Sardonicus reviews a bunch of old 45s (1 Viewer)

@Sardinus you have the most diverse 7" collection, I wonder what's next! 80s Paul Young is way before my time and I find some of his catalogue a bit boring, but I love his cover of What becomes of the broken hearted, from one of the best movies from the 90s (I think that helped a lot). As most of you probably know, this was the song that Whitney was going to cover for the main theme of The Bodyguard, but as Young just released it and it became a hit in USA, she had to go for something else, and the rest is history...
Hey Alla! The ones up to Chaka Demus & Pliers were all mine from childhood, these older ones all belonged to my parents. Most of them I'd forgotten about myself. After these, I've another pile of old 45s. The top few I bought myself to replace old cassette singles, but the rest were passed on to me by a record collecting friend, & I haven't looked through them. GOD KNOWS what horrors may lurk there :D /:disco:
 
Please prioritise those horrors 😍

My vinyls are mostly from 1990-92, but I only have a few, around 300, and surely a more boring and less eclectic collection that yours for what I've seen so far.
 
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I didn’t know that about Whitney!

She would not have had as big a hit with that. It lacks the drama.

What movie is the Paul Young version from ?
 
The J. Geils Band - Centerfold b/w Flamethrower (1982)

UK chart peak - Number 3

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:basil:

Again, a lesson in how time changes how we view things. I just thought this was a purple & white striped sleeve as a kid. Now, I immediately cottoned on to it as a barely there top struggling to contain TITS. Between this & the title, I don't think this one's going to be a FEMINIST TRACT, readers.

"Centerfold" is a song very much of its era, the good old days of page 3 girls & casual sexual harassment in the workplace. The lyrics are a load of SEXIST OLD CLAPTRAP, detailing a bloke perving at the centrefolds in a top-shelf smut mag before discovering to his horror that the girl in question is - shock, horror - his old high school crush! He's horrified that his image of this random woman as some virginal angel has been crushed. OH, BUGGER OFF. I'd like to think that The J. Geils Band were making a wry commentary on this sort of attitude here, but fear I am giving WAY too much credit.

This being said, flame me for it if you like, I do think "Centerfold" is a BANGER. From the jaunty opening to the whistling bit to the catchy as hell "na na na na" to close it out, this song absolutely has SMASH HIT written all over it. I was tapping along to it straight away despite my better judgement. It topped the Hot 100 for 6 straight weeks, although I'm bemused at the USA, having recently voted in the Reagan government, taking a song to its heart that is basically about a bloke deciding to HAVE A WANK.

The B side is also :disco: - I'm listening to it again for sure. It's a funky workout reminiscent of both the Talking Heads & early Daft Punk. I loved it & if this is what their usual output sounds like, I'd definitely explore their work further, which I never thought I'd be saying about a band known for one dated 80s hit. If "Flamethrower" is more of a typical number, then they are the epitome of a band known for one mega success entirely unrepresentative of their sound.

Despite a few other hits here & there over the years, both before & after "Centerfold", the group could never repeat its STRATOSPHERIC success. Maybe the hideous album art the single comes from didn't help. It's advertised on the back sleeve & always terrified me as a child. I'll share it on the next post - I've no idea what the record company were thinking. It'd give SALVADOR DALI nightmares.

The band supplied the title track to the soundtrack for cult mid 80s vampire flick "Fright Night" & continued to reform & tour on & off until J. Geils carked it (in 2017 - WHO KNEW??!!) which obviously brought things to an end. PROBLEMATIQUE elements aside, both sides of their BIGGEST MOMENT are far better than they've any right to be.
 
Also before my time, but I know this one, it was very different to everything I heard before, with all those whistles. It was featured in a medley of "whistle songs" in one of those American radio programmes I was listening to all the time.
 
Now I do love Centerfold but I would lose a bet having to name any other song by them
 
It was in a book I remember stumbling across in a bookshop here in the early/mid 80s. I remember afterwards I'd make sure I looked at it every time I went to town.

