REMEMBER WHEN - 20TH SEPTEMBER 1980

TW	.......	LW	.......		.......
1		1		Kelly Marie		Feels Like I'm In Love
2		4		Randy Crawford		One Day I'll Fly Away
3		7		Elvis Presley		It's Only Love / Beyond The Reef
4		30		Stevie Wonder		Masterblaster (Jammin')
5		2		Jam		Start
6		5		Hazel O'Connor		Eighth Day
7		3		David Bowie		Ashes To Ashes
8		10		Sheena Easton		Modern Girl
9		8		Cliff Richard		Dreamin'
10		18		Queen		Another One Bites The Dust
11		6		Sheena Easton		9 To 5
12		11		Mike Berry		The Sunshine Of Your Smile
13		14		Village People		Can't Stop The Music
14		17		Black Sabbath		Paranoid
15		15		Billy Joel		It's Still Rock And Roll To Me
16		13		Clash		Bank Robber
17		9		Piranhas		Tom Hark
18		12		Gary Numan		I Die You Die
19		21		Shakin' Stevens		Marie Marie
20		20		Nick Straker Band		A Walk In The Park
21		36		Madness		Baggy Trousers
22		25		Ian Dury		I Want To Be Straight
23		24		Shalamar		I Owe You One
24		22		Beat		Best Friend / Stand Down Margaret
25		27		Split Enz		I Got You
26		40		Splodgenessabounds		Two Little Boys / Horse
27		38		Change		Searching
28		NEW		Ottawan		D.I.S.C.O.
29		26		Judas Priest		United
30		16		Abba		The Winner Takes It All
31		19		Gap Band		Oops Upside Your Head
32		39		XTC		Generals And Majors / Don't Lose Your Temper
33		23		Diana Ross		Upside Down
34		NEW		Odyssey		If You're Looking For A Way Out
35		NEW		Bob Marley & The Wailers		Three Little Birds
36		NEW		Diana Ross		My Old Piano
37		35		Gladys Knight		Taste Of Bitter Love
38		28		George Benson		Give Me The Night
39		NEW		AC/DC		You Shook Me All Night Long
40		32		Skids		Circus Games

On Channel Four's Disco Inferno broadcast in 1998, Kelly was included in a small section of acts that were described as Disco Criminals. The facts are, this Ray Dorset composition spent two weeks at number one, spent 12 weeks in the 40, was third best selling single of the year, sounded a lot like Tina Charles, and the 12 inch was bloody good. Sadly for Kelly she would not become a superstar for two reasons,
1: She did not look anything like Debbie Harry or Olivia Newton John
2: NO ONE was going to take her seriously while she had those two male dancers in tow (ask the Boystown Gang !)
2 1/2: Oh Yeh, she had fake bagpipes on her third hit.

And on to someone who could so easily have been as big as Whitney Houston, but instead spent the next six years grabbing the occasional slice of success. This was the biggest of them all, and was taken from the under-rated 'Last Night At Danceland album'. It spent two weeks at number two and has either already spawned a dance remix, or it will soon enough. Nicole Kidman covered this song on the "Moulin Rouge" soundtrack in 2001.

If we discount "Way Down" on account of the fact that it was a single going nowhere until it shot to number one after Elvis died, then this was Elvis's first proper top three hit since "The Wonder Of You" had been at number one in 1970. I'm not sure where or when it actually came from, but it peaked at number three and was rather a nice song. Don't know about "Beyond The Reef", I've never bothered to listen to it.

After entering the chart at number 30, this single made a massive climb to number four. This didn't normally happen to Stevie Wonder singles, but in this case there is a simple explanation, it's because this song was pure class and just had to happen. A tribute to Bob Marley, this single peaked at number two a fortnight later. This was a great favourite on the jukebox at the Duke Of Wellington in Ruabon.

What were the Jam doing ?
They had finally got the commercial success they deserved with the previous "Going Underground" single, but then they released this. It used the exact same riff as the Beatles' "Taxman", and while that kind of thing may be considered the height creativity these days, it was considered a little naughty back then.
As far as the success of the single went, it didn't really matter. At that time they could record any old rubbish and it was sure to go to number one, and sure enough, it did manage a single week at the top. On the other hand, the B Side was a much better song titled "Liza Radley" (Eleanor Rigby anyone ?).

