	Diamond Smiles
36	NEW	Dan-I	Monkey Chop
37	34	Robert John	Sad Eyes
38	NEW	Secret Affair	Let Your Heart Dance
39	39	Lene Lovich	Bird Song
40	28	Sex Pistols	The Great Rock 'N' Roll Swindle / Rock Around The Clock

This single by Dr. Hook had been around for about six months before finally becoming a hit over here. I remember hearing it every week on Paul Gambaccini's US chart show, and wondering why it had done nothing here. It finally got released and hit the top for a three week stay making it the band's biggest ever hit. It also launched the bands most successful spell in the UK.

Three weeks at number one for Lena with this Kris Kristofferson song. Lena had been around for a number of years without ever entering the chart before now, and has been around since then without having any further hits. A true one hit wonder our Lena. Lena must be respected as a decent singer and she sure deserved at least one big hit in her life (just a pity that it was this one).

This was Queen's first top five hit for two years, and the fourth of six singles by Queen to peak at number two. It was a slight change of style for the band with a song that wouldn't have seemed out of place in the '50s. It was a good single but all the same, I'm glad that it wasn't a sign of things to come. A nice coincidence is that I saw Brian May at the Nottingham Royal Concert Hall the night before I updated this commentary in 1998, and got more than I bargained for. Being such a big Queen fan, I was terrified of being disappointed with Brian out on his own. But I had no need to worry at all, he was ten times better than I expected. Not only did he perform a great selection from the Queen back catalogue, some of his solo stuff, a tribute to Cozy Powell (including the playing of "Dance With The Devil" as he came out on stage), but he's still one of the greatest guitarists in the world.

This was the ninth hit single for the Jam, and in it's second chart week was their first top ten entry. It went on to reach number three and set the stage for the Jam to become the first act to enter the chart at number one for over six years the following March. It has been re-issued twice since then, but failed to make the top 40 again on both occasions.

I'm sure that even if you've never heard this, you'll still know what it sounds like. Another American number one, and a number four hit over here. This was almost the last hit for the Commodores while Lionel Richie was in the line up ("Wonderland" later reached number 40), and the name of the 'Commodores' didn't appear in the top ten again until 1985.

Abba were in disco territory again with one of their few singles that I rate highly. Were it not for the release of their second Greatest Hits album this very month, this would probably have been their eighth number one single, instead of stalling at number three. It also included one of their best B.sides "The King Has Lost His Crown".

This was the first picture disc I ever bought, and it was by a band who'd been championed by many Radio One D.J.s for quite a few years prior to them getting this first hit. They didn't get any higher than number three, and never climbed into the top ten again. In fact, just over a year later they would be spending their last ever week in the chart. Check out the album from which came this and their next two hits, it's called 'Facades' and it's excellent.
Lead vocalist Paul Young (not THAT one) was later a member of Mike & The Mechanics, but sadly died of a heart attack in July 2000 at the age of 53.

The third hit for the 'Two Tone' label was by the band who'd featured on the b.side of the first ("Gangsters" by the 'Specials'). It finally climbed to number eight and was the biggest hit they ever had. A year later 'Selecter' had completed their chart career.

In 2000, lead singer Pauline Black e-mailed me to say that I have an Eclectic taste in music.

A welcome return to the top ten for 'Fleetwood Mac' after a gap of six years. Their last single to get as far up the chart as this had been the re-issue of "Albatross" in 1973, so we would have to go back to the middle of 1970 for their last 'new' top ten hit. "Tusk" was the title track of their new album which was the follow up to one of the top albums of all time 'Rumours'. The single peaked at number six.

This double A Side was the fourth hit from 'Two Tone'. This single was at it's number ten peak just three weeks into it's chart run, and spent just six weeks inside the top 40. But, it spent a whopping 14 weeks inside the top 75.
In 2000, the song was used in a very annoying commercial for a supermarket chain.