I think the photo was from when he was in Streetband or the Q-Tips. Certainly before he was a big solo star.
 
Detest Centerfold. There's something about a certain type of 80s song that really grates on me. I can't think of a decent example but I guess Jump by Van Halen would fit.
 
Billy Joel - Tell Her About It b/w Easy Money (1983)

UK chart peak - Number 4

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Clearly my Dad was a big BILL FAN. Me not so much, although this is one of a handful of his songs that I do actually quite like. I like it a lot more than Billy himself, who apparently hasn't performed it live since 1987 :o

"Uptown Girl" was the big chart topper from Billy's "An Innocent Man" LP in the UK, but it was the other way round in America, with that reaching number 3 while "Tell Her About It" squeezed in a week atop the Hot 100 in late 1983. It's a simple & catchy pastiche of the 1950s doowop sound, given a subtle bit of 80s gloss to bring the sound a little more up to date. It's the sort of radio friendly song I can imagine programmers BEAT PEOPLE AROUND THE HEAD with at the time, & it's still played a fair bit on the 80s stations here, although not as much as "Uptown Girl".

It did get me wondering about the 1950s revival that took place during the 1980s in both Britain & America. These sort of homages were RIFE, Shakin' Stevens consistently charted huge UK hits with what amounted to an 80s Elvis impersonation, revivals of forgotten hits like "The Great Pretender" for Freddie Mercury were very successful, even Jive Bunny's megamixes, REVILED as they now are, tapped into some sort of ZEITGEIST. It lasted the entire decade too, it's a bit MYSTERIOUS to me that the music of the PARENT'S generation seemed to be held in such REVERENCE for so long.

B side "Easy Money" is a :disco: frantic R&B workout. Billy is clearly enjoying himself on this one & it shines through in his performance. I got the same impression from "House Of Blue Light", the earlier B side to "We Didn't Start The Fire" - it seems quite obvious that this is the sort of style Billy genuinely likes doing, with the singles being the less loved BREADWINNERS. I wonder if this is why he hasn't done another album since 1993 - maybe he just got sick of having to write HITS.
 
It’s not a song I would play on purpose but I wouldn’t change the radio station if it came on.
 
BIlly Joel is someone I just never got on with. Maybe because the school bully was into the An Innocent Man album and sang the songs around the school. He became School Bully Music. Like Queen did.
 
Haircut One Hundred - Love Plus One b/w Marine Boy (1983)

UK chart peak - Number 3

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Record company marketing people, take note - THIS is how you encourage fans to keep parting with money for those later single releases when everyone's already got the album. Arista cleverly released all the Haircut One Hundred sleeves for each single in different striped colours representing a barber's pole. Even the catalogue number, CLIP 2, is HAIRCUT RELATED. Now I want to dig out the other singles from second hand shops so they all match out like a rainbow :disco:

Another reason to purchase the Haircut One Hundred singles is that all 4 of their top 10 hits are :disco: slices of early 80s POP FABULOUSNESS. They're all catchy, immediate, sunny & a little bit oddball - I can't think of any of their peers that sound quite like them, despite their clear eye for a good melody & a hit song. "Love Plus One" was their biggest hit, reaching number 3 & giving them their only Hot 100 entry at number 37, but all of them are great & still sound fresh & bouncy.

I think the band may have been mini heartthrobs at the time, but I definitely wouldn't class them as a boy band. I can see them having a lot more crossover appeal to the REAL MUSIC types as they wrote all their own material & played instruments. Lead singer Nick Heyward & the boys all looked CUTE AS BUTTONS in the accompanying video & things appeared to be going SWIMMINGLY.

