Ashes to Ashes

489. Queen & David Bowie – Under Pressure (1981)

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The Intro

Under Pressure, that behemoth of a pop track by rock giants Queen & David Bowie, sees both acts trying to outdo each other. Somehow, rather than come out as a sloppy egotistical mess, it became one of the greatest number 1s of the 80s, no matter how many times you might hear it.

Before

Six years previously, Queen had scored the 1975 Christmas number 1 with their most famous single, Bohemian Rhapsody. A lengthy nine weeks there earned them huge fame and meant their next two singles were hits too – in 1976, the lovely You’re My Best Friend went to seven and epic singalong Somebody to Love peaked at two. 1977 brought mixed fortunes, with Tie Your Mother Down only reaching 31. Queen’s First EP was a cash grab that went to 17. But We Are the Champions restored their fortunes, hurtling to two. The rest of the 70s featured some of their most famous songs performing well – most notably the double A-side Bicycle Race/Fat Bottomed Girls (1978) at 11, Don’t Stop Me Now (1979) at nine and Crazy Little Thing Called Love (1979) at two.

The last track I mentioned was the first release from The Game, which was their first LP of the 80s. It was also the first to see Queen introduce synthesisers into the mix for the first time. Other singles from this album included the number seven smash Another One Bites the Dust. They also released their soundtrack album for the camp film Flash Gordon (1980).

The last time we saw David Bowie around these parts wasn’t that long ago at all. Ashes to Ashes, the first track to be released from Scary Monsters (and Super Creeps), had been number 1 in 1980. The excellent Fashion followed and peaked at five, before commercial success trailed off with subsequent singles – the title track (number 20) and Up the Hill Backwards (32).

In July 1981, Queen were recording what was to become the LP Hot Space at Mountain Studios in Montreux, Switzerland. One of the tracks they were working on was drummer Roger Taylor’s Feel Like, but they weren’t happy with the results. Also at Mountain Studios was Bowie, who lived in Switzerland at the time and was recording the vocals to the title song of the film Cat People (Putting Out Fire). Two of the biggest acts of the 70s met each other and, perhaps surprisingly, perhaps not, they decided to try working together.

Queen and Bowie had lots in common, for a while. Both found fame during the glam period as rock acts that weren’t afraid to be flamboyant, or to experiment either. However, it’s fair to say that although Queen stuck mostly to the rock format, Bowie had been continually experimental as the decade progressed. But both were about to release some of the most straightforward pop material of their careers, but not before Queen continued to make Hot Space, which consisted mostly of disco.

Initially in Montreux, Bowie contributed backing vocals and a spoken word section to the track Cool Cat, but he wasn’t happy with his performance and asked to be wiped from the recording. With Hot Space recorded, they all decided to see if they could create a new song, which included the guitar element from Feel Like. Although Freddie Mercury, Brian May, John Deacon, Taylor and Bowie were all credited for what became Under Pressure, Deacon claimed in 1984 that Mercury was the driving force.

You would think Deacon would be keen to lay claim to one of the most famous bass riffs of all time, but he didn’t. In 1982 he stated that Bowie had created it. However, Bowie said on his website that it had been written before he joined the band in the studio. In recent years both May and Taylor have insisted it was Deacon, but in 2016 May appeared to clear matters up. In an article for Mirror Online, the guitarist said Deacon had been playing a riff in the studio consisting of the same note six times, ‘then one note a fourth down’. Queen and Bowie took a break and went for food and liquid refreshment at a local restaurant. Several hours later, Bowie misremembered the riff that Deacon had been playing, and insisted it was what became the backbone of Under Pressure. He even went so far as to stop Deacon playing, which made matters tense for a while. However, everyone must have come to their senses and seen that, whoever was right, Bowie’s version was a magic ingredient. May also said in the interview that normally at this point, Queen would have gone away and discussed the song’s structure. Bowie wanted to carry on, saying ‘something will happen’.

Review

Bowie was right. Something did indeed happen. Under Pressure is one of the finest number ones of the 80s and one of that holy list of songs that I will never, ever grow tire of. If anything, the lyrics take on added relevance with every passing year. However, how much better would it have been if they’d taken more time on the song? I’m looking at you in particular, Mercury.

It’s strange to see how Queen’s lead singer would be so willing to let this song be mixed and released without him working more on his lyrics. Vocally, he and Bowie are an excellent match for each other, complimenting each other so well and then seemingly battling it out at the song’s finale. But why did he and the rest of Queen settle on his scatting in lieu of more actual words? Bowie later said he felt they could have spent longer on Under Pressure lyrically, and that’s a polite way of putting it.

However, Mercury does just about pull it off – after all, this is a man with such a commanding presence, he had the whole of Wembley Stadium yodelling along with him at Live Aid four years later. And of course, underpinning the whole song is Deacon’s entrancing, ultra-catchy bass riff. The intro is spellbinding, and when the riff and Mercury’s understated scat leads into his and Bowie’s ‘Pressure!’, the hairs on the back of your neck can still stand to attention.