The trend for making music orientated films that had followed Saturday Night Fever and Grease continued into 1980 with 'Xanadu', 'Can't Stop The Music' and the best of the bunch 'Breaking Glass', from which this song came. The principle characters were Phil ("Park Life") Daniels and the singer of this song, Hazel O' Connor. It made an instant star out of Hazel, and she deserved it for this number five peaking single alone. Some kind of rivalry grew between Hazel and Toyah, but one year and just two more hits later, most had forgotten about Hazel. She was still performing in the mid 90s and we had tickets to see her at Notts County football club's social club. But we had a really bad day with lots of expense and so didn't bother going.

This single was complimented by one of the best video promos ever made. This single also saw a considerable upturn in fortunes for him after his last single "Alabama Song" had only reached number 23. This one spent two weeks at the top. But David is no stranger to this type of behavior. He's had three solo number one singles, and each one of them has been the follow up to a single that hasn't really done 'that' well (18, 23, 26).
There's something else about this single though. My Nana (Grandmother) passed away on Saturday August 9th 1980. Just three days later, this single entered the chart. As if that wasn't enough, two weeks later the highest new entry was Gary Numan's "I Die You Die", and two weeks later the highest new entry honours went to Queen with "Another One Bites the Dust". Conspiracy ?
Or did Black Sabbath get it right when "Paranoid" re-entered the chart the week after Bowie ?

Sheena hit the big time after being the subject of a TV show titled 'The Big Time'. Her first single had been this one, but it had only managed to get as high as number 56. But after the success of the second single, it had been re-promoted and had entered the top 40 the same week that "9 To 5" had reached number three. It went on to peak at number eight.

Since "We Don't Talk Anymore" had taken Cliff to number one 12 months previous, he had again become a chart regular. This was just a run of the mill Cliff song that received loads of airplay on both Radios One & Two and peaked at number eight. I got fed up of hearing it at the time, but it seems OK now.

Seven of the previous eight Queen albums had all spawned a maximum of two single releases (Day At The Races belatedly spawned a third after the second failed to make the top thirty), but 'The Game' now boasted four top 20 hits. With this John Deacon written song, Queen had finally joined people like the Rolling Stones, Paul McCartney & David Bowie in trying their hand at disco. This song laid the foundations for their under-rated 1982 album 'Hot Space'. Freddie and the boys would always bring the house down when performing this number seven peaking song live. But even though I'm a big Queen fan, I have to admit that the bass line owes more than a little to Chic's "Good Times".

Sheena Easton was having one of the biggest hit singles of the year with her number three peaking first hit single. This was retitled "Morning Train" when released in the USA, where it sped to number one. A strange bit of trivia about Sheena is that John Peel used to regularly play her new singles as they were released right in the middle of all his Indie stuff, and Christened himself and his listeners the 'Sheena Barmy Army'.

This was Mike's first hit for over 17 years, and he peaked at number nine with it. His only other appearance inside the top ten was when "Don't You Think It's Time" made number six in January 1963. This wasn't quite Mike's last chart hit, but I can't help feeling that he was better suited to his role in the TV Sitcom 'Are You Being Served'.

Surprisingly the Village People were not included in the 'Disco Criminals' section of Channel Four's 'Disco Inferno'. Maybe it's because the wally-like "YMCA" & "In The Navy" had been followed by "Go West" and this final hit. It was the title track from their film and not a bad song at all. It just failed to reach the top ten by peaking at number Eleven. Not sure about "Milkshake" on the B Side though.

Brilliant ! One of the best singles of not only the 70's, but (thanks to this re-issue) the 80's too. One of the most recognisable set of opening bars to a song ever, and a true classic. Yes, it's one of my favourite songs of all time, sitting right up there alongside "Bohemian Rhapsody", "Blue Monday", "The Message" & "A Day In The Life". It had originally been a number four hit in 1970, but had now been re-released to cash in on the new wave of heavy metal, and the renewed interest in the band that were now without the sacked Ozzy Osbourne. This time around it reached a creditable number 14, and it's 12 weeks in the chart took it to a total of 30 weeks. Black Sabbath were featured on 'Rock Family Trees' a few years back, and I was surprised to learn that they'd appeared on 'Live Aid'. This is news to me as I didn't see them and I thought I had it all on tape. I wonder if by any chance they appeared right after The Who while technical difficulties were being experienced. Something that made me laugh but in retrospect also sad, is that on a 1998 edition of 'Never Mind The Buzzcocks', current Radio One DJ Chris Moyles failed to recognise the opening bars to this song. Where do Radio One get these people ?

