Sardonicus reviews a bunch of old 45s
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Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
ABBA & Elkie are worth a listen, but avoid the last one like the PLAGUE
Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
The Flying Pickets - Only You b/w Disco Down (1983)
UK chart peak - Number 1
I was a mere BABE IN ARMS of 8 months old when this song topped the UK charts for 5 weeks at Christmas 1983 & therefore, I feel I may be missing some VALUABLE CONTEXT as to how this song became so HUGE. It's surely one of the most unlikely chart toppers of the decade.
"Only You" had narrowly missed the top slot for the Vince Clarke & Alison Moyet duo Yazoo the year before, who shone briefly but brightly before going their separate ways. So it's not as though this was a revival of long forgotten old classic or anything. And The Flying Pickets themselves must be amongst the most IMPROBABLE looking hitmakers ever - it genuinely looks like a group of your Dad's mates from down the pub formed a misguided MEN OF A CERTAIN AGE boy band
I am not sure if the miners striking was going on at this time & the name & group may have been some reference to that?
The song itself probably stood out on radio at the time due to its unique, echoey, acapella sound - but although it'd be hard to ruin a lovely song like "Only You", I've always thought this stylistic choice, along with the tone of his voice, makes the song sound unremittingly BLEAK & MOURNFUL. Again, I'm just not getting why this song appealed to SO MANY around the festive period. It's always made me feel a tad DEPRESSED.
The B side, "Disco Down", sadly bears no relation to the later hits by Kylie Minogue & Shed Seven, but is another acapella - an original this time, that proves (as if there'd been any doubt) that the Flying Pickets were no more than ONE TRICK PONIES.
They did manage a top 10 follow up with a cover of the old Motown standard "When You're Young & In Love" before a cover of "Who's That Girl" by Eurythmics could only reach number 71 as the novelty wore off. I'm going to share the video for that in the next post as the CAMP AS TITS rendition by these blokes has to be seen to be believed
Astonishingly, the group are still active to this day, although with squillions of line up changes since their brief heyday - I've no idea who is interested in seeing the Flying Pickets in 2025, & if anyone can give some insight into this short-lived & BEWILDERING brief phenomenon, I'd be interested to know the background.
UK chart peak - Number 1
I was a mere BABE IN ARMS of 8 months old when this song topped the UK charts for 5 weeks at Christmas 1983 & therefore, I feel I may be missing some VALUABLE CONTEXT as to how this song became so HUGE. It's surely one of the most unlikely chart toppers of the decade.
"Only You" had narrowly missed the top slot for the Vince Clarke & Alison Moyet duo Yazoo the year before, who shone briefly but brightly before going their separate ways. So it's not as though this was a revival of long forgotten old classic or anything. And The Flying Pickets themselves must be amongst the most IMPROBABLE looking hitmakers ever - it genuinely looks like a group of your Dad's mates from down the pub formed a misguided MEN OF A CERTAIN AGE boy band
I am not sure if the miners striking was going on at this time & the name & group may have been some reference to that?The song itself probably stood out on radio at the time due to its unique, echoey, acapella sound - but although it'd be hard to ruin a lovely song like "Only You", I've always thought this stylistic choice, along with the tone of his voice, makes the song sound unremittingly BLEAK & MOURNFUL. Again, I'm just not getting why this song appealed to SO MANY around the festive period. It's always made me feel a tad DEPRESSED.
The B side, "Disco Down", sadly bears no relation to the later hits by Kylie Minogue & Shed Seven, but is another acapella - an original this time, that proves (as if there'd been any doubt) that the Flying Pickets were no more than ONE TRICK PONIES.
They did manage a top 10 follow up with a cover of the old Motown standard "When You're Young & In Love" before a cover of "Who's That Girl" by Eurythmics could only reach number 71 as the novelty wore off. I'm going to share the video for that in the next post as the CAMP AS TITS rendition by these blokes has to be seen to be believed
Astonishingly, the group are still active to this day, although with squillions of line up changes since their brief heyday - I've no idea who is interested in seeing the Flying Pickets in 2025, & if anyone can give some insight into this short-lived & BEWILDERING brief phenomenon, I'd be interested to know the background.
Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
octophone
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The commitment to the bit in doing a full review of this is commendable. But that song is an absolute pile of shite. I associate it with convicted sex pest Dave Lee Travis because my memory tells me he used to play it all the time. FITTING.
octophone
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The Flying Pickets were actually formed out of a left wing theatre group which ages them straight away. Only You was one of those songs that people loved but I recall older people moaning about the electronic sound - so an accappella rendition, despite the obvious novelty - satisfied a certain type of DJ and it hit.
Fair fucks to them because they had a sense of humour and did a Christmas Top Of The Pops dressed as snowmen, actual armless rooted to the spot snowmen.
Fair fucks to them because they had a sense of humour and did a Christmas Top Of The Pops dressed as snowmen, actual armless rooted to the spot snowmen.
Sheena
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Even worse, I thought first of all that was going to be a cover of Madonna! CAN YOU IMAGINE?
AGinAg (38)
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I believe they're still going, with a reformed line-up no doubt.
Did Alison and Vince ever comment on it?
Did Alison and Vince ever comment on it?
Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
I DEEPLY QUESTIONED what I was doing when this one showed up
But if I can survive that one, I can survive anything. Truly EXECRABLE.AGOG at who thought this should have been single number 3. Flying Pickets to do "Like A Virgin" or "Material Girl" PLEASEEven worse, I thought first of all that was going to be a cover of Madonna! CAN YOU IMAGINE?
octophone
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There's two dead, including the lead singer. The bald one was gadding about doing theatre stuff until fairly recently, allegedly wearing very tight leggings with no pants. "Visible outline" as the phrase, relayed with suitable horror.*
(*by Kunt out of Kunt and the Gang so YMMV...)
Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
Thompson Twins - Hold Me Now b/w Let Loving Start (1983)
UK chart peak - Number 4
There have some artists featured on the list so far that I knew would be easy Moopy favourites (Kylie, Belinda Carlisle, Elkie Brooks) & others that I knew would be a definite NO THANKS (Chris Rea, Jive Bunny, Adrian twatting Gurvitz). I'm not entirely sure where to place the Thompson Twins on this SPECTRUM. It's possible that there might be some fondness for this TYPICALLY 80s synth trio, or it's equally likely they might be seen as DATED RELICS best left in the past.
The sleeve also shows them to be an awkward, ornery looking bunch. Disastrous 80s hair & a moody stare at the camera from the lead singer (who might potentially be FIT if it wasn't for the Flock of Seagulls aping haircut). "Hold Me Now" was one of the biggest (& I'd venture best remembered) hits for the Thompson Twins during a very successful 1982 to 1984 period when they continually landed top 10 hits in the UK. I was also AGOG to discover that this song was HUGE in the USA, peaking at Number 3 there.
Personally, I've always thought that the music in "Hold Me Now" sounds like it's been SQUASHED. Even his singing voice sounds like it's been SAT ON. It's also quite slow moving & fairly lengthy, so I'm a little surprised it took off in the way it did. Although I quite like "Love On Your Side" & a couple of others, "Hold Me Now" is a prime example of why I've never really gotten on board with their music - I find his vocals to be grating & unpleasant to listen to. I was always convinced that the Bee Gees showed up at the end to do the backing vocals, but apparently it's all other member Joe Leeway. Good impression of the Gibb brothers, Joe.
Joe buggered off in the mid 80s, not long after the Twins peaked fame wise when Marge danced with them on stage at Live Aid. Astonishingly, for a band so associated with the 80s, they were still charting minor UK hits into 1992. They then changed names to Babble (possibly to try distance their sound from the Twins 80s connotations) & attempted a more dance oriented direction up to the late 90s when they split for good, & although I believe they've all remained musically active, I don't think there's ever been a full on reformation of the band since.
