New wave

456. Blondie – Call Me (1980)

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The Intro

In what must surely be one of the shortest durations between chart-toppers for one act, Blondie only had a month inbetween Atomic and Call Me – two of the best number 1s that year. This collaboration with Italian genius producer Giorgio Moroder (the man behind I Feel Love) was the theme song to Paul Schrader’s American Gigolo. The film starred a little-known actor called Richard Gere as a high-end male escort and it made him a star.

Before

Call Me began as a Moroder instrumental known as Man Machine. Not the tune by Kraftwerk, but similar in the sense it combined electronic music with pop. He originally had his eye on Stevie Nicks of Fleetwood Mac to add lyrics and perform songs for American Gigolo, but she couldn’t for contractual reasons. Luckily for Moroder, Blondie were one of the hottest bands on the planet, and singer Debbie Harry was up for it. She watched the film and had the opening scene – driving on the Californian coast – in mind as she set to work writing the words, which only took a few hours.

Blondie went into the studio in New York with Moroder in August 1979 to record Call Me – just one month after finishing up their fourth LP Eat to the Beat. The pressure of following up the massive album Parallel Lines, and Harry’s perceived increasing dominance of the group, was causing tension. The recording of Call Me didn’t help. The first session, in LA, had seen Moroder and his crew, including keyboardist Harold Faltermeyer and Keith Forsey (drummer on I Feel Love), record an instrumental version to a timecode so it would synchronise with American Gigolo.

It’s unknown whether Moroder was only expecting Harry, but Faltermeyer later claimed the producer was surprised the rest of the band were insisting on adding their own instrumentation. Guitarist Chris Stein’s equipment was buzzing and annoying the perfectionist Moroder, who, after realising the musicians were struggling to play in time and fighting among themselves, aborted the sessions. The backing tape was completed by Moroder and co, including the keyboard solo by Faltermeyer. This riled an already paranoid Blondie (minus Harry of course), but when Call Me shot to number 1 in the US before Atomic did, and then after Atomic in the UK, they changed their tune. Who is it on backing vocals, is it drummer Clem Burke, keyboardist Jimmy Destri, bassist Frank Infante, all three, or Moroder’s boys? I don’t know.

Review

Moroder and Blondie are two of the greatest names in disco, so it’s a given that any collaboration between the two would be great. Call Me and Atomic are like sisters, both showing Blondie at the top of their game, melding disco, pop and rock in a totally natural way. And although only Harry is on the recording, you’d never know upon listening, which shows how effectively Moroder had also become in combining different genres. Moroder was intending to produce Blondie’s next LP, but the infighting caused him to change his mind. It’s fascinating to imagine how good that could have been.

The rest of the band’s jealousy towards their singer is only natural, but she is also at the peak of her powers as a songwriter. Where Atomic featured improvised lines that captured the feel of the band’s blistering performance, Call Me shows Harry studying her source material and coming up with a song that is perfect as a film soundtrack. She succinctly communicates that Gere’s character is available whenever you need him, referencing the classic Martini ad tagline ‘Anytime, anyplace, anywhere’. He’s clearly used to a higher class of clientele (‘Roll me in designer sheets’) and ‘speaks the languages of love’, with a smattering of Italian and French thrown in for good measure. But the best lines are Harry’s frustration at feelings ruining what are meant to be a purely business arrangement: ‘Emotions come I don’t know why/Cover up love’s alibi’. As with I Feel Love, this Moroder classic is best heard in full via the 8:05 album version. The video edit is way too short at only 2:15

Further proof that Harry now pretty much was Blondie in the public eye is apparent in the record sleeve above and the video to Call Me, in which the striking singer is filmed in the city, on the beach and on stage. The rest of her band are nowhere to be seen.

After

Call Me was released in the US first in January 1980 and surprisingly was only their second number 1. It became their biggest-selling single and was also number 1 on Billboard‘s end-of-year chart that December. In addition to the soundtrack version, video edit and radio edit, there was a Spanish-language 12″. A Ben Liebrand mix missed out on top 40 action in 1988. Oh, and an abbreviated version was sung by Harry on The Muppet Show in 1981.

The Outro

Of course, the problem with being at the peak of your powers is that the only way is down. There was only one more Blondie 80s number 1, and it was a cover that didn’t hit the heights of Call Me. The band re-recorded Call Me in 2014, and to be fair, this probably felt more needed than their other 2014 covers, as it meant Blondie were actually on the recording. However, it’s probably not a huge surprise to find out it doesn’t match the original.

The Info

Written by

Giorgio Moroder & Debbie Harry

Producer

Giorgio Moroder

Weeks at number 1

1 (26 April-2 May)

Trivia

Births

28 April: Cyclist Bradley Wiggins
2 May: Footballer Zat Knight 

Deaths

26 April: Actress Cicely Courtneidge/Conservative MP Irene Ward, Baroness Ward of North Tyneside
27 April: Theatre director E Martin Browne/Producer John Culshaw
29 April: Film director Sir Alfred Hitchcock (see ‘Meanwhile…’)
30 April: Scottish Labour MP Thomas McMillan
2 May: Conservative MP Sir Jocelyn Lucas, 4th Baronet/Army captain Herbert Westmacott

Meanwhile…

29 April: Legendary filmmaker Sir Alfred Hitchcock died at home in Los Angeles, aged 80.

30 April: A six-man team of terrorists from the Democratic Revolutionary Front for the Liberation of Arabistan began the Iranian Embassy Siege, taking 26 hostages at the Embassy of Iran in Knightsbridge.

1 May: British Aerospace was privatised.

454. The Jam – Going Underground/The Dreams of Children (1980)

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The Intro

The Specials weren’t the only group successfully reviving a 60s musical movement as the 80s began. Mod power trio The Jam had been around several years before achieving this first of four number 1s. And yet, had it not been for an error at the pressing plant, Going Underground/The Dreams of Children might not have shot to the top spot.

Before

The Jam go back a fair few years than many realise, as singer and bassist Paul Weller began the band aged 14 in 1972, while still at Sheerwater Secondary School in Woking, Surrey. He was joined by Steve Brookes on lead guitar and vocals, Dave Waller on rhythm guitar and Rick Buckler on drums. But this was before the frontman discovered Mod, so The Jam’s setlist mostly consisted of early US rock’n’roll covers. Waller left in 1973 and was replaced by Bruce Foxton.

When Weller heard The Who’s debut album, My Generation, everything changed. He fell totally in love with becoming a Mod. He bought a Lambretta, made the band dress in sharp suits and they started covering Motown, Atlantic and Stax soul music.

In 1975, Brookes also left. Although The Jam advertised for a new lead guitarist (and among those auditioning was apparently a young Gary Numan), Weller decided to ape The Who’s line-up. He persuaded Foxton to switch to bass and he took over full guitar duties.

In 1975, rock music was often moribund. Punk had yet to arrive, so The Jam stood out on the London scene, capturing the imagination and perhaps reminding older gig-goers of happier times. When punk did appear, Weller, Foxton and Buckler were even more distinct – their smart appearance was totally different to the ripped, scruffy clothes of the Sex Pistols and co, and they were in thrall to the 60s. But like the Sex Pistols, The Jam were angry, energetic and distinctive.

They were signed to Polydor in 1977, and that April released their debut single In the City, which peaked at 40. But they struck a chord and their album with the same name was a number 20 hit. When second single All Around the World climbed to 13, Polydor asked for more material ASAP. They completed another LP that year, This Is the Modern World, but the (almost) title track Modern World only reached 36.

In 1978 News of the World (that’s right, three singles in row with ‘world’ in the name) fared better when it peaked at 27. This was the only single to be written and sung by Foxton, and later became the theme tune to BBC Two’s Mock the Week. A third LP was quickly planned, but Weller was struggling for inspiration and their producers dismissed Foxton’s material as poor. Weller became the principle songwriter from here on in.

The influence of The Kinks on The Jam, if it wasn’t already noticeable, certainly was when they released a soundalike cover of David Watts as a double-A-side with ‘A’ Bomb in Wardour Street. These first fruits of their third album All Mod Cons climbed to 25. The next single, Down in the Tube Station at Midnight, is highly regarded as a return to form both critically and commercially, and shot to 15. It also placed a large question mark over The Jam’s early reputation as Conservative poster boys. Where previously they sang about the decline of the British Empire and disparagingly about ‘Uncle Jimmy’ Callaghan, now Weller was talking about being mugged by thugs who had been to ‘too many right wing meetings’.