It was very rare that Billy could get more than one big UK hit single from any of his albums, and this was his hit from the excellent 'Glass Houses' album. In the words of this song, Billy seemed to be saying that it doesn't matter what you call it, Punk, New Wave, Hard Rock or whatever, it's still Rock & Roll. I wonder what he thinks these days. Billy peaked at number 14.

For reasons that I can't remember, this was a long awaited release. Surprising then that there wasn't really anything special about it. It certainly didn't have me queuing outside Woollies on the day of release (I waited for it's debut in the bargain bin). Still, I suppose that we were getting spoilt in those days and in hindsight it was better than just OK. It peaked at number 12.

Shaky's first ever top 20 hit, and it peaked at number 19. Shaky caused me great embarrassment a few years ago. I bought his 'Greatest Hits' cassette for 99p a few years ago and my Hi Fi tape deck decided to stop functioning while that tape was inside it. Try as I might, I just couldn't get the thing out. So a few months later, I finally plucked up the courage to take it for repair (I was so embarrassed). The man got the tape out and handed it to me with a smirk on his face, but said that he couldn't do anything with the tape deck. So I went through all that for nothing !

I have only seen one other act looking so chuffed with themselves that they were appearing on Top Of The Pops, that was Bass-O-Matic who hit with "Fascinating Rhythm" in 1990. Funny how neither act managed another top 40 hit. This was a good single that spent three weeks at number 20 and nine weeks inside the top 40. I preferred his follow up "Leaving On The Midnight Train" (I Know - yet another bloody midnight train).

I was going to be rude about this, but I can't because I like it really. It's just that I got so fed up of hearing it at the time, talk about overkill. It went on to spend two weeks at number three and become their biggest hit so far spending 11 weeks in the 40. If I remember correctly it was the ninth best selling single of the year.

After a year away, Ian had returned with a single that had quite an ironic title considering his disability. But it wasn't about that, and neither was it about his sexuality. No, this number 22 peaking single was about having a straight mind, free from the effects of drugs and drink. And I always thought that Ian looked as though he often used a pint and a couple of dodgy substances.

We could do with more like Shalamar around today. All of their singles were aimed at the clubs, but they were also good to just listen to. There was no aggression in them, it wouldn't annoy the neighbours too much if you played them too loud. Jody, Howard and Jeffrey were Angels sent from above to brighten up our little lives. They had amazingly failed to hit the top 40 earlier in the year with "The Second Time Around" & "Right In The Socket". But now they were having their biggest hit to date with this number 13 peaking single. They had to wait a further 18 months before they reached the top ten for the first time.

"Best Friend" was a good typical Beat song and this number 22 hit is probably remembered by very few. On the other hand "Stand Down Margaret" was a vicious attack on the then Prime Minister 'Margaret Thatcher'. It appears that our 'lovely' Prime Minister didn't listen to the radio much back then. But ten years later she was listening to Alan Freeman on a Sunday afternoon playing the chart from 1980. The rest is history.

People may be surprised to learn that this single used to get played a lot in Clubs (at least in the ones that I frequented). It was the only hit for the band that contained the Finn brothers of later Crowded House fame. After a long climb it eventually peaked at number twelve and was very good.

Another single that reminds me of my early clubbing days. I hadn't thought their previous hit "A Lover's Holiday" was anything to write home about, but this was different. It had something about it that just 'walloped you on the head and said "I'm a classy song" '. Sadly it only climbed to number 11.

This song did not stay in the top 40 for as long as you may think it did. This 11 week charting single quickly climbed for a three week stay at number two, but wasn't around for too long afterwards. I think one of the reasons for people thinking that it was around for much longer, was that until it started falling, it was played in the background between songs on Top Of The Pops every week. On a Channel Four show called Disco Inferno that was broadcast in 1998, Ottowan were included in a small section of acts that were described as Disco Criminals. I feel that this was completely without justification. This (and their 1981 hit) were perfect disco singles that filled the dance floor every time that they were played. It appears that musical snobbery even found it's way into the place where you'd least expect to find it, the disco scene.

