24-09-81: Presenter: SIMON BATES (Thanks to POPSCENE for the running order)
(45) SLADE - Lock Up Your Daughters
(5) ALVIN STARDUST – Pretend ®
(24) DEPECHE MODE - Just Can't Get Enough
(36) DAVE STEWART & BARBARA GASKIN - It's My Party
(18) LINX - So This Is Romance ®
(7) DIANA ROSS & LIONEL RICHIE - Endless Love (danced to by Lulu & Jeremy)
(39) JAPAN – Quiet Life
(52) HEAVEN 17 - Play To Win
(21) IMAGINATION - In & Out Of Love
(22) MADNESS - Shut Up (video)
(1) ADAM AND THE ANTS - Prince Charming (video)
(9) THE POLICE - Invisible Sun (stills/credits)
Largely new material forms the basis of this 40 minute edition with both the repeat numbers taken from a recently unscreened Savile edition which fits two places back in the true TOTP timeline with only the No.1 record fresh in the minds of the BBC4 audience. Although heavily weighted in early 80's acts, atop the higher side of the scale sit two staunch 70's acts, bunched together to commence the show.
Slade's glam rock sound remains firmly embedded in the 1970's, their platforms rebooted into heavy metal on the ZZ Top/Whitesnake as encapsulated in Lock Up Your Daughters, a No.12 twin to We'll Bring The House Down. The change of direction was the result of an appearance at the 1980 Reading Festival, Slade being offered a last minute slot vacated by Ozzy Osbourne. Seen by the group as a farewell performance and preferable to merely fading away, to the surprise of all, themselves included, Slade stole the show. Buoyed by their surprise career extension and aided by signing a contract with Cheapskate Records which gave them greater artistic licence, Slade released their 10th LP 'Till Deaf Do Us Part', featuring the aforementioned singles, in November of this year.
Alvin Stardust's first return to the charts since 1975 resulted in a No.4 position for the melodious, oft covered Pretend, taken to No.2 by Nat King Cole in 1953, although Stardust's rendition is in the style of Tennessee Rockabilly singer Carl Mann's 1959 recording. Prior to Pretend, none of Stardust' five singles had charted, the first of which was a cover of 50's Rock & Roll classic Move It whose b-side reflected the popular road safety commercials fronted by the glam man at the time, 'Be Smart Be Safe (The Green Cross Code Song)'
Just can't Get Enough proved to be Vince Clarke's swansong with Depeche Mode, the group he'd formed with school-friend Andy Fletcher and guitarist Martin Gore in 1980 under the name Composition Of Sound. The name change stemmed from a French fashion magazine which translates as 'Fashion News'. The regular interviews and photo-shoots contributed to Clarke's diminished interest in the group, a duet formation in the pipeline as a result of answering an advert placed in Melody Maker by one Alison Moyet, a fellow Basildon resident who had, coincidentally attended the same school and sat in the same class as Fletcher and Gore. Even more of a coincidence was the fact that Moyet and Clarke had attended the very same Saturday music school from the age of 11 without being aware of each other. Appearing on an album named after the appropriately electronic educational toy for youngsters 'Speak & Spell' . Just Can't Get Enough reached No. 8 in October '81
Paired together are two debutant bands - Japan and Heaven 17. Reaching No.19, 'Quiet Life', current as it sounds, is a two year old recording and a case of their art-pop style being misfiled under the extravagant New Romantic banner. Quiet Life was released by German disco label Hansa-Ariola at a time when Japan had been assigned to Virgin Records since 1980. Still, money's money.
Human League breakaways Ian Craig Marsh and Martyn Ware enlisted their photographer Glenn Gregory for their new wave/synthpop offshoot in 1980, taking their name from that of a fictional group mentioned in Anthony Burgess's 1962 novel 'A Clockwork Orange'. Neither Play To Win nor any of the other four singles taken from their debut album Penthouse and Pavement would breach the Top 40, tonight's offering managing No.46.