In 1979 two non-album singles, Strange Town and When You’re Young, peaked at 15 and 17 respectively. Then came the first song from the next LP, Setting Sons. The Eton Rifles was rightfully their biggest yet, soaring all the way to three. In 2008, future Conservative Prime Minister, the Etonian David Cameron, called himself a fan of the song back in the day, causing a furious Weller to state ‘it wasn’t a fucking jolly drinking song for the cadet corps’.

The Dreams of Children, recorded during the Setting Sons sessions but not on the LP, was to be their first single of the new decade. It wasn’t on the album, but considering the LP was originally a concept album about three childhood friends, perhaps it was intended to feature originally. It saw the trio broadening their sonic palette with producer Vic Coppersmith-Heaven, while the intended B-side was an angry tirade at the people in power.

However, there was a mix-up at the pressing plant, and this single became a double A-side. Because of this, radio DJs mostly preferred to spin the snappier, catchier, more immediate fare intended for side B.

Reviews

It seems obvious in retrospect that Going Underground deserved to be the A-side. And what a number 1 as the Thatcher era was just getting started. In just a few minutes, Weller succinctly wipes away any doubt of whose side he’s on. And he does it with no small measure of belligerence and fire in his belly. Over jagged guitar strikes, this reads like the manifesto of a man who is so sickened with the state of his country and its politics, he’s retreating from modern life. The only negative to this song is how it resonates even more now than it did in 1980, particularly ‘Some people might get some pleasure out of hate.’

The beauty of Going Underground is how The Jam make such a bleak message so uplifting. We shouldn’t be celebrating the need to opt out of society, but doesn’t it sound so good? And there is a small glint of hope as the song ends ‘Well, let the boys all sing and let the boys all shout for tomorrow’. Not that there’s much hope in 2023 – the other side aren’t offering much to get excited about as another election looms.

There have already been some classic number 1s in the first quarter of 1980. This is the best of the bunch, ahead even of Atomic.

The fact there’s a video for Going Underground is puzzling. If this was always intended as a B-side, why is there one at all? However, the fact both mostly feature the band performing in front of a white background wearing very similar clothes suggests it could have been filmed in the same session. The Going Underground film is one of the most enduring images of the young, angry Weller, resplendent in a scarf, interspersed with images of Uncle Sam, atomic explosions and photos of Conservative Prime Ministers (plus, interestingly, Labour’s Harold Wilson), pushed to one side.

The Dreams of Children is a decent track too, but I doubt it would have become their first chart-topper on its own. Opening with backmasking from Setting Sons track Thick as Thieves, it’s an early sign of Weller’s love of psychedelic rock, and the lyric is akin to songs from that era about loss of innocence, like Pink Floyd’s Remember a Day.

Like Going Underground, The Dreams of Children paints a bleak picture – bleaker in fact. And very true, because Weller explains how he had a glimpse of optimism in his dreams, before waking up ‘sweating from this modern nightmare’. The closing refrain of ‘You will choke on your dreams tonight’ paints a very bleak picture. Interesting stuff, with some nice bass playing from Foxton.

The video is less simple than Going Underground, cutting between the band playing outdoors, hanging out near somewhere derelict and performing once more against a simple white background but with added camera and lighting equipment.

After

The Jam were touring the US to small crowds when they heard Going Underground/The Dreams of Children had made it to number 1. They immediately returned home and prepared for a triumphant Top of the Pops appearance.

The Outro

A version of Going Underground by US rock band Buffalo Tom climbed to number six in 1999, as a double A-side with a version of Carnation by Liam Gallagher and Steve Cradock.

The Info

Written by

Paul Weller

Producer

Vic Coppersmith-Heaven

Weeks at number 1

3 (22 March-11 April)

Trivia

Births

23 March: Comedian Russell Howard
24 March: Sports presenter Amanda Davies
28 March: Labour MP Angela Rayner
3 April: Fascist Conservative MP Suella Braverman
8 April: Actor Ben Freeman/Scottish field hockey midfielder Cheryl Valentine

Deaths

22 March: Historian Evelyn Procter
23 March: Journalist SW Alexander/Royal Navy admiral Sir Henry McCall/Labour MP Charles Pannell, Baron Pannell/Red Cross aid worker Joan Whittington/Racehorse trainer Norah Wilmot
24 March: Actor John Barrie
26 March: Army major-general Basil Coad/Botanist Lily Newton
30 March: Labour MP Francis Douglas, 1st Baron Douglas of Barloch/Trade union leader Jim Hammond
22 March: Historian Evelyn Procter
23 March: Journalist SW Alexander/Royal Navy admiral Sir Henry McCall/Labour MP Charles Pannell, Baron Pannell/Red Cross aid worker Joan Whittington/Racehorse trainer Norah Wilmot – Evelyn Procter, historian (born 1897)
24 March: Actor John Barrie
26 March: Botanist Lily Newton
30 March: Labour MP Francis Douglas, 1st Baron Douglas of Barloch/Trade union leader Jim Hammond
31 March: Actor John Nightingale
1 April: Actress Cicely Courtneidge/Director Alfred Hitchcock/Actress Joyce Heron
2 April: Long distance runner George Wallach
3 April: Geophysicist Sir Edward Bullard/Actress Isla Cameron/Army major-general Sir Alexander Douglas Campbell/Chemist Ulick Richardson Evans
5 April: Scottish composer Hector MacAndrew
6 April: Film director Antony Balch/Writer John Collier/Philosopher Sir Thomas Malcolm Knox
8 April: Horticulturalist Beatrix Havergal
10 April: Writer Antonia White
11 April: Legal historian Norman Hargreaves-Mawdsley/Actor Nicholas Phipps

Meanwhile…

25 March: The British Olympic Association votes to send athletes to the Olympic Games in Moscow, USSR, in the summer, in defiance of the government’s boycott.
Also on this day, Robert Runcie becomes the Archbishop of Canterbury.

26 March: On Budget Day, Chancellor Geoffrey Howe announces raises in tax allowances and duties on petrol, alcohol and tobacco.

31 March: British Leyland agrees to sell its MG factory in Abingdon to Aston Martin-Lagonda in the autumn.

1 April: The steelworkers’ strike is called off, and Britain’s first official naturist beach is opened in Brighton.

2 April: 130 people were arrested after rioting in St Pauls, Bristol.

3 April: The Assisted Places Scheme introduces free or subsidised places for children at fee-paying independent schools, based on examination performances. It also gives parents more powers on governing bodies and admisssions, and removes the obligation for local education authorities to provide school meals and milk. Thatcher, Thatcher, milk snatcher.

4 April: Alton Towers Resort was opened as a theme park.

10 April: The UK and Spain come to an agreement, and the latter reopens its border with Gibraltar.

452. Blondie – Atomic (1980)

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The Intro

Blondie were one of the best bands around in the late-70s and rightfully continued to storm the charts in the early 80s. Their last number 1, Sunday Girl, was a nice tune, but they were at their best when they combined disco and rock. Atomic does this extremely well.

Before

Blondie’s third album, Parallel Lines had been a huge success, despite some critics referring to them as sell-outs for supposedly jumping on the disco bandwagon with Heart of Glass. Which is nonsense, as the band had dabbled in disco from its early days.

However, tensions were high. Drug use was increasing among the six-piece, and there was understandable jealousy over the fact Blondie were fast becoming known as ‘Debbie Harry and some men’. There was no wonder of course – Harry was the singer, and an incredibly cool and beautiful one at that, so the spotlight was always on her. And Harry used this momentum to increasingly decide on future material, which coincided with the making of their fourth album, Eat to the Beat. Their new wave stylings were on the way out in favour of a more pop-oriented approach.

The first fruits of Eat to the Beat to be released – opening track Dreaming – peaked at two. When the follow-up, Union City Blue, stalled at 13, Blondie must have been worried their fortunes were waning. Fortunately they had Atomic up their sleeves, which after two singles of plaintive melancholy, was a return to a more fiery sound.

Atomic came from Harry and keyboardist Jimmy Destri, who was trying to find a sound akin to Heart of Glass. From there the track was transformed by the twangy guitar sound, which simultaneously gave the tune a Spaghetti Western and surf sound. Harry has described that her songwriting approach with Blondie would often involve working out the lyrics while the rest of the band were rehearsing. She would scat ideas, often as placeholders. She came up with ‘Ooooh, your hair is beautiful’ first. The song transformed into an erotically charged pop-rock anthem. The song title most likely came from Harry trying to find a word that matched the guitar hook. It was perfect. Although some think the title has no fixed meaning, to me, it’s describing the potentially explosive level of attraction she’s feeling for the person she’s singing about.

