The U.K. 80s Singles & Albums Chart General Discussion Thread.

I never forget the H17 review because of the "Men Are...." trick that Betty Page uses for each sentence. Makes things a bit different.

EG.

 

IIRC, they were quite a few good issues of Record Mirror in the last quarter of 1984.

 

What do you think of U.S. Billboard's, then (from Oct. 6, 1984):

PAUL McCARTNEY—No More Lonely Nights, Columbia 38-04581 (4:38); producer: George Martin; writer: Paul McCartney; publisher: MPL Communications, ASCAP. How long have we been hearing about the "Give My Regards To Broad Street" film? Finally, here's a taste of the soundtrack (subtitled "ballad"). No surprises, but eminently satisfying.​

Now let's see what other songs from this lot were reviewed, and when? Hmmmm . . .

Aug. 4, 1984:

LAURA BRANIGAN—The Lucky One (4:10); producers: Jack White, Robbie Buchanan; writer: Bruce Roberts; publisher: Roliram, BMI; Atlantic 7-89636. A few offbeat electronics effects here, but no basic departure from the disco-chanteuse style that's been the singer's trademark from the start.​

Oct. 13, 1984:

CULTURE CLUB—The War Song; Virgin/Epic 34-04638 (3:57); producer: Steve Levine; writer: Culture Club; publisher: Virgin, ASCAP. An effervescent protest song, hard to disagree with; jumps to 46 on this week's Hot 100.​

Sept. 15, 1984:

APOLLONIA 6—Sex Shooter; Warner Bros. 7-29182 (3:00); producers: Apollonia 6, Starr Company; writer: Apollonia 6; publisher: Girlsongs, ASCAP. "Purple Rain" leading lady Apollonia replaces the departed Vanity; the high-polish raunch 'n' roll style remains intact.​

June 30, 1984, followed by July 28, 1984:

PATTI AUSTIN—Shoot The Moon (3:35); producers: Clif Magness, Glen Ballard; writers: Clif Magness, Glen Ballard; publishers: YellowBrick Road/MCA, ASCAP; Qwest 7-29234. A real showcase of the singer's dynamic and theatrical range; Latin-edged rhythm gives Austin room to croon, belt and wrestle with emotions.

PATTI AUSTIN—Shoot The Moon (5:55); producers: Clif Magness, Glen Ballard; writers: Clif Magness, Glen Ballard; publishers: YellowBrick Road/MCA, ASCAP; Qwest 0-20235. 12-inch version of previously reviewed 7- inch, Billboard, June 30, 1984.​

 

Are you able to post that review @Bobby Morrow? I must be the only Bowie fan on the planet who doesn't despise Tonight. It's patchy but I don't think it's the disaster everyone says it is. 'Blue Jean' and 'Loving The Alien' are brilliant, the title track with Tina is... pretty good and I love 'Tumble and Twirl' and 'Neighbourhood Threat'.

Having said that, the cover of 'God Only Knows' is wretched and you can hear Bowie's lack of inspiration. I always think it's a shame he didn't meet up with Pat Metheny Group a few months earlier and they'd collaborated on Tonight. 'This Is Not America' is one of the best things he ever did.

 

I thought I’d posted it before. That’s why I didn’t today. I’ll find it, though.

 

You may have! Over 300 pages in, it's a struggle to remember.

 

The site’s acting up at the moment, but I’ll let you know when I can send it.

 

Here's a Bowie pinup in the meantime. I loved the 'Screaming Lord Byron' character in the 'Blue Jean' video.

 

One day, I'm going to write a poem in a letter.

EG.

 

Bought Phantoms on the strength of "Are We Ourselves" during a period when I was listening more to the US chart and yes On The Dark Side is a favourite of mine although no one here knows the album it is from!

 

Tonight's a mixed bag, and a result of its circumstances. It's a shame he didn't/couldn't have waited until he had a better batch of songs, but he wanted Iggy to get some royalties and thought he could cash in on the success of Let's Dance. Personally, I'd have put out a Serious Moonlight live album to buy some time.

