The Bee Gees rounded off an astounding few years with a fourth number 1. It was to mark the start of another downward slide in their fortunes, however.
Before
Thanks to the disco boom and their part in the soundtrack to Saturday Night Fever, the Gibb brothers were everywhere in the late-70s. After Night Fever became their third UK number 1, the LP was mined further. Yvonne Elliman’s version of If I Can’t Have You was a US number 1. The Tavares’ version of More Than a Woman was a number seven hit in the UK. In March 1978 songs by The Bee Gees held the number 1 and two spots in the US with Night Fever and Staying Alive – a feat unrivalled since The Beatles. Five songs written by the Gibbs were in the top 10 at once over there that month, too.
Barry Gibb and brother Robin wrote Emotion, a number 11 UK hit for their Australian friend Samantha Sang and The Bee Gees performed backing vocals and Barry wrote the classic theme to the smash-hit cinema adaptation of Grease, sung by Frankie Valli – a US number 1. It wasn’t a good time to be alive if you weren’t a fan of the Gibbs.
However, not everything they touched turned to gold. They starred in their manager Robert Stigwood’s famous flop Sgt. Pepper’s Lonely Hearts Club Band, based on The Beatles’ concept album, in 1978. The critics hated it and the public ignored it. They featured heavily on the soundtrack too. But at least while working on the film, the Gibbs did co-write the excellent Shadow Dancing for their younger brother Andy, which also became a US number 1.
From there, they went to work on their follow-up to Saturday Night Fever. Spirits Having Flown, their 15th album, was co-produced by Albhy Galuten and Karl Richardson. Galuten has claimed that it was he, Richardson and Barry who did most of the work, though keyboardist Blue Weaver disputes this. They both agree that Robin took on more of a behind-the-scenes role, active in songwriting and offering feedback during the recording process. He performed only one solo lead vocal, on Living Together, amounting to the least work he had featured on a Bee Gees album since the 60s. It wasn’t a happy time for Maurice, who was an alcoholic and struggling with back pain. Although he recorded bass parts, he didn’t know they were later overdubbed.
In a bid to prove they weren’t just about filling disco dance floors, the first single from Spirits Having Flown was the ballad Too Much Heaven. It was another US number 1, and peaked at three in the UK. That single and the next, Tragedy, had been written by Barry, Robin and Maurice earlier the same day as Shadow Dancing.
Review
I’ve mixed feelings about Tragedy. I’ve never been much of a fan until relistening for the blog just now. I previously found it overblown and too melodramatic, with the Gibbs harmonies, which I normally enjoy, just too much. Now, I can see it’s a decent enough tune, just not up there with the likes of Staying Alive and Night Fever. I mainly like the bubbling synth sound on the verses. But it outstays its welcome somewhat and is a sign the Gibbs were starting to slide creatively. Though nobody can deny they’d had a bloody good run.
After
It would be eight years before The Bee Gees next held the top spot in the UK. Just as with psychedelia at the close of the 60s, the genre the Gibbs had aligned themselves with, disco, became unfashionable. The Bee Gees were much more successful at the point though, and had farther to fall. The backlash became so strong, they were forced into writing hits for others.
The Outro
Tragedy would return to the top of the charts in 1998 when it became half of a double A-side with Heartbeat for the dance-pop group Steps. It became their signature song and led to a stupid trademark dance as well. Shorn of the synths, it’s not as good as the original.
Simultaneously one of the hottest and coolest new wave bands, US six-piece Blondie were also one of the most successful, notching up five UK number 1s in under two years (and another in 1999). Heart of Glass melded new wave, rock, disco and pop with a slither of punk attitude, and it’s their best single.
Before
Blondie’s beginnings start back in New York in 1973. Guitarist Chris Stein joined rock band the Stilettoes. He began a romantic relationship with one of their vocalists – Debbie Harry. She had been a waitress, a Playboy Bunny and a member of folk-rock group the Wind in the Willows in the late-60s. Harry and Stein decided to leave the Stilettoes and start a new band in 1974. Together with former bandmates Billy O’Connor on drums and Fred Smith on bass, they became Angel and the Snake that August.