Martin moved in romantic circles in a Sandy setting with Patti, Gill pondered love depths with Alex in his holiday shirt, now name-checked Lulu gets a male dance partner all to herself for an Endless Love duet. He's not wooden enough to be Old Bill, lacks the elasticity to be identified as The Rubberband Man...he's Jeremy. At long last, many people's second favourite 'Leg' represents the troupe all by herself. Dancing with young cutie-pie herself, Jeremy's the envy of quite a few. Mind you, seeing as how effortless the lifts are, lithe Lulu certainly does look easy to pick up. Ironic really because in a month's time, Legs & Co. will be dropped.
An excellent preview once again AC. I’m looking forward to this episode. The lineup is much better than the previous week’s, with Debut performances from Heaven 17 and Japan something to look forward to. Mainly looking forward to seeing Lulu's spin with Jeremy though.
There are very clear sounding similarities with Slade’s “Lock Up Your Daughters” to Whitesnake's "Fool For Your Lovin''. I’m surprised they got away with it.
Yes its kinda strange only Lulu getting the nod this week, with the others being given the week off. This is the only occasion in the whole of Legs & Co's tenure on the show this ever happened, with only a single member of Legs & Co in attendance on an episode of TOTPs. When other solo's have been performed, a full routine has also taken place on the show. Of course this isn't a solo as AC as pointed out, but Lulu is joined by Jeremy who really dances superbly and the pair of them compliment each other well.
Good show this week after last week's clunker, despite the absence of Legs (Lulu apart). Yup, that Slade song seemed instantly recognisable, but I couldn't figure out why, so I'm grateful it's been pointed out up thread it's Fool For Your Lovin' by Whitesnake! Was that Heaven 17 song supposed to sound like that, or had something calamitous gone wrong with the sound? As relative newcomers Depeche Mode were already starting to take the piss out of the miming aspect of TotPs, cheeky sods. Yet another belter from Madness, they really were in the zone back then producing pop classics with ease. I thought Japan were superb, sounding unerringly futuristic even when watched from 2016. Not a Police fan at all, but Invisible Sun was a great single too. As I said, a very good show.
Apart from the opening act, it was rock solid musical bliss of me, & as eclectic as ever, for this period of time.
That was a rather strange introduction to Heavon 17, it sort of began before Simon Bates announced it, & after his butting in, it seemed to continue from where it left off.
The far superior version of It's My Party was heard by me tonight I don't care what anybody else thinks.
The Linx track was great, but in my mind, 1977 called asking it to come home!
The highlight though, without a shadow of a doubt, Lulu, & some male dancer called "Jeremy", playing Diana Ross, & Lionel Richie, respectively!
Just after the Imagination performance, listen for the the drumstick (that the girl is holding in the picture below) fall onto the floor after shes put it on her knee with an audible clunk and the look of embarrassment on the girls face.
Well, there's a fairly rare edition with very little deja vu, which got a big boost of electricity in its full form. Japan were maybe the most sophisticated band operating at the time, though I'm never quite sure if I like Sylvian's vocals. It depends on the mood I'm in. As a fan of Heaven 17 I was pleased and surprised to find them on, I thought their debut was Temptation. But somehow this actual debut lacked impact, not helped by the clipped intro.
An excellent cover of It's My Party, successfully hopping between experimental and poppy. As keyboard player and backing vocalist for seventies proggers Hatfield And The North Stewart and Gaskin were unlikely prospects to be modern electronic pop-renovators. The extended jazzy noodling of HATN has dated very badly, the keyboard there sounding like it was a prize on Sale Of The Century.
I thought Lulu and Jeremy (or Jammy to the ultra posh and many forum members) put in a lovely performance. One of the last few I hadn't watched before. Reminding me as it did of Ruby Flipper and where I began this journey brought nostalgia into it at this late hour.