Bowie and Queen’s anthem to the stress of modern life can be seen as a prediction of the 21st century, which explains just why the song has aged so well. The former’s handiwork is clear, and almost retro by his standards, as we get a little of the unusual wordplay little seen seen by the glam icon since his Berlin period – now don’t get me wrong ‘Pressure, pushing down on me, pushing down on you, no man ask for… puts people on streets’ is not exactly comparable with the cut-up lyrical technique of some of his finest late-70s material, but it’s clear this is him and not Mercury at work.

What makes it all the more frustrating is that Mercury’s few lyrics on Under Pressure work really well with Bowie’s. When he sings ‘Chipping around, kick my brains ’round the floor/These are the days it never rains but it pours’ are an effective compliment to Bowie’s preceding lyrics about the terror of seeing friends struggling under the weight of the world. But then he just scats again. And again. And when he says ‘OK!’, is it a sarcastic quip that everything is far from OK, or just pure laziness? Either way, it’s a bit mind-boggling that everyone was happy to let it stay in the song.

But with Under Pressure, the whole is definitely far greater than the sum of its parts. And back to that finale. From Mercury’s hushed ‘Turned away from it all like a blind man’ is pure brilliance. The way the two superstar singers battle for the last word is awe-inspiring and pop music at its best. Mercury as the questioning optimist, desperately hoping that love will win out. It makes for a brilliant ending. And yet Bowie somehow tops him, reviving the cynicism of his ‘Thin White Duke’ era with the cold cynicism of ‘Cause love’s such an old-fashioned word’. And then, even better, they both seem to predict where Thatcherism will go next, by noting that love means caring for others – the ‘People on streets’ could be the miners that go on strike three years later. Is this song a warning that, as Thatcher later said, there really is no thing as society, because pressure has stopped people loving anyone but themselves? It’s a hell of a lot to contemplate as the finger clicks fade into silence.

After

With neither Queen or Bowie available to star in a video for Under Pressure, it made sense to task David Mallett with the responsibility. The prolific director had created some of Bowie’s most memorable videos, including Ashes to Ashes, as well as Queen’s Bicycle Race. For this single, Mallett compiled stock image of footage that loosely represented pressure, including traffic jams, riots and – controversially – footage of explosions in Northern Ireland, which Top of the Pops insisted on having removed before showing the video.

Under Pressure spent two weeks at number 1 in 1981. In 1982 it became part of Queen’s LP Hot Space. The band would perform the song live many times, but Bowie didn’t until he joined the line-up for the Freddie Mercury Tribute Concert in 1992, where he joined the remaining members of the band along with Annie Lennox fulfilling Mercury’s role. It later became part of his own sets, featuring bassist Gail Ann Dorsey singing Mercury’s parts.

The Outro

In 1990, the song had a revival thanks to the rapper Vanilla Ice. Although he originally claimed not to have sampled the bass and piano on his number 1 Ice Ice Baby (which he clearly had), and then refused to award a songwriting credit or royalties to Queen and Bowie, he later relented. He also later claimed to have purchased publishing rights, which was also bullshit.

In 1999 a remixed version of Under Pressure, known as The Rah Mix, made it to 14 in the singles chart.

The Info

Written and produced by

Queen & David Bowie

Weeks at number 1

2 (21 November-4 December)

Trivia

Births

26 November: Singer Natasha Bedingfield
27 November: Actor Gary Lucy
29 November: Photographer Tom Hurndall
1 December: Actress Kathryn Drysdale

Deaths

3 December: Historian Charles Harvard Gibbs-Smith
4 December: Writer Enid Welsford

Meanwhile…

  • 23 November: The 1981 United Kingdom tornado outbreak became the largest recorded tornado outbreak in European history when 104 reached England and Wales
  • 25 November: A report into the Brixton Riots, which hit inner-city London earlier this year, blamed social and economic problems in inner-city areas across England.
  • 26 November: Shirley Williams won the Crosby by-election for the SDP, overturning a Conservative majority of nearly 20,000 votes.

479. Adam and the Ants – Stand & Deliver! (1981)

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The Intro

Adam and the Ants captivated children of the 80s – myself included. Adam Ant was my first ever musical hero, and where my love of music began. Here’s how a new wave band with niche appeal became a sensation and shot to number 1 for the first time with Stand and Deliver!.

Before

Adam Ant was born Stuart Leslie Goddard in Marylebone, London on 3 November 1954. Goddard’s grandfather on his mother’s side was Romanichal, which planted the seed of protecting minorities that would become a common theme in Goddard’s music.

His parents divorced when he was seven, and his mother worked as a domestic cleaner to make ends meet. In 1967, she briefly cleaned Paul McCartney’s house, and her son later vividly recalled going round there after school.

Goddard was educated at Robinsfield Infants School, where he got into trouble by throwing a brick through the headmaster’s office on two consecutive days. Ironically, this proved to be a wise move, as he was placed under the supervision of a teacher who encouraged his creative side.

At Barrow Hill Junior School, Goddard enjoyed boxing and cricket. He passed his A-plus and went to St Marylebone Grammar School, an all-boys school, where he became a prefect and gained three A-levels. Next was Hornsey College of Art, where he studied graphic design. But before he could complete his BA, he was swayed by a growing love of music, and he dropped out.