Review

Coward of the County spoiled a very impressive run of number 1 singles but Atomic puts us firmly back on track. What a single. It doesn’t matter that the lyrics are somewhat basic because they fit the mood and get the message across perfectly. It’s a night out, and a girl wants a man to ‘make it magnificent’. The tense, edgy sound here is a million miles away from the sedate bounce of Rogers’ song. It’s Blondie at their best, and is expertly produced by Mike Chapman, as you’d expect from such a prolific pop and rock hitmaker. For me, although Heart of Glass edges it as their best chart-topper, Atomic does a better job of combining disco, rock and pop naturally. However, the album mix, with its intro based on Three Blind Mice, features a bass guitar solo, which makes the disco element more obvious. This is the essential version and is nearly a minute longer than the single edit.

It’s worth nothing that singing backing vocals is Ellie Greenwich. The singer, songwriter and producer wrote or co-wrote some of the most famous pop music of the 60s, including Da Doo Ron Ron, River Deep – Mountain High and Do Wah Diddy Diddy, number 1 for Manfred Mann in 1968.

Eat to the Beat was the first full LP to have a video made for every song, by director David Mallet. The video for Atomic has a very literal premise but is a charming product of its time. The band are seen performing in a post-apocalyptic nightclub as the crowd do some freaky dancing. Harry is one of the only people in the world who could manage to look cool while dancing badly in a binbag. The video also features Gia Carangi – considered the world’s first supermodel. You can see similarities in Mallet’s video for Ashes to Ashes later in the year, as both feature solarising effects. Strangely, the version of the song in the full video is the album version, minus the intro.

After

Released in February, Atomic quickly rocketed up the charts to number 1 on 1 March. It was followed only two months later by Call Me, which had already been a US chart-topper and soon repeated the feat here.

The Outro

Atomic is a song that stands outside of time, sounding as hip now as it did 43 years ago. Attempts to update it only end up sounding more dated. In 1994 the ‘Diddy’s Edit’ (not P Diddy) gave the song a backing ideal for clubbing in the 90s, but it’s not aged well. It performed respectably though, reaching 19. To mark the 40th anniversary of Blondie, the band re-recorded Atomic for Greatest Hits Deluxe Redux. It’s better than the 1994 remix but only because it’s so similar to the original – the only real difference is the understandably inferior new vocal performance from Harry.

The Info

Written by

Debbie Harry & Jimmy Destri

Producer

Mike Chapman

Number of weeks

2 (1-14 March)

Trivia

Births

2 March: Footballer Chris Barker 
13 March: Scottish field hockey player Linda Clement

Deaths

1 March: Footballer Dixie Dean/Motorcycle racer Eric Oliver
3 March: Socialite Sir Michael Duff, 3rd Baronet
4 March: Football manager Alan Hardaker
5 March: Historian Jack Gallagher/John Raven/John Skeaping
6 March: Conservative MP Harry Becker/Philanthropist Noel Croucher/Cricket journalist Norman Preston/Physician EA Underwood
7 March: Yacht designer John Illingworth
14 March: Chemical engineer Dudley Maurice Newitt/Artist Vere Temple

Meanwhile…

10 March: An opinion poll in the Evening Standard suggests six out of 10 Britons are unhappy with the Conservative government, who are trailing Labour in the opinion polls. 

449. Pretenders – Brass in Pocket (1980)

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The Intro

Welcome, welcome, welcome home to Every UK Number 1! Don’t worry, it’s a very niche reference…

Back on we go, with the decade that truly shaped my musical tastes – the 80s (I was born in April 1979). Yet another weird and wonderful 10 years of pop, that started out extremely positively thanks to the foundations set in the late 70s… before, perhaps, the rot begins to set in during the mid-point.

But before we find out if that’s true, let’s go back to January 1980, with the sole number one by new wave outfit Pretenders. Brass in Pocket was by a strong, ballsy woman. But, contrary to popular belief, it’s not about one.

Before

In fact, let’s go further back – to 7 September 1951, when Christine Ellen Hynde was born, in Akron, Ohio. The daughter of a part-time secretary and a Yellow Pages manager, Hynde rebelled from an early age. She recalled in Rolling Stone how she wasn’t interested in high school, or dates either. But she was interested in bands, the counterculture and vegetarianism.

While at Kent State University’s Art School, she joined her first group – Sat. Sun. Mat. – which also featured Mark Mothersbaugh, later of Devo. She was also there during the infamous Kent State Massacre of 1970, in which four Vietnam protestors were killed, including the boyfriend of a friend of Hynde’s.

Hynde moved to London three years later, and within nine months was in a relationship with famed music journalist Nick Kent. She even worked at the NME alongside him, but not for long. Soon after, she was working at Sex, the famed boutique run by Malcolm McLaren and Vivienne Westwood.

This was just the start of her connection to the early punk movement. Returning from time in France and back in Cleveland, she asked both Steve Jones and then Johnny Rotten to marry her in order to gain a work permit. Rotten was initially up for it but after pulling out, Sid Vicious offered. Fortunately, the big day clashed with a court appearance for the eventual Sex Pistols bassist. A narrow escape.

Hynde briefly appeared in several bands, including Masters of the Backside – soon to be known as The Damned, and The Moors Murderers, featuring Steve Strange, later of Visage.

In 1978 she gave a demo tape to Dave Hill (not the Slade guitarist), owner of Real Records and subsequently manager to the Pretenders after he suggested she get a band together. The original line-up of Pretenders (named after Sam Cooke’s version of The Great Pretender) consisted of Hynde and bassist Pete Farndon. They soon added James Honeyman-Scott (guitar, vocals and keyboard) and Martin Chambers (drums, vocals and percussion) to the mix.

Pretenders recorded a demo tape and Hynde handed it to her friend, singer-songwriter Nick Lowe. He was impressed and produced their debut single – a cover of The Kinks’ Stop Your Sobbing, which scraped into the charts at 34 in 1979. Lowe stepped away from further sessions and was succeeded by Chris Thomas. Second single Kid did one better than the first single.

As the Pretenders worked on their eponymous debut LP in 1978-79, one song that had hit potential was Brass in Pocket. Originating from a guitar lick by Honeyman-Scott, Hynde had intended to turn it into a Motown-style tune but that changed during recording. The title was inspired by the first-ever Pretenders gig. After the show, Hynde asked whose trousers were sprawled over a chair in their dressing room, shared with support act The Strangeways. One member of the band, Ada Wilson, ‘I’ll have them if there’s any brass in the pockets’. In this instance, ‘brass’ is Northern slang for money, and it’s not the only bit of colourful language here. Hynde also included other slang such as ‘reet’ and ‘got bottle’.

Review

Thinking back to 1980, anyone who knew of Hynde’s background but hadn’t heard any Pretenders before Brass in Pocket must have been surprised. There’s no punk element to be found, and hardly even any rock. What Brass in Pocket has embodied to most listeners through the years, is that confident swagger Hynde has always had. She’s smart, sexy and confident, but actually more in the mould of a Suzy Quatro than a Johnny Rotten. But of course, the actual music here is tamer even than Quatro’s glam bluster. It’s a soft, catchy, almost plaintive tune. The attitude is all in the words and Hynde’s performance.

If you thought Brass in Pocket was sung from a female perspective, so did I, but we were wrong. In a 1980 Sounds interview, Hynde explained it’s basically about an insecure guy down the pub, geeing himself up to put up a front down the pub with his mates and be ‘one of the lads’. I’m sure you can add to that that he’s hoping to pull, too.

All in all, the image of this guy, ‘Detroit leaning’ (driving around with one hand on the wheel) and skanking, conjures up the image of a bit of a twerp. Discovering this simultaneously makes you view the song differently, and kind of tarnishes it a little. It might partially explain Hynde’s ambivalence towards her biggest hit. Initially she had told Thomas she could release it over her dead body as she hated her vocal, and for a long time she hated performing Brass in Pocket, but age seems to have mellowed her.