An old song given the disco treatment. The song had originally reached number 22 for 'Patience And Prudence' in 1957, and a cover by 'Trini Lopez' had fallen just short of the 40, ten years later. Viola had the biggest hit with the song by reaching number eight, and I was quite surprised to see her performing the song on Channel Five's 'Night Fever' in the late '90s. Viola returned to the chart when a cover of "Both Sides Now" reached number 35 in 1986.
The estranged wife of footballer Dean Holdsworth tried to launch a singing career with a cover of this song, but failed miserably on both counts. No success with the song, and unable to get along without Dean, she took him back.

Put two talented women together and this is what you get. Because of them not being signed to the same record company, the seven inch single was released on Donna's label 'Casablanca' and backed with Donna's "Lucky". While the Twelve inch was released on Barbra's 'CBS' with her "Wet" on the B Side. I thought this was quite strange considering that Donna's songs were more suitable for twelve inch.
Whatever label it was on, this 12 inch was a classic. It began just as it's seven inch cousin did, it built up, seemed as though it would subside a little, then just carried on. The "It's raining" bit came on again but in time with the faster beat. At times it seemed like a duel between the two as to who could hold a note the longest. Absolutely brilliant. Two weeks at number three.

A very different kind of song from B.A. to follow up the huge hit he'd enjoyed with "Bang Bang". It was another tongue in cheek song, but I think that the humour probably washed over most people. To be fair, it wasn't very good really. It somehow got to number eight and spent just five weeks in the top 40.

After many years of trying, Kool And The Gang had finally entered the top 40 with this track. They eventually stopped climbing when they reached number nine and then had a further 17 hits up to 1986. Most copies of this single featured a longer version of the A side on the flip, but mine featured a song called "Too Hot" which was released as their next single. Both songs were later sampled by acts unfit to be named in the same paragraph as Kool And The Gang.

This was a real turn up for the books. Herb was back in the chart after ten years away, and it became his biggest hit since "This Guy's In Love With You" reached number three in 1968. "Rise" reached number 13 and became an American number one. The follow up "Rotation" was quite good too, but failed to make any impact on the top 40, so Herb had to wait until 1987 for his next hit.

For the third time this year, this depressing tune was in the chart. But this time it included the vocals of Welsh singer 'Iris Williams'. It wasn't the kind of thing to appeal to the average record buyer in 1979, but it still reached number 18. I've always felt that if a male singer had sang "She Was Beautiful", then the song would have been a little more appealing.

Yes, I would walk into a room and people would sing it to me. Now we've got that out of the way, I can continue.
This was XTC's sixth single but very first hit. It was taken from their third album 'Drums And Wires'. Initial copies of the single included a free board game apparently inspired by 'Snakes And Ladders'. It was enough to help them secure a number 17 chart position. The song has since been covered by Robbie Williams and he didn't do too bad with it at all.
XTC were never consistent in terms of hit records. They released many records right up into the nineties including "The Ballad Of Peter Pumpkinhead" (later revived by 'Crash Test Dummies'). They also released two albums and two singles under the pseudonym of 'Dukes Of Stratosphear' which was a kind of 'Beatles' parody band in much the same vein as 'The Rutles' (or should that be 'Oasis' ? ).

This was the most successful year for the band who also released their most successful album this year ('I Am'). This was the third hit single from the album (the other two being "Boogie Wonderland" & "After The Love Has Gone"), but unlike the previous two didn't make the top five and dropped after reaching number 16. I remember attending a disco at the Wynnstay Arms Hotel one night when this was charting. I was chatting to a girl named Mandy who was the girlfriend of my friend "Tony Waters", when the DJ walked past. She stopped him and asked if he had the new Earth Wind And Fire record. He gave it a spin a few minutes later.
Two further outstanding tracks from the album were released as singles ("Can't Let Go" & "In The Stone"), but both failed to chart.

The second hit for Madness was their first on the Stiff label (the first was a one off on Two Tone). The video for this was our first glimpse of them living up to their name. Their first single "The Prince" had been a tribute to their Ska idol 'Prince Buster', while this was one of their favourite Prince Buster compositions. It gave them a top ten hit peaking at number seven.