Goddard joined the pub rock band Bazooka Joe in 1975 as their bassist. Although the band also featured John Ellis, who became one of The Vibrators, they are most famous for being the headliners of the first ever Sex Pistols gig, at Central St Martins College of Art and Design on 6 November. Goddard was fascinated by the Pistols, while the rest of Bazooka Joe disagreed so strongly, he decided to leave the group and an idea began to form.

Under his new guise, Ant (named ‘Adam’ after the first man and ‘Ant’ after a creature that would survive a nuclear explosion) formed the B-Sides, featuring lead guitarist Lester Square and Andy Warren. On 23 April 1977, with drummer Paul Flanagan, they became The Ants, holding their first band meeting at a Siouxsie and the Banshees gig at the Roxy in Covent Garden. Ant was in the right place at the right time, as the punk scene was exploding, and he became close friends with Jordan, who worked at Malcolm McLaren and Vivienne Westwood’s SEX boutique. She soon became his band’s manager.

Square only lasted a month before leaving to concentrate on his course at art school, though he later formed The Monochrome Set. He was replaced by Mark Ryan, and The Ants began performing regularly around London. Flanagan was replaced in early June by Dave ‘Barbe’ Barbarossa, and The Ants entered a studio for the first time, recording Deutscher Girls and Beat My Guest. These two songs featured in Derek Jarman’s drama Jubilee (1978), in which Ant made his acting debut as The Kid. The Ants sacked Ryan, replaced him with Johnny Bivouac, and became Adam and the Ants.

The leather-clad, post-punk Adam and the Ants had a penchant for controversial fetishist imagery, and were unpopular with the music press, but they gained a cult following. 1978 was a big year, as they made their radio debut, recording a session for John Peel in January. Jordan featured on vocals for their final track Lou, which she used to do regularly at their gigs, but she quit as their manager in May and a day later, Bivouac left the band, to be replaced by Matthew Ashman.

Adam and the Ants recorded a second Peel session in July and at the end of the month they signed a two-single deal with Decca Records. Young Parisians was released in October, but plans for a follow-up were shelved by Decca.

A third Peel session was recorded in March 1979, and the band signed with independent label Do It Records. Second single Zerox was released in July and a month later they began recording their debut album, written and produced by Ant. Soon after, he sacked Ashman and Warren, and the latter joined The Monochrome Set, but Ashman was allowed back. Warren was replaced by Lee Gorman. The LP, Dirk Wears White Sox ( a reference to actor Dirk Bogarde), was released in November. It’s an interesting album, but don’t expect any of the brilliant pop that was around the corner. It did however make it to number 1 on the fledgling UK Independent Albums Chart that launched in early January 1980.

Ant asked Malcolm McLaren to take over as manager of the band, and the former Sex Pistols manager proved to inadvertently have a positive effect on Ant’s career. How? By dropping him and stealing his band. By the end of January, McLaren had persuaded Ashman, Gorman and Barbe to jump ship and join his new group, Bow Wow Wow. Their lead singer was 13-year-old Annabella Lwin, who was briefly joined by George O’Dowd before he became better known as Boy George. Whether Ant

Undeterred, Ant went looking for new Ants. Marco Pirroni, who had been one of Siouxsie’s Banshees, became the new guitarist. They were briefly joined by future Culture Club drummer Jon Moss (using the name Terry 1+2) to remake Dirk Wears White Sox opener Cartrouble as a contractual obligation for Do It, with Pirroni also on bass. The single was produced by Chris Hughes, who Ant subsequently asked to become his new drummer.

Kevin Mooney picked up bass duties, and unusually, there were now two drummers as Terry Lee Miall also joined the band. Ant was to co-write the new material with Pirroni and they signed a publishing deal with EMI. They worked on new material at Matrix Studios and went on the Ant Invasion tour while Ant took the new material to prospective record companies.

The change in direction was startling. Ant and Pirroni used Hughes (now known as Merrick) and Miall to create Burundi-style African drumming to underpin a new sound that was a commercial yet unique mix of pop and new wave. They ditched the leathers and instead of a monochrome look they added tons of colour, dressing as pirates with Native American make-up, and looking and sounding not unlike Johnny Kidd and the Pirates.

Whether these ideas were stolen from McLaren (as their former manager claimed) or vice versa, Ant, who was always incredibly handsome and charismatic, now looked and sounded like a real pop star. It wouldn’t take long to persuade the public he was, either.

Kings of the Wild Frontier was their next single, and what a call to arms it was. Over that soon to become familiar Burundi beat and Pirroni’s rockabilly guitar, Ant began his mission statement by chanting ‘A new Royal family, a wild nobility, we are the family’. He also sang about Native American suffering and declared ‘Antpeople are the warriors, Antmusic is our banner!’ Tremendous stuff, that somehow only scraped into the charts at 48 that summer.

In October came their next single, Dog Eat Dog, which streamlined the formula into a more chart-friendly format. This song, about bands in competition with one another and inspired by a phrase used by Margaret Thatcher, deservedly went all the way to number four.

