REMEMBER WHEN - 24th November 1979

No.	LW
1	1	Dr. Hook	When You're In Love With A Beautiful Woman
2	3	Queen	Crazy Little Thing Called Love
3	4	Jam	Eton Rifles
4	5	Commodores	Still
5	2	Lena Martell	One Day At A Time
6	14	Donna Summer & Barbra Streisand	No More Tears (Enough Is Enough)
7	6	Abba	Gimme Gimme Gimme
8	15	B.A. Robertson	Knocked It Off
9	16	Kool And The Gang	Ladies Night
10	22	Madness	One Step Beyond
11	13	Ramblers	The Sparrow
12	10	Specials	Message To You Rudy
13	17	Herb Alpert	Rise
14	11	Suzi Quatro	She's In Love With You
15	NEW	Gary Numan	Complex
16	8	Selecter	On My Radio
17	33	E.L.O.	Confusion/Last Train To London
18	34	Gibson Brothers	Que Sera Mi Vida
19	12	Viola Wills	Gonna Get Along Without You Now
20	26	Dynasty	I Don't Want To Be A Freak
21	24	Isley Brothers	It's A Disco Night (Rock Don't Stop)
22	18	Iris Williams	He Was Beautiful (Cavatina)
23	35	Boomtown Rats	Diamond Smiles
24	7	Sad Cafe	Everyday Hurts
25	9	Fleetwood Mac	Tusk
26	32	Matchbox	Rockabilly Rebel
27	NEW	Moody Blues	Nights In White Satin
28	NEW	Tourists	I Only Want To Be With You
29	27	Thin Lizzy	Sarah
30	36	Dan-I	Monkey Chop
31	37	Robert John	Sad Eyes
32	38	Secret Affair	Let Your Heart Dance
33	20	XTC	Making Plans For Nigel
34	NEW	Skids	Working For The Yankee Dollar
35	NEW	Blondie	Union City Blue
36	NEW	Rose Royce	Is It Love You're After
37	19	Erroll Dunkley	O.K. Fred
38	29	Cats UK	Luton Airport
39	NEW	Showaddywaddy	A Night At Daddy Gee's
40	28	Dooleys	Chosen Few

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.

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.

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).

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.

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".

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.

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 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.

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.

Suzi's last major hit was this number 11 peaking single. Suzi's sound had got much softer since the rocking sound of the mid 70's, and this had enabled her to have a couple of late '70s hits. After this single she went back to her harder sound for a while, but never rose above number 34 again.

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 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.

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.

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.

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.

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.

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.

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.

Another attempt by the Moody Blues to capture the Christmas number one spot with this song. In 1967 they were too late and didn't break into the top 40 until the first chart of the following year, climbing slowly to a number 19 peak in February.
The 1972 release charted in good time in the first chart of December, and reached a number nine peak in the first chart of 1973.
This time it entered the chart in the last week of November and spent 2 weeks at number 14 just before Christmas.

This was the first top ten hit to feature the talents of 'Annie Lennox' and 'Dave Stewart'. Just like the two previous hit versions by 'Dusty Springfield' & 'Bay City Rollers', this single had peaked at number four. A later cover by 'Samantha Fox' in 1989 didn't keep up the success though, and peaked at number 16.

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 !

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.

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' ? ).

The Fourth hit inside a year for the Skids, and the last one to reach the top twenty. It was another single with very slow chart movements as follows, 34-32-28-27-24-24-23-21-20-28. Lead vocalist Richard Jobson is now better known for being a movie critic on Sky TV and for presenting shows on VH1.

This is the Blondie single that almost everyone seems to rate highly, but didn't go out and buy. This peaked lower than any of their previous seven singles (which included two number ones and a number two from earlier in 1979) and only got to number 13.
I've often heard it said on TV and Radio and read in books that this was from Debbie Harry's film 'Union City', but it wasn't.

More sillyness, this time inspired by a T.V. commercial for 'Campari' that featured the annoying 'Lorraine Chase'. This was the only hit for Cats UK and only reached number 22. The inspiration went on to star as a dolly peg (or something like that) in 'Wurzel Gummige' which suited her wooden acting.

It just got from bad to worse didn't it ?
I don't have a clue as to the origins of this one, it may even have been an original composition, but it was the worst yet. Happily, it brought an end to their run of consecutive top 20 hits and rose no higher than it's debut of number 39. Their top 20 days were well and truly over, Hooray !

Cash in time again. This had originally been released by 'Illegal Records' in May 1977 while the Police were trying to be punks. It had failed miserably, but now was the perfect time to re-issue it, or so it seemed. Illegal seemed to be unaware that an official release was about to be released and so would get all the airplay. This oly managed number 47.

More next week including these new entries,
A song about the cops breaking legs
The return of a band who last had a hit in 1967
I'm sure these cold women were singing about bicycle parts
The first hit of a new genre, yet, it sounded familiar.

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.