There is no truth in the rumour that Sky Television have acquired the exclusive rights to play this single. Actually over the years since, there have no doubt been quite a few Manchester United fans left disappointed when learning that the United supported by Judas Priest are Sheffield United. That's why Rob Halford inserted a backwards message into the song telling Rupert Murdoch to try and ruin that club over in Manchester (bloody hell, I'm on form today !). Unable to match the top 20 placings of their previous two hits, this could only reach number 26. Three weeks later Judas Priest's top 40 career was over.

As a lot of the regular visitors to my site will know, I have reservations about a lot of Abba's work and also about the way in which they were regarded as being something special and the horrible way in which they would 'sing with 'that' accent'. But, I have to admit, this was a great single, one of the best of the '80s. Their previous attempts at ballads usually sucked, but this time they got it right and deserved their two weeks at number one. It's a pity the same couldn't be said about the video which looked like one of those awful subtitled films that Channel 4 often shows in the early hours of the morning (I half expected Benny or Bjorn to suddenly acquire a pair of breasts and then start chasing a dog which just happened to have a bra between it's teeth). But, Abba never did master the art of video anyway, apart from '82's "Head Over Heels".

On first listen, "What a crap single !". Later, "Hey, this is ok", and it was. It went to number six and started a new dance craze, rowing. It was a fun thing to do in discos at the time, and this song was usually followed by the Black Slate single "Amigo" to carry on the rowing dance. It must be said though, that there was more to the Gap Band than novelty hits. They released quite a few good singles over the next seven years, some of which charted, some didn't. Their chart career ended with a remix of this reaching number 20.

This was Diana's biggest hit for nine years, and peaked at number two. It was also her first visit to the top twenty for over four years, but she couldn't fail this time. The parent album had been written and produced by Bernard Edwards and Nile Rodgers who'd been responsible for all those Chic and Sister Sledge hits of the last couple of years. This set Diana up for another two year run of hits, before the next fallow period followed. Strangely, this happy upbeat single reminds me of my first real experience of death, as my grandmother died while it was charting.

And here's the one that remained on the chart for a week longer than Ottawan. This was a lovely song with beautiful vocals. After spending three weeks at number seven, it took a climb to number six, decided it didn't like it there so dropped back to seven before taking a steady slide down the chart.

This was a strange release. Bob had just had his biggest hit to date with "Could You Be Loved" taken from his latest album 'Uprising'. But this single was taken from his 1977 album 'Exodus', quite a strange choice. It spent three weeks at it's peak of number 17 and proved to be Bob's last hit during his lifetime, he was diagnosed with Lung Cancer during the single's chart run.

Diana had just had her biggest hit for nine years with "Upside Down", peaking at number two. The parent album had been written and produced by Bernard Edwards and Nile Rodgers who had been responsible for all those Chic and Sister Sledge hits of the last couple of years. This set Diana up for another two year run of hits, before another fallow period followed.
"My Old Piano" was just more of the same and peaked at number five.

George had been having minor hits since 1975 never rising above number 26. But this was the big one, it rose majestically to number seven, and was one of the big disco hits of the year. This was a song that everytime I hear it, reminds me of a club I often went to at the time known as 'The Erbistock' (after the village where it was situated), or sometimes 'The Country Club' (because it was in the Country, not because of the type of music played).

Yes, I know you thought that this was surely a top forty hit. After all, you heard it a lot on the radio at the time, you've heard a lot of it since, and people have even been using it to sell cars since the early '90s. My theory is that you knew that you were going to hear it every couple of hours on the radio, so you didn't see the need in buying it. So, it peaked at number 44.

Third single to be taken from the "Duke" album, and one that didn't sound anything like a Genesis track. In hindsight, it was a preview of things to come, Phil Collin's solo career and the way that Genesis would quickly evolve into an extension of Phil solo. Having said that, I did like this song, as did whoever was in charge of the music to be featured on Multi Coloured Swapshop (they played the promo). It reached number 42.

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.