The following month saw the release of their first hit LP. Kings of the Wild Frontier proved Adam and the Ants weren’t going to be a one-hit wonder. Released as the New Romantic movement was exploding, it contained another mission statement in Antmusic, which peaked at number two in January 1981, being held off the top spot by Imagine in the wake of John Lennon’s death.

Adam and the Ants were so popular, Decca and Do It rushed to plunder their earlier material for a cash grab. Incredibly, Young Parisians climbed to nine. In February the band performed on The Royal Variety Show in a spellbinding performance that caused Ant to shout at Mooney at the close for seemingly going off script. It would be Mooney’s last performance with the Ants, and Gary Tibbs, who had starred in Breaking Glass (1980), took his place. A re-release of the single Kings of the Wild Frontier soared to two.

The band set to work on what was to be the final Adam and the Ants album. Prince Charming‘s lead single was to be Stand and Deliver!, in which Ant adopted a new image as ‘the dandy highwayman that you’re too scared to mention’. Ant was a history buff and loved the Georgian era of bawdy flamboyance. He saw it as a perfect vehicle for ‘looking flash and grabbing your attention. And it definitely worked.

Inspiration may have come from several places, including the film The Charge of the Light Brigade (1968), the Monty Python’s Flying Circus 1973 sketch ‘Dennis Moore’, Carry on Dick (1974) – the final entry in the series to star Sid James – and the London Weekend Television series Dick Turpin, that was running on ITV at the time.

Review

It was inevitable that Stand and Deliver! should become Ant’s first number 1, after several near misses. The drums are toned down from previous singles, now providing an exciting underpinning to pure brilliant pop, and Pirroni’s guitar is more modern than the rockabilly sounds of what came before.

There’s memorable vocal hook after hook here, too. If it’s not the opening line, or the triumphant chorus, or the ‘HUH’ after the drums in the chorus, it’s the nonsensical but suitably camp ‘Fa diddley qua qua’ as the song draws to a close.

While you can argue Adam and the Ants were too retro or rock to be New Romantics, this song fits the template, as Ant bemoans the lack of colour and fantasy in pop music. The Blitz Kids may have preferred more electronic sounding music, but they’d have totally agreed with lines like ‘The way you look you’ll qualify for next year’s old-age pension’. And the idea of using fashion as a weapon – ‘Not a bullet or a knife’ will have greatly appealed. It certainly did to little young me, and boys across the country. Ant was already cool, but mutating into a Dick Turpin-style character was bloody genius. In the early 80s I thought Sid James in Carry on Dick was cool. Ant as similar? Simply mind-blowing.

To change from edgy S&M stylings to cartoon childhood heroics is quite a transformation, but Ant more than pulled it off. As a child, he was just amazing. Incredibly handsome, charismatic, flamboyant and fun, Ant was a cartoon hero brought to life. I may have missed out on Beatlemania and Flower Power, glam rock and punk, but I feel proud to have been a young boy when Ant was at the height of his fame.

In theory I was too young – I was only two when this was number 1. But I can remember leaping from chair to settee in our living room to Adam and the Ants’ videos, and there’s a photo of me proudly holding an Ants’ single. So the band must have already split by the time I was in love with them, so brief was their fame. But listening to this and watching the video now, it’s clear that Adam and the Ants could only ever be huge for a short time – in a similar way to early T Rex. But what a time!

Ashes to Ashes may have heralded the start of the rise of music videos in the 80s, but with Stand and Deliver!, Ant grabs the torch and gallops away with it. Ant worked with director Mike Mansfield to create ‘a Hollywood movie in three minutes’, and they certainly succeeded. Ant is going round holding up mirrors to his victims – including a man who looks scarily similar to Boycie from Only Fools and Horses, which started this same year. The video, which also features Ant’s then-girlfriend Amanda Donohoe, climaxes with our hero about to be hanged before escaping with the rest of the Ants, and then ends with a topless Ant staring at himself in the mirror, alone. What did this mean? Was it Ant contemplating his own lyrics? Was it his true self, behind the mock heroics? Or was it just a chance to look hot and make his female fans swoon? Whatever it was, it hinted at the title track of their last LP, and next number 1.

After

Stand and Deliver! was an instant smash, debuting at number 1 and staying there for five weeks. It was the third biggest-selling single of 1981, and solidified Ant as a household name that year.

The Outro

20 years later, a troubled Ant made a well-meaning but ill-advised new version of his first number 1, called Save the Gorilla. Ant was trying to raise awareness of the plight of mountain gorillas in Central Africa, and the production is decent enough, but an overweight Ant trying to squeeze his new lyrics into one of his classics just seemed a bit silly. Pirroni helped to block its release.