Two months later and with only two gigs under their belts, they changed their name to Blondie. As the whole world knows, Harry was one of the most beautiful women in the world, and would turn heads wherever she went. Among no doubt filthier shouts, lorry drivers would bark ‘Hey, blondie!’ at her as they drove by her walking down the street.
Fast forward to spring 1975 and Blondie’s line-up had changed several times – including experimenting with female backing singers. Drummer Clem Burke then joined them, along with Gary Valentine on bass. They became regular performers at hip joints CBGB and Max’s Kansas City, wowing crowds with power-pop and Harry’s stage presence. A few months later they recruited keyboardist Jimmy Destri to fill out their sound.
Signing with Private Stock Records, their eponymous debut LP was released in December 1976. It made little of an impression, and first single X Offender sank without trace, despite them supporting Iggy Pop on tour. However, the follow-up In the Flesh became a number two hit in Australia after being played by accident on TV (they were supposed to be showing X Offender).
Blondie decided to buy back their contract and switched to the British label Chrysalis Records. Blondie was re-released on Chrysalis in October 1977 and the critics began to take note. Nevertheless Valentine left the group and they recorded second album Plastic Letters as a four-piece, released in 1978.
The first single from the album Denis (a cover of a 1963 song by Randy and the Rainbows) finally saw their commercial stock rise – all the way to number two in the UK, where the music papers made a story out of Harry battling it out for the top spot with another strong female pop star, namely Kate Bush, who won out with WutheringHeights. Denis did reach the top spot in the Netherlands and Belgium though, and when the next 7-inch, (I’m AlwaysTouched by Your)Presence, Dear peaked at 10 in the UK, it seemed Blondie were here to stay. They were.
Hiring Frank Infante on guitar and British bassist Nigel Harrison, the six-strong Blondie toured the UK and became one of the first new wave acts to hit the mainstream. Here at last was a rock group in which the men stayed out of the spotlight. It shone fully on Harry, who had star power like few others at the time.
In a clear attempt to really leave their mark on the pop scene, Blondie worked with a big-name producer. Australian Mike Chapman had been half of ‘Chinnichap’ with Nicky Chinn. Together they wrote and produced glam rock number 1 classics by The Sweet, Mud and Suzi Quatro. The latter proved particularly appropriate, as Chapman had experience in helping female rock stars climb the charts with catchy commercial pop songs.
Blondie’s Chapman-produced third album Parallel Lines was released in September 1978. first single Picture This climbed to 12 and Hanging on the Telephone peaked at five. Their first number 1 was next.
Heart of Glass was one of Blondie’s earliest tracks. Originally known as Once I Had a Love, it was written by Harry and Stein and 1974 and demoed a year later. Although slower and funkier than the released version, It had a disco influence right from the start, having been influenced by one of the genre’s earliest hits – The Hues Corporation’s Rock the Boat (1974). Harry later recounted that the lyrics to Heart of Glass weren’t directed personally to a former love of hers, it was written as a ‘plaintive moan about lost love’. They tried it as a ballad and even reggae over the years, but it never quite worked.
Blondie remained in thrall to disco, to the consternation of some rock die-hards, over the years, occasionally adding dance floor hits to their setlists. Harry expressed her love of the work of producer Giorgio Moroder in the NME early in 1978, and the band surprised a CBGB crowd with a cover of Donna Summer’s I Feel Love later that year.
When it came to meeting Chapman to start work on Parallel Lines, the producer asked Blondie to show him what they could record. At the end he asked if there was anything else, and the band sheepishly decided to perform Heart of Glass. Despite their reticence, Chapman loved it and saw a potential hit. Blondie began to agree, but having also become fans of Kraftwerk, wanted to recreate the futuristic sounds of the German innovators as well as Moroder’s hits.
The six-piece assembled at the Record Plant in New York in June 1978 to record Heart of Glass. Unusually at the time, a rock band chose to build the song around a drum machine. The Roland CR-78 had only been released earlier that year, and it was Stein and Destri who introduced it to the studio, having bought one from a store in Manhattan. Destri in particular had a lot to do with the sound of Heart of Glass and brought in some synthesisers. Other technology used in the production included the Roland SH-5 and Minimoog.