Unfortunately, Nick decided to GO SOLO after just one album & despite the boys soldiering on, the magic was gone & the dumper sadly BECKONED. Nick had some fair success with his first few solo singles & kept charting minor hits right into the 90s, but I've always thought his solo stuff lacked the FUN ELEMENT the band had & it doesn't have the same POPTASTIC FEEL. His solo stuff is also overly indebted to The Beatles, IMO - in comparison to Nick Heyward, Noel Gallagher isn't much of a Beatles fan AT ALL.

The band have reformed on & off in the years since to tour with various other 80s acts, with the B side here, "Marine Boy", showing just how much WASTED POTENTIAL they had. It's a more wistful song which breaks down into a fab drum & guitar solo bit halfway through & was far too good to be thrown away on a flip side. A glimpse of what could have been - I'd put them up there with the likes of Yazoo or Mel & Kim as 80s pop acts that shone BRIEFLY BUT BRIGHTLY.
 
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Elton John - Sacrifice b/w Healing Hands (1990)

UK chart peak - Number 1

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A gap of 7 years till the next single purchase. You'd almost think raising a kid was a FULL TIME JOB or something :basil: There was a huge song & dance in the UK at the time that this was Elt's first solo number one in his home country, with only Kiki Dee duet "Don't Go Breaking My Heart" topping the charts previously, in 1976. Of course he'd had squillions of classic hit singles & albums leading up to this, & several songs atop the Hot 100 in the USA, although both sides of this single only reached the lower ends of the top 20 there (maybe @Joseph could confirm if either song is remembered ACROSS THE POND at all?)

"Sacrifice" is now a signature Elton hit in the UK, & although I can now see why it had the sort of mass appeal to take it to number 1, I've never been THAT FUSSED. Both it & "Healing Hands" had missed the top 40 in 1989 before Steve Wright began playing it on his Radio 2 show leading to its re-release (all for charity) by POPULAR DEMAND. It's a sombre & quite schmaltzy tale of marital infidelity, with the accompanying music designed to TUG ON THE OLD HEARTSTRINGS. The last thing I wanted to see aged 7 in spring 1990 was OLD GRANDPA atop the charts with his maudlin MEN OF A CERTAIN AGE ballad, especially when we had the likes of Marge doing "Vogue" & Paula Abdul dancing with a cartoon cat at the time. Although I've softened towards it more as I've gotten older, I've never really taken to it. Also, I always thought he sang "no tits to damn you" in the second verse, but instead it's a less :disco: "no tears to damn you".

Unlike some other singles which were double A sides in NAME ONLY, "Healing Hands" also got a fair amount of airplay. As it should, because in contrast this upbeat piano led ditty might well be my fave ELT TUNE. It's a proper uplifting & dramatic singalong BANGER, with gospel tinged backing vocals galore that showcases Elt at his best. It randomly came on at the gym a few weeks ago & I had a proper MOMENT to it. Definitely the side that got more play from me BACK IN THE DAY.

You might expect a late stage number 1 to be a one off, but Elton has actually followed it up with a few more chart toppers (even aside from the Diana song) & has seemingly been on a never ending farewell tour for the last decade. Although not a top favourite of mine, he's a great singles act with some true classics - everyone can find one Elton song worthy of a spin.
 
I actually really like Sacrifice, though I appreciate it's quite mushy.

Sinead O'Connor did a beautiful cover of it for the Two Rooms tribute album in the early 90s, which also included Tina Turner's :disco: version of The Bitch is Back and my girls Wilson Phillips doing a lovely reading of Daniel.



 
It annoys me mostly because it adds an extra syllable ’SA CA RI FICE’, which isn’t the greatest sin of all time, just upsets me greatly. I also thought the lyric was ‘cocoa heart’ until the VERY recent Dua Lipa track ‘Cold heart’ where I learned I’d been mistaken for about 30 years :basil:
 
I think history has started to forget the guts it took for an artist in Elton's position to actively support AIDS charities like this in 1990 and there was pushback in some quarters. This created an inevitable pushback to the pushback which ultimately did result in a few "on principle" purchases - that was enough to get it into the charts and then radio took to it and a proper hit was had.