The Info

Written by

Adam Ant & Marco Pirroni

Producer

Chris Hughes

Weeks at number 1

5 (9 May-12 June)

Trivia

Births

13 May: Labour Party MP Luciana Berger
15 May: Equestrienne Zara Phillips
16 May: Actor Joseph Morgan/Actor Jim Sturgess
17 May: Footballer Leon Osman
20 May: 5ive pop star Sean Conlon
22 May: Comedian Sara Pascoe
26 May: Broadcaster James Wong
29 May: Rugby union player Rochelle Clark
9 June: Backstroke swimmer Helen Don-Duncan/Scottish football plater Alex Neil/Musician Anoushka Shankar
11 June: Scottish field hockey goalkeeper Alistair McGregor

Deaths

9 May: Footballer Ralph Allen/Socialite Doris Harcourt
10 May: Conservative Party MP Geoffrey Stevens
15 May: Liberal Party MP Margery Corbett Ashby
17 May: Classical scholar WKC Guthrie
18 May: Novelist Verity Bargate
19 May: Ornithologist Collingwood Ingram
23 May: Radio producer Rayner Heppenstall
24 May: Actor Jack Warner
27 May: Scientist Kit Pedler/Philologist Anne Pennington
28 May: Archaeologist John Bryan Ward-Perkins
29 May: Organist John Dykes Bower
31 May: Economist Barbara Ward, Baroness Jackson of Lodsworth
10 June: Welsh journalist Sir Trevor Evans

Meanwhile…

9 May: The 100th FA Cup final at Wembley Stadium ends as a 1-1 draw between Manchester City and Tottenham Hotspur. 

11 May: Andrew Lloyd Webber’s musical Cats debuts at New London Theatre.

12 May: 25-year-old Francis Hughes becomes the second IRA hunger striker to die in Northern Ireland.

13 May: The New Cross fire inquest returns an open verdict on the thirteen people who died as a result of their injuries in the New Cross fire.

14 May: Spurs are victorious in the FA Cup final replay with a 3-2 win. It’s the sixth time they’ve won the trophy.

15 May: The Brixton riots inquiry opens.

19 May: Peter Sutcliffe is found guilty of 13 charges of murder, and a further seven attempted murders.

21 May: The IRA hunger strike claims two more deaths – Raymond McCreesh (24) and Patrick O’Hara (23).

22 May: Peter Sutcliffe is sentenced to life imprisonment.

27 May: Liverpool FC becomes the first British team to win the European Cup for the third time, defeating Real Madrid 1-0 at Parc des Princes in Paris.

30 May: More than 100,000 people march to Trafalgar Square in London for the Trade Union Congress’s (TUC’s) March For Jobs.

3 June: Sherman wins the Epsom Derby.

11 June: Queen Elizabeth II opens the NatWest Tower.

466. Kelly Marie – Feels Like I’m in Love (1980)

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The Intro

‘BOO BOO! BOO BOO! BOO BOO! BOO BOO!’ It’s cheap. It’s tacky. It’s the arse-end of disco. But I love Kelly Marie’s Feels Like I’m in Love and I’m not ashamed of it.

Before

By 1977, Mungo Jerry’s fame was drying up. It was seven years since In the Summertime, six since their last number 1 Baby Jump, and they hadn’t charted in the UK since Long Legged Woman Dressed in Black peaked at 13 in 1974. But they still had a following in Europe, and singer-songwriter Ray Dorset hoped that Elvis Presley might record a demo of his called Feels Like I’m in Love. Dorset impersonates Presley here, so you can easily imagine what a fleshed-out version would have sounded like.

Unfortunately of course, ‘the King’ died that year, and Way Down became his last new number 1, signposting a move to disco that was never realised for Elvis. Mungo Jerry recorded Feels Like I’m in Love and it was relegated to a B-side for their Belgian single Sur Le Pont D’avignon. Two years later, Scottish singer Kelly Marie chanced across the song in a music publishing office.

Marie was born Jacqueline McKinnon in Paisley, Scotland on 16 October 1957. She wanted to be a star from a young age and her parents were happy to help, entering her at voice and drama school at the wee age of 10. Two years later she was singing in competitions and at 15 she made her TV debut. Aged 16 she was appearing on Thames Television’s popular ITV talent show Opportunity Knocks. As Keli Brown, she won four times with her cover of I Don’t Know How to Love Him from the musical Jesus Christ Superstar.

The exposure led to her signing with Pye Records in 1976 as Kelly Marie, and she went to number 1 in France with her debut single Who’s That Lady with My Man. She also featured on Joe Dolan’s number two hit in Ireland, Sister Mary. But despite a few hits in South Africa and Australia, including most notably Run to Me in 1977 and Make Love to Me in 1978, it didn’t look like she was ever going to trouble the UK charts. Singles came thick and fast in 1978, including Loving Just for Fun, a prototype for Feels Like I’m in Love, even including a very similar synth-drum sound. Nothing charted.

One day in 1979, Marie and her producer Peter Yellowstone were in the Red Bus Music office, where they came across Dorset’s tune. They saw its potential and set to work.

Review

These days Feels Like I’m in Love is laughed at. A low-budget, throwaway, cheesy disco track sung by a very ordinary looking club singer with a distinct lack of subtlety. Coming after classics like The Winner Takes It All, Ashes to Ashes and Start!, it simply doesn’t hold up. Balls to all this is what I say. Least of all, the detractors of Marie’s appearance – there’s no need, and fair play to her for adopting the early 80s boiler suit look.