Review
Heart of Glass is one of my favourite number 1s of the 70s and one I’ll never tire of. It never dates either. You could argue the 80s began right here and it certainly had an influence on music over the next few years. It’s icy, cool as fuck and one of the greatest disco tracks of all time – despite not actually being that easy to dance to. I love the lyrics, which suit Harry’s ‘not arsed mate’ attitude. Yes, she was once in love. She’s not any more, and you only have to listen to the first few lines to know she’s totally over it.
The lyrics to Heart of Glass are fascinating. What actually is a heart of glass? Does she have a heart of glass or does he? If it’s him, does she mean she’s cut herself because of him? Or does she mean she’s discovered her heart is fragile and he broke it into pieces? Hard to tell, because although she’s given the impression she’s moved on, the choruses suggest otherwise. In the second one Harry suggests he’s cheated on her, and she sings ‘I’m the one you’re using, please don’t push me aside’. ‘Mucho mistrust’ also suggests infidelity.
It’s worth noting that, as far as I can tell, Heart of Glass is the first chart-topper to contain a swear word of sorts. Blondie decided to try and get away with one instance of ‘Soon turned out, it was a pain in the ass’ in both the single and album mixes. It soon got replaced on the radio with another ‘heart of glass’, but good on them for trying! The song then ends on that catchy-as-hell, resigned ‘Ooh ooh ooh, ah-ah’, which comes across as another ‘ah, fuck it’.
With Heart of Glass, Blondie and Chapman really melded those influences of Moroder and Kraftwerk together to create something unique. Like I Feel Love, it feels like it could go on forever and that wouldn’t be a bad thing. I listened to 45 minutes of different versions of this in one go and I only began to tire towards the end. And like Kraftwerk, its machine-like, but scratch the surface and there’s human emotions underneath.
For the single, Chapman beefed up the sound and accentuated the double-tracked bass drum. For me, the best version is the 5:50 ‘Disco Version’ released as a 12-inch. Unlike a lot of 12-inch mixes of the time, it doesn’t sound like bits have been unnecessarily tacked on. It sounds like the natural version, just for letting the rhythm stretch out that bit longer.
The promo video to Heart of Glass was directed by Stanley Dorfman, a British director who did just that on the very first edition of Top of the Pops. The film begins with aerial shots of New York, slowly revolving like a mirrorball, before showing the streets of the city and landmarks including the Ed Sullivan Theatre and Studio 54. Although we’re meant to get the suggestion the latter is where this is filmed, it was actually made in a long-forgotten, short-lived club.
The rest of the video alternates between close-ups of Harry miming and mid-distance shots of the rest of the band ‘performing’. Harry looks particularly drop-dead gorgeous here, her hair slightly dishevelled, in a silver dress with one shoulder strap. Her bored, slightly pissed-off performance really suits the song and apparently came about through a genuine sulk. Harry wanted to dance but she was told to stay still. She wasn’t keen on Dorfman after that and didn’t appreciate all the close-ups. Nonetheless, it’s an iconic performance.
After
Heart of Glass was a deserved global smash and number 1 in most countries, including the US. Harry became a pin-up and hero to millions of teens and were a breath of fresh air. With this song toppling Hit Me with Your Rhythm Stick, 1979 was shaping up to be a hell of a year for pop.
The Info
Written by
Debbie Harry & Chris Stein
Producer
Mike Chapman
Weeks at number 1
4 (3 February-2 March)
Trivia
Births
13 February:Labour MP Rachel Reeves
2 March:ComedianJocelyn Jee Esien
Deaths
14 February:Conservative MP Reginald Maudling– 14 February
19 February:Comedian Wee Georgie Wood
Meanwhile…
9 February: Trevor Francis signed for Nottingham Forest. He was the first player to sign a deal worth £1 million.
12 February: The Winter of Discontent continued, with more than 1,000 schools closed due to the heating oil shortage caused by the lorry drivers’ strike.
14 February: Talks between unions and the government, known as the ‘Saint Valentine’s Day Concordat’ marked the end to the Winter of Discontent.
15 February: However, the damage was done. Opinion polls showed the Tories up to 20 points ahead of Labour.
22 February: Saint Lucia became independent of the UK.
1 March: Scotland voted for a Scottish Assembly in the devolution referendum. However this was less than 40% of the electorate, which meant it wasn’t followed through. Also on this day, Wales voted against devolution.