That said, I was today years old when I learned that it wasn't just Sacrifice that had flopped the previous year, Healing Hands had too! Welcome to the music industry of the late 20th century "I've got an idea - both songs bombed, so how about we put them...together?!"
 
@octophone I'm intrigued to know what you think of Haircut One Hundred - not sure if they'd be the sort of band you liked or not.
They kinda slipped past me at the time. They seemed a bit "wacky" as they tended to act the tit in the videos or on the telly and I was already a fan of Madness who did such things much more successfully. As such, I remember thinking when The Housemartins came along that they were a better version of Haircut One Hundred! Ah, the limited understanding of musical lineage as a 13 year old in 1986. I've never really gone back to them, I'm afraid although the rave reviews for a reissue of Pelican West did catch my eye a couple of years ago.
 
Sacrifice was everywhere at the time (you couldn’t escape it on the radio) but I can’t imagine it’s an Elton song that springs to mind when people mention him.
 
Eddie Cochran - Summertime Blues b/w Twenty Flight Rock (1990)

UK chart peak - Number 18 (for Summertime Blues, in 1958)

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Not an official release, this one, it appears instead to be one of those mail order things that got you a couple of THE HITS delivered to your door in those HEADY pre-internet days - an idea now consigned to the Jurassic era along with the likes of Britannia Music Club. Eddie's looking quite HOT on the sleeve, isn't he? :horny: A quick Google image search proves out his TEEN HEARTTHROB status. I can only imagine the thirst if LPSG had existed back in 1958.

Eddie is obviously up there with the LEGENDS of the first wave of rock & roll idols along with Elvis, Buddy Holly, Chuck Berry etc. Once, years back, I decided on a madcap quest to listen to every UK number 1 in order after reading the Freakytrigger blog that was doing the same. The umpteenth Westlife number 1 killed me off around 2004, but God, the first few years of the charts from 1952 were a SLOG. There's the odd good song, & I got an appreciation of how someone like Frank Sinatra STOOD OUT back then, but there's a lot of SUGARY CRUD that all blurred into one. One thing it did showcase to me was the musical KICK UP THE ARSE given by rock & roll. I felt palpable relief when Bill Haley, Elvis, (surprisingly) Lonnie Donegan etc showed up. For the first time I understood what my parents meant when they said they felt music REV TO LIFE with rock & roll.

"Summertime Blues", Ed's signature song, is a huge part of this SEISMIC CULTURAL SHIFT. It just scraped into the top 20 here on release, & peaked at number 8 in the USA, but it's lasted well over the years for a relatively minor hit. Apart from its catchy, influential RIFF, its lyrical concerns of DISAFFECTED YOUTH have ensured the song hasn't aged in the same way as some of its peers. We've all been able to relate to the frustration of the narrator of this song at some point. This also seems to be a song that EVERYONE knows. I grew up with it, but can only assume it's a favourite of the nostalgia stations.

"Twenty Flight Rock" was my Dad's favourite rock & roll song, & presumably the reason he purchased this, as it was never released as a single in its own right in the UK & I'd assume became hard to find as the years passed. It was known as it featured in a long forgotten film, "The Girl Can't Help It", & was the first song a youthful Paul McCartney played for John Lennon, FACT FANS. It's played at a frantic fast pace as a tale of a man whose girlfriend lives twenty flights up in a building with NO LIFT. It gets faster & faster as the narrator gets tireder & had me & Mr S FRUGGING round the place (well just me actually, he was trying to do the dishes - SPOILSPORT). It's one of the few songs that has a comedic element that works & doesn't make me want to throw it across the room, & like the flip side it doesn't outstay its welcome, coming in at a BRISK 2 minutes.