This was the sixth of Chic's seven hits, but though I loved the band and most of the rest of "Chic" productions, I found this a little disappointing. As it turned out, it was their lowest charting to date, and had to settle for a number 15 peak. After this, they didn't appear in the top twenty ever again apart from spending a week at number 19 with a remix of "Le Freak" entitled "Jack Le Freak" in 1987.

The Isleys had done all that "Twist And Shout" stuff, then the motow sound stuff. They then left Motown and brought out the best singles of their long career through the Seventies. Now right at the end of the decade, they threw themselves head first into disco music for this single. This wasn't always a wise move, but hey, this was the Isley Brothers, it worked like a charm. Those vocals could make a Bob Dylan song sound cheerful. If I remember correctly it topped the disco chart, though it had to settle for number 14 in the national chart.

The Buggles spent a week at number one with this very prophetic song. The Buggles were Trevor Horn and Geoff Downes, both of whom were in the re-formed 'Yes' a year later. Geoff went on to be a member of 'Asia' and released at least one solo album, while Trevor went on to some great production work with 'Dollar', 'ABC', 'Art Of Noise' and 'Frankie Goes To Hollywood' amongst many others. Video hadn't killed the radio star at that point, but the video to this single was the first to be shown on 'MTV' and so ironically was part of the process.

Phil Lynot said that he wrote this song about his daughter. It's quite strange that I should be typing this at this very time on 4th November 2000. The due date for our daughter to be born is just seven days away, and Sarah was a name that we strongly considered before finally deciding on Shania (NO, it isn't the Kylie or Britney syndrome).
This was unlike any single we'd heard by Thin Lizzy previously. Gone were the rocking guitars and drums. This was a gentle song that showed Lizzy could be as mellow as the next band. A very good effort that unfortunately got no higher than number 24.
A funny story about this song concerns my wife's first husband, a woman beating bastard called Christopher Poismans from Mansfield. He made out that he'd composed a poem for his daughter Rachel (from his relationship with his previous victim). A few months after we got together, she found this poem and showed it to me. When I saw it, I burst into laughter. It was "Sarah" with "Rachel" inserted into the appropiate places, what a tosser !

I'm no fan of Country music either, but I do like quite a few that have crossed over and become chart hits. Unlike many country songs, this one didn't have anyone's pet dog being put to sleep, or anything tragic happening to a child. Instead, it was an enthralling tale of the Devil going down to Georgia (namechecking Georgia usually guarantees a hit for any single) where he challenges Johnny to a fiddle duel. It rose no higher than number 14 and like most artists associated with country music, Charlie had no further hits. He did release a single called "The Devil Went Back To Georgia" (I think it was called that) in the early '90s, but due to Radio One's (by then ridiculous) music policy it didn't get the airplay.

Michael's first solo hit for over seven years and it went all the way to number three. Michael had been considered a novelty act after his first four solo hits and all further singles by him had completely bombed. So naturally everyone thought that we'd seen the last of Michael's solo recordings. He returned to solo work with his single "You Can't Win" in the late spring of 1979, but again encountered failure. But from the release of "Don't Stop 'Til You Get Enough", there was no looking back for him. Whatever he may (or may not) get up to in his personal life (and business life as far as Mr McCartney is concerned), there's no denying the huge talent of this man.

A swift follow up to their biggest hit to date ("Don't Bring Me Down") was this double A Side. "Confusion" was typical E.L.O. in the same manner as "Evil Woman", while "Last Train to London" was E.L.O. in "Sweet Talking Woman" mode. Almost the best value E.L.O. single ever (the honour of best value belongs to the 1978 E.P), but considering how big the album 'Discovery' was, it's something of a surprise that a single containing two tracks from that album went to number eight.