In 1979, anything seemed possible in pop. Need proof? How about outsider misfits Ian Dury and The Blockheads scoring a number 1 with the new wave classic Hit Me with Your Rhythm Stick?
Before
Frontman Ian Robins Dury was born 12 May 1942 in Harrow Weald, Middlesex. His father William was absent for long periods, so mother Peggy took him to live with her parents in Cornwall. After the Second World War the Durys moved to Switzerland, where William chauffeured for a millionaire. In 1946 the family went to live in Essex with her sister, but WIlliam remained.
At the age of seven Dury contracted polio, which he believed he caught in a swimming pool during the 1949 epidemic. In and out of hospital for two years, the illness resulted in the paralysis and withering of his left leg, shoulder and arm. He went to Chailey Heritage Craft School in East Sussex, which also served as a hospital. Children were taught to toughen up and learn a trade but his mother wanted Dury to be more academic so he switched to the Royal Grammar School in High Wycombe, then aged 16, the Walthamstow College of Art. In 1967 he served under pop artist Peter Blake, who that year co-designed the legendary album sleeve for Sgt. Pepper’s Lonely Hearts Club Band.
In 1970, while occasionally painting illustrations for The Sunday Times, Dury formed the pub rock band Kilburn and the High Roads. In 1974 they signed to Dawn Records and recorded two albums, for which he sang and wrote lyrics. Despite a support slot with The Who, they disbanded in 1975.
Meanwhile, in 1974 pop group The Loving Awareness Band formed, releasing only one album in 1976. In 1977 they split and its bassist Norman Watt-Roy and drummer Charlie Charles joined Dury and pianist/guitarist Chaz Jankel in their new band. An LP was recorded but they struggled to find a record label, perhaps in part due to Dury’s unique and unusual appearance.
Eventually however they found a home with the independent label Stiff Records. Their first release, credited to Dury alone, was Sex & Drugs & Rock & Roll, which was a critical success and became a slogan in itself. The album New Boots andPanties!! followed and although sales were modest at first, it’s now regarded as perhaps his finest work, including fan favourites like Billericay Dickie.
Watt-Roy and Charles’ former bandmates, guitarist John Turnbull and keyboardist Mick Gallagher, joined the line-up, as did former Kilburn and the High Roads saxophonist Davey Payne, who had played on New Boots and Panties!!. Inspired by the name of a song from the album, they became Ian Dury and The Blockheads when the next single Sweet Gene Vincent was released. Their next single, another fan favourite, was What a Waste, became their first hit when it peaked at nine in 1978. New wave was becoming increasingly popular, and this was the year of its first chart-topper, Rat Trap.
According to Jankel, who co-wrote the track, Hit Me with Your Rhythm Stick was written in Rolvenden, Kent during a jam session between him and Dury. The tune was apparently inspired by a piano part on Wake Up and Make Love with Me, the opener on New Boots and Panties!!. Dury once claimed the lyrics had been written three years previous and after his death a typed manuscript from 1976 showed the lyrics, nearly fully formed, along with ideas for the music (‘drums and fuzz bass doing Roy Buchanan volume trick’). His daughter Jemima said he was working on the track as early as 1974.
The track was recorded in the Workhouse Studio on Old Kent Road in London. Unusually, an uncredited Laurie Latham produced it by recording The Blockheads live, situated in different places around the studio, with Dury sat in the centre. There were allegedly 28 takes recorded, but it was the second that was selected. Despite this, Latham was unhappy with the finished result. He was unhappy that Watt-Roy’s bass wasn’t loud enough. It’s hard to disagree, as that bassline is amazing and certainly one of the highlights. He was also unhappy with the vocal and piano, and he has a point that the piano does drop out just before the final verse. To my ears though, this kind of adds to the song’s unique power. Jankel was far more happy with the recoding. After they finished, he rang his mother to tell her he’d just recorded his first number 1.