Sadly, like many of his peers, Eddie died young. He was killed at age 21 in a car accident in Wiltshire, UK at the end of a successful UK tour with fellow rock & roller Gene Vincent. Gene survived (along with Eddie's girlfriend Sharon Sheeley) but suffered injuries that likely contributed to his own early death in 1971. Not long after, Eddie got his only UK chart topper with the gentle ballad "Three Steps To Heaven" (a song I played at both my parents funerals, & can therefore never listen to again) but left us with a frustrating sense that there was a lot more to come. This single demonstrates how his status as a teen music idol continues to live on.
 
Craig McLachlan & Check 1-2 - Mona b/w I Don't Mind (1990)

UK chart peak - Number 2

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:basil:

There really could be NOTHING MORE 1990 than this one. Craig McLachlan deciding to follow in the chart conquering footsteps of his "Neighbours" co-stars Kylie, Jason &, erm, Stefan Dennis & coming within a whisker of getting a number 1 single with this simple, catchy, yet long-forgotten DITTY. Objectively, it is of course a load of old rubbish, but I was AGOG to discover that this song wasn't penned by Craig & the boys, but rather a cover of an obscure song by influential old rock & roller Bo Diddley, allegedly about a 45 year old stripper. This was actually quite a clever choice from Craig, as it jumped on the rock & roll revival bandwagon led by Jive Bunny & co, as well as leveraging his soap opera fame to get a smash hit, number 2 in the UK & number 3 in Australia.

Another reason why I was surprised to discover this was a cover is because it's an incredibly AUSSIE sounding song. It's got that sort of laid back, radio friendly, commercial vibe that slotted in perfectly with the sort of tunes you'd hear on the radio in "Neighbours" & "Home & Away". I always got the impression Craig McLachlan had written this song to ORDER to fit in with that sort of sound, & maybe it's just his delivery, but I still struggle to reconcile this song with its AMERICAN ORIGINS.

Rather like Glenn Medeiros, it was a big hit at the time that's received almost no airplay since, so from the opening bars you're placed back in the JOYS OF CHILDHOOD. The nostalgia is strong, but the song is too shallow to bear sustained plays, hence why it's fell by the wayside over the years. I enjoyed the memories it provoked, not so much the song itself.

B side "I Don't Mind" was actually penned by Craig, it's a generic pop rock number that sounds ODDLY FAMILIAR for an old Craig McLachlan B side. I feel like it must have gotten some spins in the background on the Aussie soaps in the YEARS SINCE.

Craig charted another top 20 hit in 1990 with "Amanda" before he ran out of girls names to use & the hits dribbled away. He's remained active in music, theatre & television but I was AGOG to discover a RAFT of sexual harassment allegations from numerous co-stars (NONE OF WHICH HAS BEEN PROVED, if any lawyers may be reading). Not a clue what happened to the 2 blokes from Check 1-2 (I always thought one had a weird looking jaw) unless our OZ CORRESPONDENT @Marilyn can shed some light.
 
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I don’t know this one but it’s actually on Apple Music and it’s not terrible but really generic and sounds like 20 other songs :D
 
I enjoy any shit and my most played songs would traumatize some, but even I have a limit :D I remember back in the day a radio programme called Rock over London, I guess it was produced in UK and aired here because it was in English, something that you would never get in commercial radio here, specially in the #1 radio station, but this was in English for whatever reason, and they played a top 5 that wasn't exactly the real UK singles top 5, as only British artists or songs produced in UK were in it, or that's what I thought, it wasn't the real chart (I mean, Betty Boo was #1 at some point). Or whatever, little Alla had a limited English, but I remember Mona making the countdown and I found it too ridiculous. Not for me, sorry 🤷‍♂️
 
Craig McLachlan did a grown up indie pop song towards the end of his run - a possible desperation attempt to be credible - that I found during my pandemic expiration of flop chart hits, and i shockingly loved it. It’ll probably pop up on my 90s rundown shortly but I’ll see if I can dig out what it was called
 

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