OK, cards on the table – nostalgia plays an important part in the personal appeal of Feels Like I’m in Love. One of my very earliest memories involves playing this at my Nanna and Granddad’s house. I was very young, but it must have been a few years after it was number 1, as I was born in 1979. But in my head, it was this moment in which I fell in love with pop itself – the title had a very literal meaning for me.

Hearing that effervescent, bouncy backing, complete with the infectious ‘BOO BOO! BOO BOO! BOO BOO! BOO BOO!’ synth drum, was like downing a bag of sugar. Everything was turned up to the max, including Marie’s voice. I remember thinking that being in love sounded brilliant. The instrumental break was exciting and I lost myself in it, and by the time the grand finale, with the ‘ahhs’ comes in, I felt sick with happiness and excitement. I felt alive. Hearing that swirling intro unexpectedly still takes me right back to that moment.

So yes, it’s very hard to be objective about something that had a personal impact like Feels Like I’m in Love. However, I’d still defend it as a very catchy example of cheap and cheerful late-period Brit disco. Marie of course gives it the welly it deserves, but the star here is Yellowstone’s production.

The video also turns up the camp, with Marie on a ship with two sailors, who go off on a tour of London, performing in front of mostly non-plussed people. At the end the sailors are back on their ship, waving off Marie who’s now on a tiny boat, heading for London Bridge.

After

Feels Like I’m in Love was released in 1979 but didn’t make a mark anywhere other than South Africa. But upon re-release a year later, it was gaining traction in the discos of Scotland, and then England. Climbing the charts, Marie achieved what must have felt unthinkable only a year previous. For two weeks in September, she was number 1, and she was a hit all over Europe too.

The success was short-lived. Marie rushed out a re-release of Loving Just for Fun, but it sounded like a pale retread of her biggest single, and it peaked at 21. Hot Love in 1981 was her last charting single, reaching 22. UK disco was on its way out, to be replaced by Hi-NRG, which you could argue was exactly what Feels Like I’m in Love was an early version of.

Marie continued releasing singles and performing at clubs throughout the 80s and 90s. In 2005 she appeared on the ITV talent show featuring stars of yesteryear, Hit Me, Baby, One More Time. She lost out to Chesney Hawkes.

The Outro

There were two inferior remixes of her number 1 in the 90s. Stock Aitken Waterman may have been responsible for many Hi-NRG classics in the early to mid-80s, but by 1991 they had run out of steam, and their version is a pale imitation. The 97 remix is even worse.

The Info

Written by

Ray Dorset

Producer

Peter Yellowstone

Weeks at number 1

2 (13-26 September)

Trivia

Deaths

14 September : Fashion journalist Alison Settle
17 September: Enid Warren
18 September: Antiquarian Edward Croft-Murray/Opera singer Walter Midgley
22 September: Labour politician Raymond Dobson/Town planner JR James
23 September: Cricketer Geoffrey Latham/Linguist Alan SC Ross
24 September: Novelist Jacky Gillott/Mycologist Clarence James Hickman
25 September: Led Zeppelin drummer John Bonham

Meanwhile…

13 September: Hercules, a popular TV bear, which had gone missing on a Scottish island while filming an advert for Kleenex toilet tissue, is found.

21 September: The CND hold a rally at RAF Greenham Common for the first time.

24 September: 34-year-old Singapore-born doctor Upadhya Bandara is attacked and left injured by Peter Sutcliffe in Headingley, Leeds.

464. David Bowie – Ashes to Ashes (1980)

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The Intro

Is this where 80s pop music truly began? Much as David Bowie’s first number 1 Space Oddity bid farewell to the 60s, its sequel Ashes to Ashes saw ‘the Action Man’ put a full stop on his most experimental period, while future New Romantics took note.

Before

Not that his best-selling single achieved the top spot when the public first heard the tale of Major Tom in 1969. It was a 1975 reissue by RCA, released after his album Young Americans. Soon after the re-release came Golden Years, a bridge between the blue-eyed soul of the last LP and his next, which peaked at eight. But as great as the new material was, Bowie was becoming more and more addicted to cocaine. Weight was falling off his already slender body, he wasn’t sleeping, and his brain was flirting with an unhealthy interest in fascism.

All this and an upcoming starring role as an alien in an adaptation of The Man Who Fell to Earth resulted in his latest character, the Thin White Duke. He later claimed to have no memory of recording his next album. That one of his greatest albums, Station to Station, was the result, is insane. A brilliant mix of soul, funk, balladry and krautrock, this LP was another sign of what was to come – the so-called ‘Berlin Trilogy’.

Whether the ‘Victoria Station Incident’, where Bowie may or may not have greeted fans with a Nazi salute, happened or not, the controversy suggested the Thin White Duke was entering dangerous territory. However, his decision to move to West Berlin in 1976 along with partner-in-crime Iggy Pop was actually an attempt to get better. Working with Brian Eno and Tony Visconti, Bowie took his interest in krautrock further than before, and released Low, recorded in France, in 1977.