Hynde wasn’t a fan of the video either, and again, you can’t blame her. She played a waitress in a rundown cafe, while the rest of the band turn up in a large pink car, with Farndon doing some Detroit leaning of his own. Highlight/lowlights include Honeyman-Scott/Chambers miming terribly the ‘Special!’ backing vocals while holding up the selection of specials on the cafe menu. Bit literal, lads. Farndon and Hynde seem to have a thing going, but the tension is interrupted by three girls who enter the cafe and immediately begin snogging the men. They all leave the cafe and Hynde remains alone and upset. Her initial plan was to have the band arrive on motorbikes and rescue her from her drab life.

So who was right about Brass in Pocket – Hynde or the public? I’m going to side with the latter. It’s a rather low-key start to the decade, but then, every decade up to this point had similar, so no change there. It’s stood the test of time as a memorable enough tune. However, it’s not even Pretenders’ best (I prefer Don’t Get Me Wrong and 2000 Miles). And how did it happen, after two previous relative flops?

Well, the excellent, insightful and blisteringly funny folks at the Chart Music podcast uncovered an edition of World in Action from 1980, called The Chart Busters. Brass in Pocket was among the songs which the programme claimed did so well because of underhanded tactics from the music industry. I’m not aware of how much the Pretenders knew about this.

After

Whatever the controversy over the performance of Brass in Pocket, debut album Pretenders was a critical and commercial success. And the follow-up Pretenders II contained the hits Talk of the Town (number eight in 1980), Message of Love (11 in 1981) and other Ray Davies track, I Go to Sleep (seven, also in 1981). But there was trouble ahead. Farndon was sacked by the others for drug abuse that June, and two days later, Honeyman-Scott died of heart failure due to cocaine intolerance.

Hynde assembled a new line-up with Chambers, featuring members of Rockpile and Big Country, for comeback single Back on the Chain Gang, which went to 17 in 1982. Farndon, who was trying to form a new band, was found dead in the bath after overdosing on heroin in April 1983,

That November, a new line-up featuring Hynde and Chambers with Robbie McIntosh on guitar and Malcolm Foster on bass released the lovely seasonal ballad 2000 Miles, which went on to feature on many a Christmas compilation. This first single from 1984 album Learning to Crawl peaked at 15. Pretenders performed at Live Aid in 1985, but soon after Hynde sacked Chambers, making her the sole original member. Foster quit in protest.

1985 was also the year that Hynde had the first of two number 1s with other artists. Sadly it was the awful reggae-lite cover of Sonny & Cher’s 1965 chart-topper I Got You Babe with UB40.

The next Pretenders album, Get Close, was recorded with various session musicians. Released in 1986, Hynde must have felt vindicated when Don’t Get Me Wrong soared to 10 and Hymn to Her outdoing it at eight. But the latter was their last top 10 hit for eight years, and there were yet more line-up changes. Parliament/Funkadelic’s Bernie Worrell briefly featured on keyboards while they toured, and Johnny Marr, post-Smiths, joined the band in 1987 for a year. That same year they recorded two tracks for the soundtrack to James Bond movie The Living Daylights.

The 90s didn’t begin too well, with Hynde the only official Pretender on unsuccessful LP Packed! in 1990. Three years later Hynde teamed up with guitarist Adam Seymour to form a new version of the group with a revolving door of bassists (including Andy Rourke from The Smiths) and drummers. By the time the next album Last of the Independents was finished and released in 1994, Chambers had returned and was joined by Andy Hobson of The Primitives. And they struck gold, with power ballad I’ll Stand by You, a number 10 smash and a number 1 in 2004 for Girls Aloud. But it was the last time they made a serious impact on the charts.

In 1995 Hynde had another rubbish chart-topping cover outside of the Pretenders name. This time, the tedious power ballad Love Can Build a Bridge with (ironically) Cher, plus Neneh Cherry and Eric Clapton. It was that year’s official Comic Relief single. No laughing matter.

The Pretenders settled into the career of a band who will always have faithful support, but no longer trouble the charts. They collaborated with Tom Jones on his 1999 album Reload, and Human was their last song to enter the top 40, making it to 33 in the same year.

Since the new millennium, the Pretenders line-up has continued to change as five albums came and went. Loose Screw in 2003, Break Up the Concrete in 2008, Alone in 2016, Hate for Sale in 2020 and most recently, Relentless in 2023. In 2005 they were inducted into the Rock and Roll Hall of Fame, where Hynde paid tribute to Honeyman-Scott and Farndon.

Brass in Pocket features in a memorable scene in the 2004 film Lost in Translation, in which Scarlett Johansson performs the song at karaoke to Bill Murray.

The Outro

Brass in Pocket continued the trend for edgy, new wave pop that would continue to chart well in the late-70s and early 80s. But it was only the start of a bumper year of a diverse range of number 1s, which would end with the death of an icon.

The Info

Written by

Chrissie Hynde & James Honeyman-Scott

Producer

Chris Thomas

Weeks at number 1

2 (19 January-1 February)

Trivia

Births

19 January: Grime MC D Double E
20 January: Racing driver Jenson Button/Welsh Bullet for My Valentine singer Matthew Tuck
21 January: Boxer Nicky Booth
30 January: Model Leilani Dowding
31 January: Journalist Clarissa Ward

Deaths

27 January: Economist Sir Eric Wyndham White

Meanwhile…

19 January: The first UK Indie Chart was published in trade weekly Record Business. The first number 1 was Where’s Captain Kirk by Spizzenergi.

20 January: The record for largest TV audience for a film in the UK is set when 23,500,000 viewers watch the James Bond film Live and Let Die (1973).

21 January: MS Athing B is beached in Brighton.

28 January: A controversial edition of Granada Television’s current affairs series World in Action is broadcast on ITV. It alleged that Manchester United chairman Louis Edwards made unauthorised payments to the parents of young players in the club, as well as dodgy deals to try and win the local council meat contracts for his chain of retail outlets.

447. The Police – Walking on the Moon (1979)

/ robbarker1979

The Intro

Hot on the heels of their first number 1, Message In a Bottle, new-wave/reggae three-piece The Police were ruling the charts once again with this follow-up. And in a year of really hip number 1s, Walking on the Moon is one of the coolest.

Before

Their second album, Regatta de Blanc (which loosely translates into French as ‘White Reggae’) had been recorded between February and August. Although their label, A&M Records, had wanted to capitalise on their band’s growing wave of support with a bigger budget and more famous producer, The Police insisted on returning to Surrey Sound in Leatherhead with co-producer Nigel Gray.

Unlike their first album, Sting, Stewart Copeland and Andy Summers struggled to find enough new material to record and considered remaking debut single Fall Out. Digging out old material from before they were a band, they added new elements to flesh out the songs. Walking on the Moon, however, was brand new.

Sting came up with it while drunk one night in a Munich hotel following a gig. Slumped on the bed, the room spinning around him, he got up and started singing ‘Walking round the room, ya, ya, walking round the room’. In the morning he remembered the riff and wrote what he had down, but realised it was a rather dull premise for a song, so he changed the lyrics. He later admitted the song became the recollection of his first girlfriend, Deborah Anderson, and likened leaving her house in a loved-up state was akin to walking without gravity. Sting was a keen jazz buff, and one of his favourite tunes was John Coltrane’s Giant Steps, so the title also found its way in naturally to the opening line.

Originally conceived and demoed as a rocker, The Police and Gray decided a song about space should sound spaced out. Rather than delve into reggae as they often did, Walking on the Moon became a very successful experiment in dub. This genre, originally an offshoot of reggae, had been developed by pioneering producers including King Tubby, Augustus Pablo and Lee ‘Scratch’ Perry in the late-60s. They would reshape songs, often removing vocals and laying emphasis on the rhythm section, adding echo and reverb. It sounds brilliant when stoned.

A key instrument used in dub was the Roland RE-201 Space Echo unit, and The Police bought one with the money from their first hit, Roxanne. Drummer Copeland added the Space Echo to Walking on the Moon, using it to repeat not the preceding note, but the one before that. Doing so on the rhythm track created the wobbly, stuttering effect that makes it so atmospheric. The combination of Sting’s memorable three-note bass line with the drums was more than good enough on its own, but the icing on the cake was Summers’ idea to add the clanging guitar echo after the bass notes throughout.