Loving The Alien, Neighbourhood Threat, Blue Jean and Dancing With The Big Boys are, for me, top-tier Dave. I think if he'd pursued the sound of the latter, something like Hall & Oates' Big Bam Boom, it might have been quite something.

1985 and 1986 ended up with some brilliant film songs, so if he'd waited until 1985 to make a proper album who knows how much better it might have been.

EG.

 

Best thing about the film 'Jubilee':



(should be in the 70s thread, I know)

 

Can just say 5Star's Between The Lines is a fine rekkid having bought it in 1987 on vinyl no less and Silk And Steel from the year before ain't bad.

Still have them!

 

That's a cool clip, never seen it before. Pop programme presenters in cowboy hats - why not? Shock is under-rated, the production is dated, but "Shame" is a fantastic single, another one that should have been much bigger.

 

Silk & Steel had about 18 hit singles, and sold millions, but I still prefer the debut...Luxury Of Life...which is more like Loose Ends than the Jacksons.

EG.

 

Wow! Some truly awful releases here. I own Bowie (but it's rubbish).

 

I think you may have posted these reviews earlier because I remember the Dynasty/extras from Thriller/waxworks comment about Diana and Julio. I own Swept Away on vinyl — this is the photo in question.

 

I have Swept Away on CD and vinyl!

I know I’ve posted it before because I remember reading the Depeche Mode review and nearly ordering the CD.

 

That is a great question Bobby, independently they both followed the Sex Pistols very early in their career and Siouxie hit the front page after her part in "the Bill Grundy incident".

 

Toyah and Bilbo Baggins

 

Was about to post the same thing. This was December 1976. She was on the punk scene.

Not sure how Toyah landed her part in Jubilee in '77. Whether she was spotted as part of a scene, or auditioned for it.

 

I agree, but I would bet that it's still one of his biggest earners. It's pure schmaltzy cabaret hell, unlike say Ebony And Ivory. Oh wait...

 

I've lifted this from Wiki:

A friend's suggestion that she should see the Sex Pistols led to her being attracted to the punk movement, but she resolved to do better, travelling to London to take up a career in acting and music.

Move to London
After appearing as an extra in a drama being made at the BBC Pebble Millstudios in Birmingham, an opening came to take a role in Glitter (1976), a play in the BBC "Second City Firsts" series, alongside Noel Edmonds and Phil Daniels. Recommended to the play's director by a member of the wardrobe department because of her distinctive appearance and oddball character,Willcox was given the role of Sue, a girl who sang with the band Bilbo Bagginsand who dreamed of appearing on Top of the Pops. In the course of the 30-minute play, Willcox performed two songs she had co-written: "Floating Free" (an acoustic ballad, with Phil Daniels accompanying her on guitar) and "Dream Maker". The play was seen by Kate Nelligan and Maximilian Schell, who offered her work with the National Theatre in London, where she got the part of Emma in Tales from the Vienna Woods, directed by Schell. The opening led to her relocating to London.

In 1977, while playing Emma in Tales from the Vienna Woods at the National Theatre, Willcox, inspired by her role as a musician in Glitter, fronted a band called Toyah which featured Joel Bogen on guitar, Mark Henry on bass, Steve Bray on drums, Peter Bush on keyboards, and herself on vocals.Having never considered herself a musician, she found herself fronting a successful band, although still uncertain about her own sexuality and repelled by her bandmates' antics with groupies.

Introduced by actor Ian Charleson to director Derek Jarman, Willcox was offered 'any part you want' in Jubilee (called Down with the Queen at the time). Plagued by budgetary issues, the film featured Willcox as the murderous 'Mad', as well as a number of other prominent figures from the punk scene

 

Siouxsie's first gig:

https://louderthanwar.com/listen-siouxsie-banshees-first-gig-1976-playing-lords-prayer-pos/


Who said creative music stopped after the seventies?!!