OK DD, by way of illustration, just imagine you're sitting at the Company Dance with the Missus and the DJ's slogging away at some good retro Disco hits and then on comes Lena Martell with One Day at a Time. Do you:
1) Grab the Missus, head for the Dance Floor and say "Come on Luv, they're playing our tune"
2) Head for the Lav for that much needed 14th boot-splashing
3) Head for the DJ with a retaliatory request for the full 23 minute version of Supper's Ready by Genesis
4) Pogo onto the Dance Floor alone in all your Glory
5) Leave for Home. After all, it's time for Ryan's quiz.
I would respectfully suggest that some tunes are not meant for dancing at all and bless our Dancers for managing to dance to many of them over the years and look pretty darn good doing it in the great majority of cases
Some Dancers who gave a good time, broke all the rules, played all the fools, yeah yeah yeah they blew our minds
Well the construction industry doesn't run to annual company dances over here any more (though I did work for one agreeable outfit that served champagne on Fridays at 5 in the chairman's office). Hypothetically I'd demand Supper's Ready with full vulpine accoutrements and upon being told 'we don't 'ave that, mate, nor no fox's head neiver', head for home, even if it meant missing the prawn vol au vents and flat prosecco.
Worthy sentiment, but a bit of a bland song to my ears. But that's OK on this occasion as everything goes together to create a light and easy vibe. I often think of Ruby Flipper within the context of that wonderful summer, and the informality of grab-a-partner time with the laid-back sound gives substance to those carefree golden memories. So it's particularly depressing that DLT in that moment and where he finds himself now could passably serve as a metaphor for the rancid decline of the pop scene in general.
Let's get back to 76, where the girls could have been fashioned by Mary Quant. The boys...well that's best overlooked again. The muted light helps create a nice winding-down evening vibe. The routine's a triumph for the art of sharing. Each professional makes their mark, and we get a winning balance between a 'proper' routine and the audience grab, with a sort of teasing seguing period in between. The audience had already played their part in the relaxed atmosphere with their clapping along, but it was a lovely symbolic idea to reach out and 'gather everyone' to share in the dance. This is definitely one of the more successful audience (and others!) grabs and I would think there had been a bit of pre-tutoring.
Yay!! its another one of those audience participation dances (sarcasm alert). Actually this is probably one of the better versions of that ilk, even DLT is getting involved to dance with Cherry. The studio set seemed much larger in '76 giving RF the chance to use the main floor as a proper dance area, although it can look a little sparse at times, and cameras and crew getting in shot kind of spoil the visual for me.
Despite the song being not very 'danceable' there is enough entertainment to be had here, even if they could be dancing to just about anything and Flick has not felt the need to be literal on this occasion. The dancers themselves lead with a few solos and a nice grouping of Lulu, Phil and Sue, before the six select their respective partners for the last bit which in actual fact is only about 30 seconds but i bet for the non dancers it felt a lot longer.
The dance starts off very well ,infact I like it ,its only when the audience participation bit comes in that the routine starts to looks a bit igildy pickldy ,too much going on at one point to enjoy the dance ,and its a shame because this spoils it for me ,so for the first part of the routine I give a 7.5
This has to be one of the most spread out of performances taking up most of the studio. A nice song but not an easy one to come up with a routine for. At times the lighting, camera work and overlays all irritate, but there are some nice moments and the audience participation works quite well so I will score 8 out of 10.
I considered both Sue and Phil for Dancer of the day before finally deciding to give my vote to Cherry.
Hmmm this tickle my fancy a lot less than everyone else's it would appear!
So spread out it's as if they've spread themselves too thin. And the sparse audience still manage to get in the way.
Not sure about the dresses, Sue's look like it might have been worn by Servalan in Blake's 7.
Phil looks like a Northern clubs magician - I keep expecting him to whip some brightly colour plastic flowers from up his sleeve.
All a bit slow and ploddy. And the audience participation doesn't help - bit lazy I've always thought. And I would never have spotted Ruthie in a month of Sundays! How come she's usually banished to the dressing room...?
I'm not keen that they've been spread so far at the start and the audience participation dances always look a bit flat. The audience look like there's an invisible line between them and the dancers that will disintegrate them if they cross it. An OK dance but a bit too much like a fancy dress disco party for me 8/10. Dotd: Cherry who looks so small next to DLT (who is obviously huge).
Sandy Borne and Tricia Roberts Appreciation Society
I can kind of see what Flick was thinking involving the audience in this but ultimately I feel their presence turned what could have been quite fine into something of a mess. I like the track so I was expecting to like the routine more but the wide shots felt lazy and some of the lighting seemed off. A disappointing 5, DotD smartly dressed Phil.
Nice routine but not enough close-ups for my liking, the cameraman needs a nudge in the right direction. Poor lighting again. One of those dances which (wisely IMO) ignores the lyrics of the song. Can you imagine our girls dressed as farmhands? Actually, that might have worked come to think about it! Instead we get a black and white vibe, very 60s Carnaby Street and all that. In the audience grab at the end Cherry gets the hairy cornflake, that must be a memory which has become tarnished in recent years.
8/10 from me.
Cherry gets DotD for her efforts to make DLT look animated.
Natural growth seems prevalent in this routine due to the slight impromptu manner in which it's filmed, with cameras and floor staff very much gathered up in the process. Having a set-up which commences with three groups of 'crops' adds variety. Given how closely Patti and Floid are intertwined with each other, it's best we look away before the exchange of pollen takes place. The Lulu/Phil/Sue gathering sways in a timely manner and praise is due for the highly subtle crop rotation which takes place immediately prior to their close-up. Wither the lone Cherry plant though which needs watering. Once the sunny vocals commence, she flourishes.
Gallant of the guys to offer support to Cherry and Patti when the time comes for them both to be plucked from the platform for the ground level build-up. Thus is solved the mystery of an audience placed in a position which gives the studio a lop-sided slant in terms of symmetrical balance. The only remaining puzzle is the conflicting tempo danced by Phil during his close-up. Take it easy!
Very interesting to subsequently learn Ruth herself partners Floid during the finale and a shame we don't get a good shot of her, although it's definitely her posture. Lovely idea.
Enjoyable but occasionally ramshackle.
I like this record, and RF’s routine has a lot going for it as well. The routine itself is brilliant with it being done in two parts. The stuff on the stage with the initial uneven distribution of the dancers (1st World, 2nd World, 3rd World), doing their own thing changes as the routine progresses to everyone united and following a more unified set of dance moves. The overhead happy clappy walk to the opposite side of the studio and then the run towards the audience to bring them into the dance are all things that make this a pretty good performance.
Also, having Ruth involved makes this a bit extra special, and such a shame the cameras don’t pick her out.
The Floor Manager lets things down a bit. The line of four audience members marooned in the middle of the studio floor for the first half of the routine get in the way a bit, and then he gets in the way of the camera as he’s pushing the audience about for the second half of the routine. But it does give a “doing it live” effect to things as does what looks like the random selection of audience members to dance out the record.
Phil’s trouser burst adds a humorous, if unintentional, ooops moment to proceedings.
DOTD is Sue There’s a lot going here, and the slightly unusual nature of the routine makes this a 8/10
I have neglected the Ruby Flipper comments for far too long, so now I am committed to take an active part in the comments.
I like the song and the routine is very good, though the audience participation looks staged and I suspect they are dancers because to me it looks like they are doing a very good job keeping in sync with Ruby Flipper.
The ladies are looking very gorgeous today, but the lighting on Patti when the ladies were lined up was just poor, but a part from that, the routine was excellent. Lulu was the highlight of the routine for me today.
Rating: 8/10 DOTD: Lulu