Despite Low’s reputation, there is still great pop amongst the ambient and experimental music within. Most explicitly, Sound and Vision, which despite the long instrumental opening and spacey sound, was catchy as hell, and became one of his bestselling 70s hits, reaching three, despite a distinct lack of promotion.

The next LP, “Heroes”, was the only full Bowie album actually recorded in Berlin. But although this time was fully on board with promoting his latest work, the title track, now rightly considered one of his greatest songs, surprisingly only got as far as 24. Now cleaner, if not 100% clean of drugs, Bowie was increasingly busy, touring the material from Low and “Heroes” and releasing a recording – Stage – in 1978, as well as narrating a recording of Peter and the Wolf.

Recorded in the latter stage of his Isolar II world tour, Lodger, released in 1979, ditched the ambient instrumentals of his previous Berlin Trilogy work, and was a mix of new wave and world music. Lodger is underrated, and features great material, including number seven hit Boys Keep Swinging.

In December 1979, Bowie, perhaps with the 10-year anniversary of Space Oddity in mind, re-recorded his 1975 number 1 for Will Kenny Everett Ever Make It to 1980? Show. Stripped down to acoustic guitar, bass, drums and piano, this sparse mix was released as a B-side to his insane cover of Alabama Song. Released in February 1980, somehow this single reached 23. Probably because of the novelty factor of an alternative version of Space Oddity, rather than the A-side.

Returning to Space Oddity got Bowie thinking. What happened to Major Tom, as that song faded away and Ground Control lost contact? In a promo interview for the subsequent album Scary Monsters (and Super Creeps), Bowie said ‘We come to him 10 years later and find the whole thing has soured, because there was no reason for putting him up there… The most disastrous thing I could think of is that he finds solace in some kind of heroin-type drug, actually cosmic space feeding him: an addiction. He wants to return to the womb from whence he came.’ Sound familiar? Bowie reached for the stars, got what he strived for, and ended up losing touch with himself, strung out in heaven’s high, hitting an all-time Low – literally.

Bowie was already reaching into his past for Scary Monsters (and Super Creeps). He was reworking old demos of unfinished songs. In 2022, the box set Divine Symmetry was released, featuring early Hunky Dory material and fragments of songs that he returned to nine years later. Tired of My Life became eventual album opener It’s No Game Pt 1, and 30 seconds into a track called King of the City, you can plainly hear what became the middle-eight of Ashes to Ashes. It’s a fascinating listen.

When the sessions for Scary Monsters (and Super Creeps) began at the Power Station in New York in February 1980, no lyrics existed for Ashes to Ashes, or People Are Turning to Gold, as it was called then, just lots of ‘la la las’. Interesting to wonder what the song would have become if this title had remained. The band assembled was the same as for his last four albums – Carlos Alomar on guitar, George Murray on bass and Dennis Davis on drums. Also contributing were pianist Roy Bittan from Bruce Springsteen’s E Street Band – who were recording The River next door – and Chuck Hammer, who played guitar synthesiser.

While Alomar set to work playing reggae, and Murray put down a funky baseline with some slapping, Davis understandably struggled with the ska drumbeat Bowie envisioned. The singer demonstrated with a chair and cardboard box, which Davis learned and laid down the following day. Visconti originally wanted Bittan’s piano lines to be recorded on a Wurlitzer electric piano, but after discovering it would take too long to get hold of the instrument, he instead ran the grand piano through an Eventide Instant Flanger, which created that distinctive, wonky riff the rhythm is built around. Hammer, who had toured with Lou Reed and was hired for his inventive ‘guitarchitecture’, created and layered four different multi-track guitar textures, each receiving different treatments through an Eventide Harmoniser (which Visconti had famously claimed ‘fucks with the fabric of time’ for extra reverb.

So far, so good. So very, very good. But unlike his recent albums, where Bowie wrote the lyrics often immediately after the backing tracks, he took his time on Scary Monsters (and Super Creeps). The band reconvened in April at Visconti’s Good Earth Studios in London. Visconti added additional percussion, plus keyboard parts by session keyboardist Andy Clark. Everyone involved knew they had something special upon completion, and it was inevitable this would be the lead single from the LP.

Review

Bowie wrote lots of great music after Ashes to Ashes, but it’s most probably his final absolute classic, in effect waving goodbye to a decade of startling creativity. In his excellent Bowie blog, Pushing Ahead of the Dame, Chris O’Leary has a very good point in calling it his last song. It’s a dark nursery rhyme, full of strange phrasing, vocal lines, and imagery, all underpinned by quirky, infectious groove. ‘Do you remember a guy that’s been/In such an early song?’ is an odd opening gambit for the listener. But it’s only the start, as Ground Control reveals the rumour is true: ‘They got a message from the action man’. And while ‘I’m happy, hope you’re happy too’ bodes well, the lyrics get murkier, but make it clear that Major Tom needs bringing down to earth….