I like this a lot, just as much as "I Don't Like Mondays". It's entry position of number 35 seemed strangely low, as after all, it was the follow up to a single that spent four weeks on top. Even odder is the fact that it climbed no higher than number 13.
Many forget that the Boomtown Rats embraced the medium of video before many others that are credited with being amongst the first. After the rather basic effort for "Rat Trap", they had put a considerable amount of effort into the one for "Mondays", enough to make it one that stuck in the mind after seeing it just once. And now, they had taken it one step further. This one actually had a story to it that went with the song.
At the time, these 'promos' (as they were then called) were just something that the accompanied the occasional single. But within three years, everyone seemed to be doing them. As predictable as ever, it became trendy to knock the medium. The most commo gripe was that the videos took something away from the song, they didn't let a person make their own mind up as to what the song was about. This was of course complete rubbish. Music is entertainment, anything that adds to the entertainment can only be good. Besides, if you don't like the video, you can always look away.

Robert had come close to having a hit in 1968 when "If You Don't Want My Love" had spent five weeks between number 42 and number 50, but then nothing was heard of him for eleven years. Finally he was signed by 'EMI America' and what looked like being a monster hit entered the chart at number 38. Sadly (I tried to avoid that word) it bobbed up and down for five weeks in the lower reaches only climbing as high as number 31. The good news for Robert was that the song spent a week at number one in the States. He continued with the 'Eyes' theme with his next single "Lonely Eyes", but he never reached the US top 30 again, and didn't even get into the 75 here.

The late '70s mods didn't have a particularly good time. In my part of the country, about 1% of them moved around on vehicles that had all the power of a hair dryer, the rest struggled to find mod music that they could identify with. They ended up clinging onto the Jam and the Two Tone bands. But they did have one band of their own during the latter part of '79, in Secret Affair (two if we count the woeful 'Merton Parkas'). It was a pity that Secret Affair proclaimed themselves as being a mod band. This may well have ensured sales from the new mods, but it alienated them as far as the rockers and bikers were concerned.
This wasn't as good as their previous single "Time For Action", but it was still ok. Number 32 was it's peak.

Lene was a little strange, but I thought Ok really. Then, she decided to follow up her first two hits with this. To be completely honest, I can't remember a great deal about it. What I do remember is that she'd gone far too strange for most, and seemed to be trying to be like Kate Bush. Bloody awful and it's number 39 peak was flattering.

Even though John Lydon (Johnny Rotten) had left the band almost two years previous and Sid Vicious had died at the beginning of the year, 1979 was the most successful chart year for the Sex Pistols. They had already had two number three singles as well as a number six, when this double A side single was released. In truth, "Rock Around The Clock" with vocals by 'Ten Pole Tudor' was much worse than the original version, while "The Great Rock And Roll Swindle" seemed ok to me, but failed to get airplay due to a couple of lines of strong language. There was a great fuss made about the sleeve of this record too. One side featured a credit card that looked very similar to an 'American Express' one, while the other featured a clock. But instead of numbers, dead rock stars were featured in the appropiate places with syringes instead of clock hands. Apparently, the sleeve was withdrawn a couple of weeks after release, but not before I got my hands on a copy. The single peaked at number 21.

It certainly was a strange time for acts following up major hits. Not only did the singles from Boomtown Rats and Blondie perform poorly, but Cliff Richard suffered more than they did. This follow up to his four week number one "We Don't Talk Anymore" only made number 46. It's a shame, as this B.A.Robertson composed song was quite good and one that I liked more than his big hit of the year.

A nice change of pace from what we had been used to from Sham 69. This was a cover of a Yardbirds 1965 album track, and Jimmy Pursey sounded not unlike Mick Jagger on it. Sadly for Sham, their previous hit had not only been their biggest, but also their last. This peaked at number 49.
This single featured a very vicious sounding dog on the flip "Give The Dog a Bone".

More next week including these new entries,
The return of a classic single about soft evenings.
A song that was not from the film with a similar title starring the lead vocalist.
The inspiration for one of the biggest hits of the house era.

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.