Review

Were it not for Every Breath You Take, Walking on the Moon would easily rank as my favourite Police number 1. I love dub, in small doses, and it makes for great headphone music. Sting gets a mostly free pass for his often irritating vocal here, so great is the bass. If you think too much about it, the way he sings the title could still annoy – it is a cod-Jamaican accent, there’s no escaping it. It’s there again on the ‘Keep it up’ refrain at the end too. However, his least annoying performance comes in the least successful element of the song – the ‘Some may say/I’m wishing’ my days away’. The lyrics to this section don’t really fit the rest and just seem like rhymes for the sake of it.

I love the idea of likening new love to being as amazing as stepping out on to the Moon. The music is in complete contrast to that idea though, sounding edgy and mysterious. I guess there is a good comparison to be had with the great unknowns of what happens next in a love affair and moonwalking. Anyway, I’m rambling. I just wish there was a 12-inch version, which could have explored the outer reaches even more, really emphasising the echo.

Taking a literal approach for the video, Sting, Copeland and Summers were recorded at the Kennedy Space Center in Florida on 23 October 1979. They’re mostly pretending to play live, although Sting has an electric guitar rather than a bass, and Copeland is whacking his drumsticks against a Saturn V rocket. As with their last video, Derek Burbridge directs and Sting looks rather menacing, until all three crack up while dicking about inside.

After

Walking on the Moon very nearly made it to Christmas number 1, which would have made for a distinctly un-festive chart-topper and final number 1 of the 70s. What replaced it was even less cheery.

The Info

Written by

Sting

Producers

The Police & Nigel Gray

Weeks at number 1

1 (8-14 December)

Trivia

Births

14 December: Footballer Michael Owen

Deaths

9 December: Boxing promoter Jack Solomons

Meanwhile…

10 December: Stunt performer Eddie Kidd performs an 80ft motorcycle jump.

14 December: Doubts are raised over the convictions of the four men in the Carl Bridgewater case. Hubert Vincent Spencer is charged with murdering 70-year-old farmer Hubert Wilkes. The farmhouse where Wilkes was murdered was less than half a mile away from the one where Bridgewater had been killed.

444. The Buggles – Video Killed the Radio Star (1979)

/ robbarker1979

The Intro

No song sums up the dawning of a new decade and changing times like Video Killed the Radio Star. It heralded the video age, with MTV choosing it to kick the channel off. And it introduced the world to one of the best producers of the 80s.

Before

Trevor Charles Horn was born 15 July 1949 in Hetton Le Hole, Houghton le Spring, County Durham. The second of four children, Horn’s father was a semi-professional musician, who taught him how to play the basics of double bass when he was only eight. He also learnt the recorder at school, but by the mid-60s he loved The Beatles, Bob Dylan and The Rolling Stones. By then, Horn had already been in a group, The Outer Limits, as a guitarist, but after leaving school he worked at a rubber factory and spent two evenings a week as a Dylan-style singer. He even had his songs played on BBC Radio Leicester.

Horn moved to London at 21 and became a session musician, producing jingles and recording with rock groups. He also featured in Ray McVay’s big band, appearing on the BBC’s Come Dancing. Three years later, Horn was becoming increasingly interested in production. He became involved in the completion of a recording studio in Leicester and subsequently produced there, among others, Leicester City FC.

By 1976, Horn was back in London and joined the touring band for the disco singer Tina Charles as her bassist. Her keyboardist was Geoffrey Downes.

Downes, born 25 August 1952 in Stockport, Cheshire, had musical parents, who played piano. He followed in their footsteps, taking up keyboards in several local bands. He studied at Leeds College of Music and then moved to London for session work on jingles. Downes then featured in the group She’s French, before meeting Charles and Horn.

Horn briefly became Charles’s boyfriend, and he studied the techniques of her producer, Biddu, who made her number 1 single, I Love to Love (But My Baby Loves to Dance). Also in the touring band was guitarist Bob Woolley, and Horn, Downes and Woolley found they shared a mutual interest in Kraftwerk’s The Man-Machine album. The trio talked about the future of pop, and imagined a time when there would be a record label without any human artists, just a computer in a basement with one man creating groups and songs on his computer. One such group would be called The Buggles, perhaps, in a reference to The Beatles.

The trio began recording demos above a stonemason’s. One song, Video Killed the Radio Star, was written in an hour one afternoon in 1978. Largely by Horn and Woolley, the latter was the man behind the infectious chorus. A demo was recorded, with Charles on vocals. Perhaps in part due to her star power and the fact Downes’ girlfriend worked for Island Records, the label decided to sign them. Of course, it could have just been that they recognised a bloody good song when they heard it.

As The Buggles, the trio began recording the album The Age of Plastic six months after their debut single had been written. But Woolley, who had also co-written Clean, Clean and On TV, decided to form a different new wave group. The Camera Club also featured Thomas Dolby, and their version of Video Killed the Radio Star was released before the more famous version. Without Horn and Downes’s production, The Camera Club version was rougher around the edges and not a patch on The Buggles version, but it’s a decent enough curio.

Meanwhile, The Buggles more complex version needed time to get right, and took more than three months work in the studio. Downes contributed a new intro and middle eight and the verses were extended. The instrumental track was recorded at Virgin Records’ Town House in West London in 12 hours. Mixing and the vocals were put together at Sarm East Studio.

In addition to Horn on bass and lead vocal, Downes provided synthesisers and percussion. Paul Robinson was on drums, Dave Birch played lead guitar and Debi Doss and Linda Jarmin provided the backing vocals. The song was mixed by Gary Langan, who later recalled it took forever, in part due to Horn’s obsession with the sound of the bass drum and the vocals. To achieve the old radio effect of Horn’s vocal, featuring a clipped accent akin to the type of singers heard back in the first days of the singles chart in 1952, his voice was compressed and played through a Vox amplifier.

Review

I’ve always enjoyed and been fascinated by Video Killed the Radio Star, dating back to seeing the video as a child. Due to Horn’s ‘mad scientist’ appearance, the female backing singers and the production used on Horn’s vocal, you can be fooled into thinking it’s nothing more than a catchy but possibly annoying novelty song. But of course there’s more to it than that. The Buggles are at once looking to the future of music and mourning its replacing of the past. Woolley, Horn and Downes certainly predicted well – video did become incredibly important in the early 80s, and it was inevitable that the fledgling MTV picked it to mark its debut on 1 August 1981. Videos have become more common in this blog of late, and once I reach the 80s, most number 1 singles will have one.

For this song, the video is almost as important was the song itself. Written, directed and edited by Australian Russell Mulcahy, it was filmed in South London in a day. A young girl, who wears a rather creepy, deadpan expression, fiddles with a 50s-style radio, before a black-and-white Horn appears holding the type of mic held by the likes of trad-pop singers in the formative years of the charts. The radio explodes and suddenly we’re transported to the future. The Buggles perform in an all-white studio while a woman in a futuristic outfit and wig cavorts in a clear plastic tube. The all-white studio is a regular feature of late-70s, early-80s videos – was it a deliberate style choice or was it done to save money? The weird camera angles and generally odd demeanour of everyone definitely freaked me out as a young boy, but there was no denying the quality of the song. Oh, and famous film composer Hans Zimmer makes a brief appearance too.

Horn’s vocal is of course comical, but it adds colour to the song and recalls the days of yore when singers and radio announcers really did talk like that. The new wave vocals of Doss and Jarmin are a great counterpoint, with the production making them swirl and stand out when listening on headphones. Although the production and video certainly embrace the future, the lyrics to Video Killed the Radio Star suggest otherwise, and profess a wish to hold back time and see ‘VTR’ as the enemy (not VCR, as I thought until googling the lyrics). I love the pause and ghostly echo before ‘You are the radio star’, and you get more of the melancholy behind the song with the coda that comes at the end of the album version. Although The Buggles may not have had the star power to be remembered for more than one song, it’s clear from Video Killed the Radio Star that Horn was going to be a brilliant producer in the years ahead.

After

Video Killed the Radio Star went to number 1 in many European countries and Australia, but only scraped into the US chart at 40. The debut Buggles LP, The Age of Plastic, was released in January 1980 and peaked at 27 in the UK. Their second single, Living in Plastic, climbed to 16, then Clean Clean reached 38. It was the last chart action the duo had.

As The Buggles set to work on their next album, the prog rock band Yes were in the next-door studio. Their vocalist Jon Anderson and keyboardist Rick Wakeman had left during the sessions and they had yet to find replacements. Horn in particular was a big Yes fan, so Horn replaced Anderson, Downes was the new keyboardist, and The Buggles worked on the new Yes LP, Drama. Although the album performed well, many hardcore Yes fans weren’t keen on the new line-up, and Yes were booed during the accompanying tour. They split up that December.