The B side is basically a weird dubby version of "Hold Me Now" that I'm assuming they threw together as there was nothing else to go on the B side. It's as awkward & oddball as the Thompson Twins themselves have always seemed to me.
UK chart peak - Number 4
There have some artists featured on the list so far that I knew would be easy Moopy favourites (Kylie, Belinda Carlisle, Elkie Brooks) & others that I knew would be a definite NO THANKS (Chris Rea, Jive Bunny, Adrian twatting Gurvitz). I'm not entirely sure where to place the Thompson Twins on this SPECTRUM. It's possible that there might be some fondness for this TYPICALLY 80s synth trio, or it's equally likely they might be seen as DATED RELICS best left in the past.
The sleeve also shows them to be an awkward, ornery looking bunch. Disastrous 80s hair & a moody stare at the camera from the lead singer (who might potentially be FIT if it wasn't for the Flock of Seagulls aping haircut). "Hold Me Now" was one of the biggest (& I'd venture best remembered) hits for the Thompson Twins during a very successful 1982 to 1984 period when they continually landed top 10 hits in the UK. I was also AGOG to discover that this song was HUGE in the USA, peaking at Number 3 there.
Personally, I've always thought that the music in "Hold Me Now" sounds like it's been SQUASHED. Even his singing voice sounds like it's been SAT ON. It's also quite slow moving & fairly lengthy, so I'm a little surprised it took off in the way it did. Although I quite like "Love On Your Side" & a couple of others, "Hold Me Now" is a prime example of why I've never really gotten on board with their music - I find his vocals to be grating & unpleasant to listen to. I was always convinced that the Bee Gees showed up at the end to do the backing vocals, but apparently it's all other member Joe Leeway. Good impression of the Gibb brothers, Joe.
Joe buggered off in the mid 80s, not long after the Twins peaked fame wise when Marge danced with them on stage at Live Aid. Astonishingly, for a band so associated with the 80s, they were still charting minor UK hits into 1992. They then changed names to Babble (possibly to try distance their sound from the Twins 80s connotations) & attempted a more dance oriented direction up to the late 90s when they split for good, & although I believe they've all remained musically active, I don't think there's ever been a full on reformation of the band since.
The B side is basically a weird dubby version of "Hold Me Now" that I'm assuming they threw together as there was nothing else to go on the B side. It's as awkward & oddball as the Thompson Twins themselves have always seemed to me.
octophone
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The Thompson Twins are due a reassessment. As much as they were capable of tat like "We Are Detective" and "Don't Mess With Doctor Dream", they also gave us "In The Name Of Love", "You Take Me Up", "Love On Your Side", "Lay Your Hands On Me" and "Kamikaze"...and this sleek but unusual piece of pop magic. It's a great song that has no fear of taking a measured pace and leaving space between its events. Bailey's hangdog delivery suits the song, I think and the marimba is mercifully sparse because good grief it gets on your tits over a whole album.
Sheena
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I loved the Thompson Twins. Probably my first obsession, along with Cyndi and Madonna. Technically, You Take Me Up was my first ever single as my brother bought it for me for Easter, but really I wanted Holiday and that was the first I bought with the money my parents gave me as I didn’t want an Easter egg.
I got Into The Gap for Christmas that year and I still think it’s a great album on the rare occasion I manage to dig it out for a spin, with Hold Me Now the highlight. It’s beautiful.
I got Into The Gap for Christmas that year and I still think it’s a great album on the rare occasion I manage to dig it out for a spin, with Hold Me Now the highlight. It’s beautiful.
Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
Kenny Rogers & Dolly Parton - Islands In The Stream b/w Midsummer Nights (1983)
UK chart peak - Number 7
2 ICONS of country music team up for a duet that unsurprisingly conquered the charts the world over. In America, it topped the Hot 100 as well as the Country & Adult Contemporary charts. I'm a little surprised it only reached number 7 in the UK - rather like the Billy Joel song featured earlier, it definitely feels like it was a bigger hit. It's become a bit of a standard & still gets played on the oldies stations a fair bit. Unfortunately, I worked with a bloke several years ago who looked like Kenny Rogers who turned out to be a complete nob, so every time I see the sleeve now I think of him
"Islands In The Stream" was written by The Bee Gees & unlike the Thompson Twins single, they actually are on backing vocals here. They were on a commercial downturn with their own stuff at this time, but busily writing hits for tons of other artists from this to Dionne Warwick to Diana Ross. I'm going to go out on a LIMB & assume Dolly is well loved here on Moopy, although I'm not sure on Kenny.
Regardless, even if this hit is giving none more MOR, I still really like it. I like the lyrics, their voices blend together well, the chorus is a singalong classic. Whenever I saw clips of them performing it together they always seemed to be enjoying themselves & shared a genuine friendship. I think this comes across on the record & Dolly seemed very upset when Kenny passed a couple of years ago.
B side "Midsummer Nights" is a Kenny solo number that's typically country, summery & upbeat. Still as MOR AS THEY COME, although my possible enjoyment of it was rather spoiled by this old copy being VERY scratchy & jumpy even after a clean.
One further surprising fact I discovered is that despite Dolly being way more famous & iconic in the UK, her chart success here has been far more sporadic than Kenny's. She's never had a top 5 single in the UK, & signature song "9 to 5", despite everyone knowing it & it being a radio staple to THIS VERY DAY, shockingly peaked only at a lowly number 47 here. Kenny, meanwhile, was consistently posting big UK hits for many years starting in the late 60s & topped the UK charts twice with "Coward Of The County" & "Lucille" (which I'm assuming isn't about the MUCH LOVED Moopy poster).
Kenny's commercial fortunes in the UK fell off a cliff after this single though, & I think his trajectory traces the decline of country music in the UK from huge popularity at one point to almost non existent. Very similar to the decline of reggae hits as @octophone mentioned before, aside from Shania Twain's pop country crossovers in the late 90s.
UK chart peak - Number 7
2 ICONS of country music team up for a duet that unsurprisingly conquered the charts the world over. In America, it topped the Hot 100 as well as the Country & Adult Contemporary charts. I'm a little surprised it only reached number 7 in the UK - rather like the Billy Joel song featured earlier, it definitely feels like it was a bigger hit. It's become a bit of a standard & still gets played on the oldies stations a fair bit. Unfortunately, I worked with a bloke several years ago who looked like Kenny Rogers who turned out to be a complete nob, so every time I see the sleeve now I think of him
"Islands In The Stream" was written by The Bee Gees & unlike the Thompson Twins single, they actually are on backing vocals here. They were on a commercial downturn with their own stuff at this time, but busily writing hits for tons of other artists from this to Dionne Warwick to Diana Ross. I'm going to go out on a LIMB & assume Dolly is well loved here on Moopy, although I'm not sure on Kenny.
Regardless, even if this hit is giving none more MOR, I still really like it. I like the lyrics, their voices blend together well, the chorus is a singalong classic. Whenever I saw clips of them performing it together they always seemed to be enjoying themselves & shared a genuine friendship. I think this comes across on the record & Dolly seemed very upset when Kenny passed a couple of years ago.
B side "Midsummer Nights" is a Kenny solo number that's typically country, summery & upbeat. Still as MOR AS THEY COME, although my possible enjoyment of it was rather spoiled by this old copy being VERY scratchy & jumpy even after a clean.
One further surprising fact I discovered is that despite Dolly being way more famous & iconic in the UK, her chart success here has been far more sporadic than Kenny's. She's never had a top 5 single in the UK, & signature song "9 to 5", despite everyone knowing it & it being a radio staple to THIS VERY DAY, shockingly peaked only at a lowly number 47 here. Kenny, meanwhile, was consistently posting big UK hits for many years starting in the late 60s & topped the UK charts twice with "Coward Of The County" & "Lucille" (which I'm assuming isn't about the MUCH LOVED Moopy poster).