Review
I’d argue that Hit Me with Your Rhythm Stick is one of the coolest chart-toppers of all time, certainly up to this point. There’s so much to love about it – the aforementioned bassline (how is he playing that?), the ultra-catchy rollicking piano from Jankel, the way it turns from rock’n’roll and blues into cosmic funk, with Payne playing two saxophones at once, and of course Dury’s gravelly, occasionally unhinged performance of childlike lyrics that – and this has genuinely only just occurred to me – refer to sex. It is odd how his delivery seems more restrained after the funk section… or is it just because that stands out so much? Here’s a track I’ll never tire of hearing.
The video has left a lasting impression on me too. It was directed by Laurie Lewis, an old art school friend of Dury’s, who filmed the band performing the track on stage. It has an unreal, disturbing quality, and as a child I was at once frightened and entranced by Dury.
On 27 January, Turnbull, Watt-Roy and Charles were sat outside a cinema listening to a car radio when they heard the news they had toppled the Village People from the top spot. Dury was on a beach in Cannes when hotel staff gave him the news and brought him a bottle of champagne. To celebrate, the whole band bought Moss Bros suits for their Top of the Pops performance. Dury normally bought his whole wardrobe bar footwear and underwear second hand (hence his debut LP’s title). It started to look as though the record may sell a million, and Stiff announced that whoever the millionth buyer was, they would receive a mystery prize. Sales stalled however and it didn’t sell a million until downloads were counted towards sales. Nobody received a prize.
After
The group followed this up with the first LP credited to The Blockheads as well as Dury – Do It Yourself. They didn’t like to include singles on their albums, with neither their number 1 nor number three follow-up, Reasonsto BeCheerful, Part 3, featuring. The latter track is also excellent and among their best.
Jankel and Dury’s relationship had begun to sour, and the former left The Blockheads in 1980. Former Dr Feelgood guitarist Wilko Johnson replaced him for the recording of the album Laughter. The single I Want to Be Straight, also released that year, was their final charting single, at 22. The next, Sueperman’s Big Sister, was their last. Dury was drinking heavily, and it was taking its toll.
In 1981 Dury teamed up with Jankel and reggae duo Sly and robbie to record his second solo album Lord Upminster. It was poorly received, though it did include the controversial Spasticus Autisticus, which went from being banned by the BBC to being performed at the 2012 Paralympic Opening Ceremony. It’s a shame Dury wasn’t around to see it. Around this time, Andrew Lloyd Webber asked him to write the libretto for Cats. He refused, later saying, ‘I hate Andrew Lloyd Webber. He’s a wanker isn’t he?’.
Dury signed a solo deal with Polydor and The Blockheads disbanded. He instead recorded with the jazz-influenced Music Students, and his commercial and critical appeal floundered upon the release of their 1984 album 4,000 Weeks’ Holiday. They did however record the memorable Profoundly In Love with Pandora, the theme to ITV’s 1985 adaptation of The Secret Diary of Adrian Mole, Aged 13 3/4. Also that year, fellow number 1 artist Paul Hardcastle remixed Hit Me with Your Rhythm Stick, re-recording all the instrumental parts with keyboards.
Dury had tons of natural charisma, making it inevitable that he would make the move into acting. In 1986 he had a cameo in Roman Polanski’s Pirates and his most notable role was in The Cook, the Thief, His Wife & Her Lover in 1989. He also, despite his hatred of Lloyd Webber, wrote a musical, called Apples with an accompanying album released that same year.
Ian Dury and The Blockheads briefly reformed for a tour of Japan in 1987. Three years later they got together again to play two benefit concerts for the family of Charles, who had died of cancer. Steven Monti replaced him on drums. That December, with Merlin Rhys-Jones augmenting them on guitar and Will Parnell on percussion, they recorded a live album, Warts & Audience. They toured Spain, minus Jankel, the following month.
In 1992 Dury released his seventh solo LP, The Bus Driver’s Prayer & Other Stories. It featured all The Blockheads minus Watt-Roy. Jankel returned from California in 1994 when Ian Dury and The Blockheads were invited to reform for Madness’s festival Madstock at Finsbury Park – the perfect warm-up act for the Nutty Boys. Sporadic gigs followed.
The Outro
In 1996 Dury was diagnosed with cancer. After recovering from an operation, he reunited with The Blockheads to record their first album since Laughter in 1980. Mr Love Pants, released in 1997, was considered a return to form. It was to be their final album. Monti was replaced soon after by Dylan Howe and Payne left soon after, with Gilad Atzmon becoming their new saxophonist.