The Buggles reconvened in January 1981 to begin second album Adventures in Modern Recording. However, Downes had decided to join the new supergroup, Asia. On the first day of recording with Horn, he quit The Buggles.

Horn soldiered on alone and Adventures in Modern Recording was released that November. It was a flop, but many of the studio techniques he adopted over the next few years were introduced here, including the use of sampling thanks to the Fairlight CMI. Without a band to help out, he enlisted Sheffield New Romantics ABC (by then he was working on their classic album Lexicon of Love). Their performance on Dutch TV to promote the single Lenny marked the end of The Buggles.

Over the years Downes became the longest-serving member of Asia. He also released solo albums, sometimes as The New Dance Orchestra. since 2011 he’s worked with Yes and Asia. Along the way, he made it into the Guinness Book of Records by performing with a record 28 keyboards on stage during one performance.

And Horn? Well, he produced some of the hottest acts of the 80s and worked on some of the greatest singles of all time, many of which went to number 1, so we’ll see his name a lot in years to come. Grace Jones, Dollar, Malcom McLaren, Yes, Frankie Goes To Hollywood and Pet Shop Boys all benefitted from his magic touch. Relax, one of the greatest chart-toppers of the decade, was, bar Holly Johnson’s brilliant vocal, all Horn’s work. He also co-formed avant-garde synth pop group Art of Noise, in 1983. Such was his influence, he became known as ‘The Man Who Invented the Eighties’.

In the 90s Horn worked with Seal, Paul McCartney and Tom Jones, to name but three. In 2002 he produced the number 1 All the Things She Said for Russian duo t.A.T.u. It’s worth noting that in 2009 he produced the Robbie Williams album Reality Killed the Video Star, which showcased their mutual disdain for shows like The X Factor.

In 2006 he formed supergroup The Producers, featuring, among others, Lol Creme of 10cc. They’re now known as The Trevor Horne Band. He’s also worked with current stars including John Legend and performs with Dire Straits Legacy.

The Outro

Horn and Downes have reformed The Buggles briefly several times since 1998. It wasn’t until 2010 that the first ever actual concert, billed as ‘The Lost Gig’, finally happened. This fundraiser for the Royal Hospital for Nero-disability saw them perform The Age of Plastic in its entirety, with help from a cavalcade of stars including Creme, Alison Moyet, Gary Barlow and Richard O’Brien.

In 2017 Horn announced that he, Downes and Woolley were working on a musical called The Robot Sings. Based on The Tempest, it would feature The Buggles’ number 1, plus new compositions by Downes.

The Info

Written by

Bruce Woolley, Trevor Horn & Geoff Downes

Producers

The Buggles

Weeks at number 1

1 (20-26 October)

Meanwhile…

23 October: All remaining foreign exchange controls were abolished.

24 October: Welcome home to ITV! After 10 weeks of industrial action, the ITV strike came to an end.

443. The Police – Message in a Bottle (1979)

/ robbarker1979

The Intro

Formed in the ashes of punk, The Police were one of the most successful new wave bands, combining rock, punk, reggae and jazz influences. They had five UK number 1s between 1979 and 1983 and sold over 75 million records, making them one of the bestselling bands of all time. And singer-songwriter Sting went on to become very famous indeed as a solo star.

Before

Two thirds of The Police first teamed up in late November 1976, when Stewart Copeland met Gordon Sumner. Copeland was born in Alexandra, Virginia, but moved to the UK briefly in the 60s and again in 1974 to become the road manager for prog rock group Curved Air. He then became their drummer, but the band had split by the time of his first encounter with Sumner.

Sumner, from Northumberland, was a teacher who performed bass with the Newcastle Big Band and Phoenix Jazzmen on his time off. While with the latter he earned his nickname due to a black and yellow striped jumper he was fond of wearing. He co-founded the jazz fusion group Last Exit in 1974 but they split the same year as Curved Air.

Copeland was inspired by punk and suggested to Sting they form a new group and join the scene in London. Sting moved there in January. He was less keen on punk, but ambitious to succeed and saw how it could create opportunities. Corsican guitarist Henry Padovani became the third member.

The Police performed their debut gig in Newport, Wales on 1 March 1977, which apparently only lasted 10 minutes. Two months later came their first single, Fall Out, on Illegal Records, founded by Copeland, his brother Miles Copeland III and Paul Mulligan, their manager.

That May, Sting was invited by former Gong member Mike Howlett to perform in his new project Strontium 90. When the planned drummer became unavailable, Sting took Copeland along. Also in Strontium 90 was Andy Summers. The Lancashire-born guitarist had previously played with Eric Burdon and The Animals and with Kevin Ayers. Strontium 90 recorded some demo tracks and among them was Every Little Thing She Does Is Magic, a future number 1 for The Police.

Sting was becoming frustrated with Padovani’s ability and asked Summers to join The Police. Summers would only do so if he replaced Padovani but Sting and Copeland couldn’t go through with telling him, but only two gigs later, Summers issued them with another ultimatum and Padovani was out. He joined Wayne County & The Electric Chairs.

Sting became more excited about the avenues The Police could explore in their new line-up, and the songs came thick and fast. But they were struggling for money, and it was the opportunity to star in an advert for Wrigley’s Spearmint Gum, directed by Tony Scott, which resulted in the trio dying their hair blonde. The advert never aired, but there peroxide cuts made them stand out, as did their looks in general, particularly Sting.

Copeland III leant The Police money to finance their debut LP, Outlandos d’Amour. Released in November 1978, it had been preceded by Roxanne in April. This reggae-influenced tale of a prostitute was claimed by their label to have been banned by the BBC, which wasn’t true. But they did ban the follow-up Can’t Stand Losing You due to the sleeve pic of Copeland hanging himself. Neither single, nor their next, So Lonely, charted.

However, in February 1979 Roxanne was released in the US and it did pretty well, peaking at 32. It was re-released in the UK and following a performance on Top of the Pops it scored them their first hit, climbing to 12. Suddenly they had momentum. A US tour was followed by a re-release of Can’t Stand Losing You, which was a number two smash.

In the same month the re-release of Roxanne catapulted The Police to stardom, they recorded Message in a Bottle at Surrey Sound Studios. In September it became the first single from their second album Regatta de Blanc. This was, incidentally, the same month the film Quadrophenia, based on The Who album from 1973, was released. Sting played Ace Face.

The central guitar riff to Message in a Bottle had been thought up by Sting and was intended for a different song originally. The arpeggiated guitar part before the third verse was Summer’s idea. Copeland’s drumming, later considered by Summers to be his finest drum track, was overdubbed from around six different parts.

https://youtu.be/MbXWrmQW-OE

Review

Me and The Police have a strange relationship. With their unique mix of different genres including dub, reggae and jazz, I should in theory have a lot of time for them. And at least two of their number 1s are brilliant. But I’m often put off by Sting’s voice. I’m really not a fan of his attempt to sound black and I’m surprised in today’s #cancelled culture that it isn’t more widely criticised. Thankfully he reins it in during their later years but it’s here in full effect. The ‘o’ at the end of many of the lines is irritating and rather patronising.

I can’t deny the band themselves sound great, though. Without the polish of the later years, there’s a real muscularity to their sound, and all three put in a great effort. And Sting’s lyrics, in which a castaway puts a message in a bottle to try and find love, only to discover a year later ‘a hundred billion bottles on the shore’, from likeminded souls, are rather poignant. Love the music behind Sting every time he sings the title moodily, too. It’s quite a lengthy track but at the same time flashes by all too quickly. I’d love to hear a longer version.

The official video, as seen above, mostly features the band miming to the track in a dressing room, intercut with shots of a city and the band performing live. Sting mostly looks rather menacing, while Copeland manically drums on parts of his drumkit.

After

Despite The Police’s varied influences, Message In a Bottle is a great pop song, and a deserved chart-topper. It also went to number 1 in Ireland, and five in Australia, but somehow failed to catch on in the US. All three band members still regard it highly and Summers thinks it’s their best ever track. Number 1 for three weeks in the autumn of the year, The Police would soon follow it up with an even better single.