Kenny's commercial fortunes in the UK fell off a cliff after this single though, & I think his trajectory traces the decline of country music in the UK from huge popularity at one point to almost non existent. Very similar to the decline of reggae hits as @octophone mentioned before, aside from Shania Twain's pop country crossovers in the late 90s.
Now THIS is a duet. I think I went through 3 copies of this as a kid because I played it so much. I was also in love with Kenny
Apparently he was only 45 then. I swear I always thought he was way olderKenny Rogers is younger than me on that sleeve cover
Sheena
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I think the #7 peak but much better known song reflects the Dolly (re)surgence that happened in the 90s and onwards here. I Will Always Love You gave her a big boost and she became beloved during the internet age- and more thanks to accessibility to her as a much loved personality. Wasn’t she a one hit wonder (Jolene) in the UK before Islands? Even 9 to 5 missed the top 40 and that’s just as known, if not more than Islands is now.
jyxz
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Where are you on the Wilbury scale?Kenny Rogers is younger than me on that sleeve cover
I’m only younger than Roy Orbison was
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Alla
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Islands in the stream is before my time, but i somehow have that 7", probably from a bargain bin years later 
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THIS IS DISGUSTING
Oh God
Same
Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
Paul Young - Love Of The Common People b/w Behind Your Smile (Live At Liverpool Royal Court) (1983)
UK chart peak - Number 2
WISER, MORE CYNICAL listening ears can really change up the meaning of a song for you. I heard this song repeatedly for as long as I can ever remember, & as a child thought the singalong chorus indicated a COSY TUNE about FAMILIAL LOVE.
Now I'm giving the verses a proper listen, what it actually is, is a GLUM & DEPRESSING tale of people living in relentless poverty, with constant worries about how to pay the bills & get the next meal. Its rather jolly synthy 1983 STYLE & slightly SARKY sounding backing vocals are juxtaposed against this BLEAK IMAGERY. "Love Of The Common People" had been covered by various artists from the 60s onwards - including, surprisingly, by The Everly Brothers. Paul Young is similar to Jimmy Somerville & Elkie Brooks with a majority of his hits being covers, although he often made wiser choices of picking obscure or forgotten old songs & making them his own - I'd always thought this one was a self-penned original.
I think it's also been carefully chosen as a bit of BITING CRITICISM against the Thatcher regime, with the fallout of those policies RIFE when this song narrowly missed the number 1 position. Good on Paul for wrapping up a political message in a catchy tune. Hope Mags heard it & was PISSED OFF & wanted to PRIVATISE MUSIC. This was also a minor American hit, reaching number 45, although in the aspirational Reagan years, I don't think its message would have RESONATED the same with US audiences. It's also a couple of years before Paul topped the Hot 100 with "Every Time You Go Away".
B side "Behind Your Smile" was recorded at Liverpool Royal Court (still going as a live music & theatre venue!) & is a rare original, very upbeat &
with a clearly very ENTHUSIASTIC audience. The screams suggest Paul Young may have been a bit of a heartthrob AT THE TIME, although I don't SEE IT myself.
I was astonished to see on an old TOTP the other week that he was still charting new hits into 1997. Paul is still doing the live circuit with THE HITS & makes semi-regular appearances on British TV. For an act so heavily associated with the mid 80s, he managed a career of more hits & greater longevity than I'd bet most of us remember.
UK chart peak - Number 2
WISER, MORE CYNICAL listening ears can really change up the meaning of a song for you. I heard this song repeatedly for as long as I can ever remember, & as a child thought the singalong chorus indicated a COSY TUNE about FAMILIAL LOVE.
Now I'm giving the verses a proper listen, what it actually is, is a GLUM & DEPRESSING tale of people living in relentless poverty, with constant worries about how to pay the bills & get the next meal. Its rather jolly synthy 1983 STYLE & slightly SARKY sounding backing vocals are juxtaposed against this BLEAK IMAGERY. "Love Of The Common People" had been covered by various artists from the 60s onwards - including, surprisingly, by The Everly Brothers. Paul Young is similar to Jimmy Somerville & Elkie Brooks with a majority of his hits being covers, although he often made wiser choices of picking obscure or forgotten old songs & making them his own - I'd always thought this one was a self-penned original.