Sadly this line-up was cut short when Dury died of cancer on 27 March 2000, aged 57. A true original, Dury was a giant of new wave but refused to be pigeonholed and is sadly missed. But thankfully, you can hear his influence in the music of his son Baxter Dury, and The Blockheads continue to perform. These days, Jankel, Watt-Roy, Gallagher, Turnbull and Atzmon perform with John Roberts on drums. Dave Lewis also appears on sax, and Dury’s friend and minder Derek the Draw writes and sings alongside Jankel.
1 February: Liverpool grave-diggers call off a strike which has delayed dozens of burials.
2 February: Simon John Ritchie, aka Sid Vicious of the Sex Pistols, is found dead in New York’s Chelsea Hotel, having suffocated on his own vomit after a heroin overdose. Vicious was on bail for the second degree murder of his girlfriend Nancy Spungen, who had been found stabbed to death on 12 October 1978.
An unmistakeable blast of brass from an enduring classic heralds the start of one of the best years for number 1s the UK has ever seen.
Before
Village People sprang from an idea formed in the heads of French producers Jacques Morali and Henri Belolo. As Can’t Stop Productions, they had enjoyed a few hits in Europe in the mid-70s. Getting a taste for success they decided to set their sights on the US.
Moving to New York City in 1977, the duo were working on music when Morali was handed a demo tape by an actor and singer called Victor Willis, who had starred in the original Broadway production of The Wiz. Apparently Morali said to Willis ‘I had a dream that you sang lead vocals on my album and it went very, very big’. Willis agreed to be lead on the 1977 album Village People, which featured songs by Phil Hurtt and Peter Whitehead to backing by the studio band Gypsy Lane.
The name ‘Village People’ was used to pay tribute to Greenwich Village, an area of Manhattan famous for its large gay population. Morali was gay and had attended a costume ball there. He greatly admired the outlandish outfits used to portray American male stereotypes. Perhaps he and Morali could do similar with Willis and their new group?
Morali’s first recruit was Felipe Rose. He claimed indigenous American descent so he was chosen to dress as a Native American. Willis picked Alex Briley, who eventually settled on a GI uniform. Others chosen were Mark Mussler (construction worker), Dave Forrest (cowboy) and Lee Mouton (biker). Joined by Whitehead, they were used to promote the first Village People hit San Franciso (You Got Me).
Morali and Belolo decided they needed a more permanent line-up to promote the next album Macho Man, released in 1978. They took out ads in New York theatre trade magazines which read ‘Macho Types Wanted: Must Dance and Have a Moustache’. Randy Jones replaced Forrest, Glenn Hughes was the new leather biker and David Hodo replaced Mussler. The classic line-up was formed, and they enjoyed their first hit with the title track of their second album.
What does YMCA stand for? While working on the third LP Cruisin’, Morali apparently asked Willis. The Young Men’s Christian Association had been founded in 1844 with the aim of putting Christian principles into place by promoting a healthy body, mind and spirit. In the US of the 1970s, typical YMCA residents were often homeless or people with other life issues. In the gay community, the YMCA was a popular cruising spot.
Willis could see Morali thought it would be a great idea for a Village People track. However, Willis has also since claimed he wrote the song and it was totally innocent and not intended as a gay anthem, but rather a promotion of a place black young men could enjoy sport.
Review
It’s interesting to note that Boney M, a manufactured disco group, were toppled in 1979 by another manufactured disco group. However, where Boney M were soulless and tacky, Village People’s number 1 has some fire in its belly. Willis really belts it out, turning the YMCA into a religious experience. The backing music is lively – there’s the brass, of course, but it’s the disco bass I like most.
How do you review a song like Y.M.C.A. though? It’s one of those cheesy anthems that’s played to death, almost too famous to clinically dissect. It’s also now lost of its original meaning, played at every party, wedding, any event where an instant floorfiller is needed. And you just know the floor will be full of people who can’t dance, doing the embarrassing spelling out of the chorus.