The Info

Written by

Sting

Producers

The Police & Nigel Gray

Weeks at number 1

3 (29 September-19 October)

Trivia

Deaths

10 October: Psychologist Dr Christopher Evans

442. Gary Numan – Cars (1979)

/ robbarker1979

The Intro

Four days after Tubeway Army went to number 1 with the influential new wave sound of Are ‘Friends’ Electric?, singer-songwriter and producer Gary Numan had dropped the band name and recorded a John Peel session as a solo artist. His next single, Cars, was a stone cold electro-pop classic and a deserved second chart-topper.

Before

Numan was already working on his debut solo LP, The Pleasure Principle, when Tubeway Army promoted Are ‘Friends’ Electric? on Top of the Pops. Paul Gardiner remained on bass, but Cedric Sharpley was the drummer and their ranks were bolstered by Ultravox keyboardist Billy Currie (his band were on hiatus) on violin and Chris Payne on keyboards. This line-up were now, in effect, just Numan’s backing band.

The Pleasure Principle was recorded in London’s Marcus Music Studio and saw Numan drop guitars altogether in favour of an almost entirely electronic array of instruments, with most sounds emanating from a Minimoog and Polymoog, played by either himself or Payne. As with Tubeway Army’s Replicas album, most of his lyrics were sci-fi based, focusing on subject matters including the last machine left on Earth.

A more contemporary and down-to-earth lyrical concept was Cars, which Numan later claimed was written before Are ‘Friends’ Electric? and his first attempt at a straightforward pop song. The lyrics were inspired by a road rage incident, in which the singer claimed he was in a traffic jam in London when people in the car in front got out and tried to pull him from his car and attack him. Numan locked the doors and managed to get away by driving on the pavement.

In addition to vocals and synths, Numan provided synthetic percussion alongside Sharpley’s drums and percussion. Gardiner and Payne were also involved but Currie wasn’t. The Minimoog was mostly used to augment that classic bass riff, while the Polymoog provided the icy synthetic string accompaniment.

Review

Numan later described Cars as ‘pretty average’ but it’s one of the best number 1s of 1979. Musically, like Are ‘Friends’ Electric?, it’s incredibly simple, but that’s part of the charm and why the public took to it so well and it’s still so fondly remembered. That riff is of course the main weapon to hook listeners in, but I love the proto-New Romantic Polymoog sound that heralds the early-80s pop production sound.

It’s fascinating to hear Numan come at cars from a different angle to Kraftwerk, who of course were a huge influence on Numan. Whereas the German electronic pioneers had written Autobahn as a lengthy love song to driving on the motorway, Cars is short and to the point. Numan sees his vehicle as sanctuary from the outside world, locking himself away from human contact.

‘Here in my car,
I feel safest of all,
I can lock all my doors,
It’s the only way to live,
In cars’

As someone with Asperger’s, it’s fair to say Numan is probably writing about himself here. However, as the song progresses (and there’s actually few lyrics here at all – the second half of the song is instrumental), Numan realises he actually does need companionship: ‘Will you visit me please/If I open my door’. The door is literally left open as the song plays out.

Looking at the song another way, it’s perhaps a take on a near-future. Numan plays up his android persona with that Bowie-like vocal technique, giving the impression of a human stripped of emotion, driving round a dystopian landscape in which people no longer interact.

Of course, most people lost likely just liked it because it was really memorable and a song about cars is somewhat of a novelty, and guaranteed to be used on a million TV shows whenever a song about cars is needed, because why not, it’s the song Cars?

In the video, Numan and co play up the Kraftwerk similarities even more. Starting with Numan standing alone on a pyramid stage (in a nod to the artwork for The Pleasure Principle, in which Numan stares at a small pyramid on a desk), he’s then joined by the rest of his band, who all stand emotionless, joining Numan in acting like robots. Ruining this somewhat is Sharpley, who is in classic rock drummer mode, seemingly playing a totally different song to everyone else. Then, there’s five Numans holding imaginary steering wheels as on the single’s sleeve, stood on a giant Polymoog. It’s a fun, cool study in new wave electronic cool.

After

Released on 21 August, a month later Cars was in pole position in the UK. It did very well elsewhere too, earning him his first (and, alas, only) US hit, peaking at nine. The Pleasure Principle went to number 1 in the UK album chart, and the next single, Complex, reached six.

The following year came the album Telekon, featuring a larger array of synths but returning guitars to the mix. It spawned two top 10 singles – We Are Glass (five) and I Die: You Die (six). Never much of a fan of touring back then, he announced his retirement from performing live and said goodbye with live shows at Wembley Arena. Soon after came a new album, Dance in which Numan began to move away from the electro-pop sound, just as it exploded across the charts courtesy of the New Romantic movement. It featured Queen drummer Roger Taylor. It’s one single, She’s Got Claws, went to six.

As up-and-comers such as Orchestral Manoeuvres in the Dark, The Human League and Duran Duran started notching up hits, Numan’s commercial fortunes declined. Although the 1982 album I, Assassin included the excellent funk sound of Music for Chameleons (as mimed to by Steve Coogan in I’m Alan Partridge) and We Take Mystery (To Bed), the latter was his last top 10 single to date, peaking at nine.

1983 album Warriors saw Numan explore jazz-funk further and he announced his return to touring. It was his last LP for Beggar’s Banquet and he released several on his own label, Numa. Berserker (1984) featured samplers for the first time but was his least successful release at that point. The Fury didn’t do much better a year later but Strange Charm in 1986 did at least feature two top 30 singles – This Is Love (28) and I Can’t Stop (27). However, it was the last release on Numa.

In 1987 Beggar’s Banquet released a remix of Cars to promote a greatest hits compilation. The E Reg Model remix is pretty good – I don’t know who’s behind the production but there’s some nice touches added and it avoids the trap of many mid-80s remixes of veering off into bombastic production. It deservedly reached 16.

Numan signed with IRS but they angered him by changing the 1988 album Metal Rhythm to New Anger and remixing it against his wishes. After 1991’s Outland he reactivated Numa but Machine + Soul marked a low ebb, released mainly to try and pay off debts. With moral support from his future wife Gemma, Numan decided to give up on trying to rekindle his pop career and instead begin writing more personally. The result, Sacrifice, proved timely. Released in 1994, he played all the instruments himself and created a dark, industrial sound, just as bands he had influenced, like Nine Inch Nails and Marilyn Manson, began to gain popularity.

Numan shut down his label permanently as his critical stock began to rise once more. A third remix of Cars (this one was known as ‘The Premier Mix’; there had been an unnamed one in 1993) charted in 1996 after its use on an advert for Carling Premier. Similar in sound to the ‘E Reg’ version, it earned Numan his first top 20 song in nine years, motoring to 17. The albums Exile (1997) and Pure (2000) were lavished with critical praise and Rip, from the latter, reached 29 in 2002.

With Scottish industrial singer Rico, he scored a number 13 hit in 2003. Quite a remarkable comeback. He also provided vocals for dance music duo Plump DJs that year. With money coming in once more, Numan launched Mortal Records and released Jagged in 2006, accompanied by a successful tour. Two years later, to commemorate his 30th year in music, he toured the Tubeway Army LP Replicas (1979) in its entirety.

In 2011 Numan released Dead Son Rising and collaborated with US experimental rock outfit Battles. Two years later came the eagerly awaited Splinter (Songs from a Broken Mind), which became his bestselling album in 30 years, only to be overtaken by the sequel, a concept album about a post-apocalyptic world caused by global warming. Savage (Songs from a Broken World) was his most popular release since Telekon.

Numan’s 21st and latest album, Intruder, was released in 2021. Over the decades he’s gone from being reviled by some, and/or a figure of fun (he’s said in recent years how announcing his support for Margaret Thatcher did lasting damage) to a respected figure in music. And rightly so, because his two number 1s are brilliant.

The Outro

Now 63, he won’t ever be admired to the level of David Bowie and Kraftwerk, who he was often accused of ripping off, but he’s stuck it out and influenced many through the years. And all along, his hardcore devotees, the Numanoids, have stuck with him through thick and thin.

The Info

Written & produced by

Gary Numan

Weeks at number 1

1 (22-28 September)

Trivia

Births

22 September: Labour MP Rebecca Long-Bailey
28 September: Gymnast Annika Reeder

Deaths

27 September: Comedian Gracie Fields/Wings guitarist Jimmy McCulloch

Meanwhile…

25 September: Prime Minister Margaret Thatcher opens the new Central Milton Keynes Shopping Centre. The then-largest indoor shopping centre in Britain had taken six years to build.