I think it's also been carefully chosen as a bit of BITING CRITICISM against the Thatcher regime, with the fallout of those policies RIFE when this song narrowly missed the number 1 position. Good on Paul for wrapping up a political message in a catchy tune. Hope Mags heard it & was PISSED OFF & wanted to PRIVATISE MUSIC. This was also a minor American hit, reaching number 45, although in the aspirational Reagan years, I don't think its message would have RESONATED the same with US audiences. It's also a couple of years before Paul topped the Hot 100 with "Every Time You Go Away".
B side "Behind Your Smile" was recorded at Liverpool Royal Court (still going as a live music & theatre venue!) & is a rare original, very upbeat &
with a clearly very ENTHUSIASTIC audience. The screams suggest Paul Young may have been a bit of a heartthrob AT THE TIME, although I don't SEE IT myself.I was astonished to see on an old TOTP the other week that he was still charting new hits into 1997. Paul is still doing the live circuit with THE HITS & makes semi-regular appearances on British TV. For an act so heavily associated with the mid 80s, he managed a career of more hits & greater longevity than I'd bet most of us remember.
octophone
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Christ, I'll be Orbison's age in a few months!
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Paul Young - Love Of The Common People b/w Behind Your Smile (Live At Liverpool Royal Court) (1983)
UK chart peak - Number 2
View attachment 33902
WISER, MORE CYNICAL listening ears can really change up the meaning of a song for you. I heard this song repeatedly for as long as I can ever remember, & as a child thought the singalong chorus indicated a COSY TUNE about FAMILIAL LOVE.
Now I'm giving the verses a proper listen, what it actually is, is a GLUM & DEPRESSING tale of people living in relentless poverty, with constant worries about how to pay the bills & get the next meal. Its rather jolly synthy 1983 STYLE & slightly SARKY sounding backing vocals are juxtaposed against this BLEAK IMAGERY. "Love Of The Common People" had been covered by various artists from the 60s onwards - including, surprisingly, by The Everly Brothers. Paul Young is similar to Jimmy Somerville & Elkie Brooks with a majority of his hits being covers, although he often made wiser choices of picking obscure or forgotten old songs & making them his own - I'd always thought this one was a self-penned original.
I think it's also been carefully chosen as a bit of BITING CRITICISM against the Thatcher regime, with the fallout of those policies RIFE when this song narrowly missed the number 1 position. Good on Paul for wrapping up a political message in a catchy tune. Hope Mags heard it & was PISSED OFF & wanted to PRIVATISE MUSIC. This was also a minor American hit, reaching number 45, although in the aspirational Reagan years, I don't think its message would have RESONATED the same with US audiences. It's also a couple of years before Paul topped the Hot 100 with "Every Time You Go Away".
B side "Behind Your Smile" was recorded at Liverpool Royal Court (still going as a live music & theatre venue!) & is a rare original, very upbeat &
I was astonished to see on an old TOTP the other week that he was still charting new hits into 1997. Paul is still doing the live circuit with THE HITS & makes semi-regular appearances on British TV. For an act so heavily associated with the mid 80s, he managed a career of more hits & greater longevity than I'd bet most of us remember.
Love this and the Everly Brothers version
Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
In keeping with this thread, there's a record fair on in Liverpool all day Sunday at St Luke's. Mr S & I are going to head for a quick PERUSAL & see if I can find any more old vinyl TAT.
Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
If you do, come & say HELLO
jyxz
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Mine too! I must have heard that No Parlez album a million times through osmosis.
jyxz
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Sardonicus
WHADDA YOU MEAN IT'S NOT IN THE COMPUTER
By all means COME & JOIN US!
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Alla
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@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...