‘The shrieking of nothing is killing, just
Pictures of Jap girls in synthesis and I
Ain’t got no money and I ain’t got no hair
But I’m hoping to kick but the planet it’s glowing’

What surreal, bleak imagery, and a bridge like no other in the annals of number 1s. What makes it all the more remarkable is how it sounds – Bowie’s deadpan intonation sounds in danger of causing the already complex tune to fall apart. And underneath, ghostly backing vocals, possibly repeating Major Tom, it’s hard to tell at this point.

The almost comical moroseness of the chorus, masked in a creepy nursery rhyme, of course, totally hits the spot, and you can’t help but think of Major Tom, floating in a tin can, and the mirror image of Bowie, weighing six-stone, living off cocaine and milk and dabbling with the occult, as he was in the mid-70s, when Space Oddity was at the top of the hit parade.

Things get even weirder in the second verse, with Bowie’s chilling falsetto revealing that Major Tom can’t beat his addiction. ‘But the little green wheels are following me/Oh no, not again’ – what a ridiculous, sublime way to detail drug dependency.

In the next bridge, Bowie’s ‘valuable friend’ is louder, and it’s apparent he is just repeating himself, right down to the deadpan ‘Woh-o-woh’. It’s just occurred to me that ‘out of the blue’ could be taken literally – that Major Tom, since swapping the blue sky of Earth for the stars, has been content to live as a junkie, and essentially done nothing since he ‘really made the grade’.

I forget where, but someone once pointed out that ‘Wanna come down right now’ signifies Bowie’s need to figuratively get back to living clean but also signposts his 80s direction as a relatively straight-edge pop superstar. Whether it was intentional or not, it’s a very good point.

As Ashes to Ashes descends into malevolent childish chanting of its close, and the already amazing production breaks out into ghostly synths, you can picture Major Tom’s ship either flirting further out into the outer reaches of space, or landing back on home soil, a broken man inside, but one that can be saved?

David Mallet’s groundbreaking video, recorded over three days in May, was the most expensive ever at that point. It remains one of the most costly, with Bowie storyboarding and dictating the editing process. The use of a Quantel Paintbox, soon to be used extensively in film and TV, creates a ghostly alien world of black sky and pink ocean at Beachy Head and Hastings. Bowie is three characters, clown, astronaut and asylum inmate, all of which represent aspects of his past as a mime and, well, the other two are obvious, all things considered. The scenes of Bowie in his spacesuit were deliberately designed to reflect HR Giger’s incredible work in Alien, released the year before.

While such futurism looks charmingly dated now, a less distant future is also on show, with Steve Strange of Visage walking with Bowie along the sand, as a bulldozer menacingly creeps up behind them. Fellow Blitz Kids Marilyn and Boy George were passed over. If you haven’t heard Bowie superfan Adam Buxton’s telling of a charming anecdote about the filming of this scene, check it out here.

After

The album mix of Ashes to Ashes was edited down from 4:23 to 3:35 for the single release, which could be bought in three different picture sleeves, which each contained a sheet of adhesive stamps of Bowie in his Pierrot costume. The variety of ways to buy may well have contributed to its success in the UK, where it became Bowie’s second number 1 for a fortnight in late summer after debuting at four.

Live performances of Ashes to Ashes were rare through the years, which, considering its complexity, is understandable.

Major Tom did return briefly to the charts in 1996, courtesy of the Pet Shop Boys remix of Hallo Spaceboy. Initially reticent when told of their plan, he agreed it worked well upon hearing their disco take on the track from 1.Outside.

The video to Ashes to Ashes remains one of the most influential examples of the medium, and everyone sat up and took notice as to what could be done. Music videos may have existed since the 60s, but in the MTV age, they were about to be ubiquitous.

The Outro

Ashes to Ashes was sampled in Samantha Mumba’s top five hit Body II Body in 2000, and again by James Murphy for his remix of Bowie’s own Love Is Lost in 2013. It was also the name of the BBC’s sequel to police drama Life on Mars.

In late-2015, the surreal video to Bowie’s penultimate single in his lifetime, Blackstar, featured a dead astronaut, discovered by a woman with a tail. She takes his jewel-encrusted skull to a strange alien town, where a circle of women perform a ritual while the astronaut’s bones float towards a solar eclipse. Director Johan Renck said after Bowie’s death he believed the astronaut was meant to be Major Tom.

The Info

Written by

David Bowie

Producers

David Bowie & Tony Visconti

Weeks at number 1

2 (23 August-5 September)

Trivia

Births

23 August: Actress Joanne Froggatt
28 August: Chef Rachel Khoo
4 September: Football coach Michael Beale

Deaths

24 August: Actress Yootha Joyce/Linguist Gerard Shelley
26 August: Olympic swimmer Lucy Morton
27 August: Suffragette Arabella Scott
28 August: Academic Roy Pascal
31 August: Writer Anne Tibble
1 September: Film director Arthur Greville Collins
3 September: Surgeon Russell Brock, Baron Brock/Physician Sir George Pickering

Meanwhile…

28 August: For the first time since 1935, unemployment stands at 2 million.

1 September: Ford launches the third generation Escort, which later becomes the best-selling car of the decade in Britain.