439. Tubeway Army – Are ‘Friends’ Electric? (1979)

/ robbarker1979

The Intro

Derided by detractors as a David Bowie and Kraftwerk wannabe, Gary Numan in fact had two startlingly good number 1s in 1979 and helped point the direction of pop into the 80s.

Before

Gary Anthony James Webb was born 8 March 1958 in Hammersmith, London. A shy, only child, Webb’s parents adopted his father’s nephew John when he was seven. Later, John would serve in Numan’s backing band.

Webb attended schools in Stanwell and Ashford in Surrey, then Slough, Berkshire, followed by Brooklands Technical College in Weybridge, Surrey. As a teenager he joined the Air Training Corps and then tried his hand as a forklift truck driver, an air conditioning ventilator fitter and accounts clerk.

More important to him than these jobs was his hobby – music. When he was 15, Webb’s father had bought him a Gibson Les Paul guitar. He would play in various bands and would often scour the ads in Melody Maker for opportunities. Among the bands he auditioned for were a group of unknowns calling themselves The Jam.

As a teen, Webb had seen a child psychiatrist, who diagnosed him with Asperger’s and put him on medication. This added to his detached, robotic persona when he became famous, and explained his awkwardness in interviews.

As punk broke out in 1976, Webb wanted in on the action. Many groups of disaffected youths were sprouting up singing songs of alienation, which appealed to the awkward young Londoner. He joined Mean Street, then The Lasers as their guitarist, which is where he met bassist Paul Gardiner. Soon, the duo and drummer Bob Simmonds became Tubeway Army. Simmonds didn’t last long and was replaced by Webb’s uncle Jess Lidyard. The trio took on a pseudonym each – Webb became Valerian, Gardiner became Scarlett and Lidyard was Rael.

Tubeway Army became a fixture on the London punk scene, with Webb taking charge of songwriting and vocals. In March 1978 they recorded an album’s worth of demos (released in 1984 as The Plan), which earned them a recording contract with Beggars Banquet Records. On the day debut single That’s Too Bad was released, Webb quit his job in a warehouse.

He may have thought he’d done so too soon when neither this spiky single or its follow-up, the more rock-based Bombers (featuring Sean Burke on guitar and Barry Benn on drums), dented the charts. In July, between the release of these two singles, Tubeway Army quit live shows after violence flared at a shared gig with The Skids. Numan decided they should be a studio-only project.

With Lidyard back in the fold they recorded their eponymous debut. Punk influences remained but there was also a progression towards their future new wave sound. Importantly, the pseudonyms were dropped, and Webb was now Gary Numan, after being inspired by a Yellow Pages advert for a plumber called Arthur Neumann. Numan had come across a Minimoog synthesiser during recording sessions, and this, together with lyrics influenced by sci-fi writers JG Ballard and Philip K Dick, showed where Tubeway Army were headed next.

Numan had grown tired of punk and wanted to release this first album under his own name, but his label refused. No singles came from it and Numan quickly moved on to the next album. Recorded December 1978-February 1979 Replicas was musically influenced by Ultravox, Low-era Bowie and Kraftwerk. It was a loose concept album inspired by Dick’s classic Do Androids Dream of Electric Sheep?. The Machmen were androids with cloned human skin, taking orders from the Grey Men and keeping humans in check. The first single from Replicas, Down in the Park, wasn’t a hit, but has proved to be a fan favourite and influenced many rock, Goth and techno acts to come.

Around this time, Numan had his first taste of the mainstream recording Don’t Be a Dummy for a freaky advert for Lee Cooper jeans. I’m glad I was only a few months old when this was shown on TV, as it would have scared the shit out of me.

Replicas was released 4 April 1979, and Are ‘Friends’ Electric? on 4 May. It was originally two separate songs – most likely the verses, written on an old out-of-tune piano, and the spoken word sections. As usual, Gardiner and Lidyard featured as a traditional rhythm section, but Numan was at the forefront with a selection of synths. There was a Minimoog, a Polymoog, an ARP Odyssey and an RMI Electrapiano. Together, they created an unusual, magnificent sound. It was at once the sound of a gigantic, lumbering machine, destroying anything in its path, and a clumsy, knackered old robot that was breaking down. Numan also added heavily flanged guitar parts. A demo version is available, sounding pretty much the same as the single, but with a more awkward vocal from Numan, in a lower key.

Review

By not being as musically gifted as Bowie, nor as refined as Kraftwerk, Numan created something influenced by them, yet totally new. It’s such an odd number 1, even for the time it was released. As the decade came to an end and Thatcherism began its iron grip, there was clearly an air of nihilism and fear for the future in the air, with Are ‘Friends’ Electric? and Another Brick in the Wall (Part II) topping the charts. Yes, new wave was more chart-friendly than punk, but it maintained its predecessor’s edge. There’s an argument here for this perhaps being the first New Romantic number 1.

Tubeway Army looked ahead to what may be in store for civilisation. The lyrics to Are ‘Friends’ Electric?, as with most of those on Replicas, came from short stories Numan had written about how he predicted London would be in 30 years time. The ‘friends’ in question here are robots that resemble humans (Numan?) that come to your door offering various services. Among them are prostitutes.

Numan’s lyrics here are often forgotten compared to the futuristic sound, but they are great. They’re dark, desperate and mysterious. I love the scene the first verse sets, and you can easily imagine it at the start of a novel:

‘It’s cold outside,
And the paint’s peeling off of my walls,
There’s a man outside
In a long coat, grey hat, smoking a cigarette’

His vocal performance mirrors that of the synths, awkward, primitive, and the Cockney tones make the resemblance to Bowie very clear. The spoken word sections are probably the weakest link in that sense, somewhat buried in the mix, which is frustrating as they suggest a more emotional Numan, describing a romance that ended badly. The first section ends with ‘I don’t think it meant anything to you’ and the second, ‘You see it meant everything to me’.

Or is he describing the encounter with the ‘friend’. It’s unusual for a number 1 to only mention the song’s title once, and it appears in the final chorus. Did the singer not realise ‘friends’ are not human? It only seems to have become apparent when it broke down. At what point did it malfunction? Hope it wasn’t in the middle of the act…

Despite being over five minutes long, Are ‘Friends’ Electric? doesn’t outstay its welcome. I could listen to a version twice the length. I want to know what happens next to Numan, and that piano riff is so good I’ll never tire of it. The fact it lasted at number 1 for a month suggests this wasn’t an oddity that ended up at the top by accident, and again, I’d put that down to the riff. Strip away all the futurism and it’s still just very catchy.

After

Also helping Are ‘Friends’ Electric? was Beggars Banquet’s decision to release a picture disc featuring Numan’s scary android visage peering out at the listener. Picture discs were still unusual in 1979, but became more popular from here on in. Tubeway Army’s performances on The Old Grey Whistle Test and Top of the Pops vindicated their frontman’s belief he was the star, with an emotionless Numan front and centre. This was the last release by Tubeway Army.

The Outro

22 years later, producer Richard X had begun releasing mash-ups under the name Girls on Top. One of the first was We Don’t Give a Damn About Our Friends, which combined the music from Are ‘Friends’ Electric? with US R’n’B singer Adina Howard’s 1995 hit Freak Like Me. Island Records loved it and wanted their girl trio Sugababes to record it. Richard X produced the new version in his flat in Tooting giving it more of a pop sheen but retaining the rawness. Released in 2002, the excellent Freak Like Me became Sugababes’ first number 1. Numan preferred it to Are ‘Friends’ Electric?.

Trivia

Writer & producer

Gary Numan

Weeks at number 1

4 (30 June-27 July)

Trivia

Births

25 July: Snooker player Allister Carter

Deaths

16 July: Countertenor Alfred Deller

Meanwhile…

5 July: The Queen attended the millennium celebrations of the Isle of Man’s Parliament, Tynwald.

12 July: Kiribai became independent of the UK.

17 July: Middle-distance runner Sebastian Coe broke his first world record, for running a mile in Oslo.

23 July: The Conservative government announced £4 billion worth of public spending cuts.

26 July: The new Education Act repealed the 1976 Act and allowed local education authorities to retain selective secondary schools.

433. Blondie – Heart of Glass (1979)

/ robbarker1979

The Intro

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 Wuthering Heights. Denis did reach the top spot in the Netherlands and Belgium though, and when the next 7-inch, (I’m Always Touched 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: Comedian Jocelyn 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.