Apparently the dance originated on an episode of Dick Clark’s American Bandstand on the day it reached number 1 in the UK. After they performed the song, Clark showed the group the audience spelling the initials out and they decided to use it. Jones commented years later that it may have sprung from a misunderstanding – the Village People used to raise their hands above their heads and clap to the chorus but the crowd may have thought they were spelling ‘Y’.
The memorable video was filmed in July 1978. Featuring the group miming and dancing around New York City, it’s a pretty fascinating look at the city during pretty gritty times.
After
Y.M.C.A. went to the top pretty much everywhere, though stalled at two in the US. They followed it up with In the Navy, which is pretty much the same song but simply swaps one institution for another. It’s good though, and Willis is in fine form again. It reached number 1 across Europe but peaked at two here. Then came Go West, later a number two smash for Pet Shop Boys but only a number 15 hit for the Village People in 1979.
It was the last single to feature Willis, who left during the pre-production of the group’s doomed loose biopic Can’t Stop the Music, co-written and co-produced by Allan Carr, one of the men behind the smash-hit Grease. Willis was replaced by Ray Simpson, brother of Valerie Simpson of Ashford & Simpson fame.
In 1980 the title track of the movie climbed to 15 in the UK, but it was their last hit. Disco was on the wane and the Village People were starting to look like a fad. The movie was a critical and commercial flop. By the end of the year Forrest had left, replaced by Jeff Olson. The following year Morali and Belolo had taken notes that new wave was more popular and they made the Village People ditch their outfits and make them look more like a Spandau Ballet support act. Nobody was interested in a new-look Village People and their album Renaissance.
Willis rejoined briefly to work on the next album Fox on the Box, released in 1982. The outfits returned but Hodo and Simpson left and were replaced by Mark Lee and Miles Jaye. Their last proper album for 33 years was SexOver thePhone, released in 1985.
There was a resurgence of interest in the Village People as the 90s began, but Morali died of AIDS-related complications in 1991. Three years later they recorded Far Away in America with the German national football team for their World Cup campaign. Hughes left in 1995 and was replaced by Eric Anzalone. The biker from the classic line-up died of lung cancer in 2001.
Willis was arrested in 2007 on drugs and weapons-related charges but his life picked up when he married that same year. He also began to perform live for the first time in 28 years and 2012 he won a landmark case, recapturing writing credits and a 33% share in the Village People’s Y.M.C.A, In the Navy, Go West and Magic Night. Eventually he also managed to get Belolo’s name removed from the credits. Then in 2017 he won the license for the name of the group and the characters, returning as their lead singer and with a brand new line-up behind him. The following year the festive album A Village People Christmas was released. A year later, Belolo died.
The Outro
The Village People remain much-loved, a beacon of light during the Winter of Discontent and a happy reminder of disco and, despite their comical appearance, were actually good for the gay movement. Y.M.C.A. is their biggest legacy and has been used time and again and spoofed just as much, in the media. Weirdly, its history took a dark turn when, for reasons unknown, US president and all-round evil Nazi bastard Donald Trump began using it at rallies when trying to be re-elected in 2020. Initially Willis was fine with this but then relented and demanded he stop. Whether it was his own decision or he felt the understandable pressure from the Black Lives Matter movement, we don’t know, but he was happy enough for Trump to use it at first, unfortunately.
Luckily for the whole world, this story has a happy ending as Y.M.C.A. is now remembered as the soundtrack to Trump finally fucking off as he left the White House in January 2021.
The Info
Written by
Jacques Morali, Henri Belolo & Victor Willis
Producer
Jacques Morali
Weeks at number 1
3 (6-26 January)
The Info
Births
20 January:Singer Will Young 21 January: Journalist Johann Hair
Deaths
16 January:Actor Peter Butterworth 23 January: Liberal MP Frank Owen
Meanwhile…
Prime Minister Jim Callaghan made the Winter of Discontent 10 times worse when he returned from an international summit to the industrial unrest. The Sun newspaper reported him as saying: ‘Crisis? What Crisis?’. He didn’t actually say it but many think this the beginning of the end for Labour.
15 January: Rail workers began a 24-hour strike.
22 January: Tens of thousands of public-workers, including hospital workers, rubbish collectors, school caretakers, gravediggers and airport staff, began the biggest mass strike since 1926.
