You Ain't Seen Nothing Yet _________________________________________________________________________________
Performed byBachman-Turner Overdriveand reaching number 2 in the UK charts _________________________________________________________________________________
Original broadcast date21/11/1974Duration of dance - 3.00 mins _________________________________________________________________________________
Dancers: Babs, Cherry, Dee Dee, Ruth, Sue _________________________________________________________________________________
A link to the dance:
Randy Bachman is a Canadian rock guitarist and founding member of The Guess Who, probably best known for their US No. 1 single "American Woman" which Randy co-wrote. Bachman left The Guess Who in 1970 and recorded a solo album. In 1971, he teamed up again with Chad Allan, another founding member of The Guess Who. Together they formed the group Brave Belt, engaging Randy's younger brother Robbie Bachman on drums. Later they were joined by bassist Fred Turner, but the subsequent change of style caused Chad Allan to leave the band. Thereafter Tim Bachman, another of the Bachman siblings, was added as a second guitarist. This line-up changed its name to Bachman-Turner Overdrive - or often referred to just as BTO - in 1973.
Their first self-titled album was released in May 1973, but it was their second album, aptly titled "Bachman-Turner Overdrive II", that brought them success, largely due to the hit single "Takin' Care Of Business" (US No. 12). The big break-through came in 1974, when one of the songs from their third long-player "Not Fragile" was released on 45 in a slightly edited form, a tune called "You Ain't Seen Nothing Yet", which climbed to No. 2 in the UK and all the way to No. 1 in the US.
Randy insists that the song was performed as a joke for his brother, Gary, who had a stutter, with no intention of sounding like The Who's "My Generation". They only intended to record it once with the stutter and send the only recording to Gary. But when Charlie Fach of Mercury Records could not hear a hit single in the other eight tracks that had been recorded for the album, Randy reluctantly mentioned that he had this ninth song, but didn't intend to use it on a record. He said, "We have this one song, but it's a joke. I'm laughing at the end. I sang it on the first take. It's sharp, it's flat, I'm stuttering to do this thing for my brother." Fach asked to hear it, and they played the recording for him. Fach smiled and said "That's the track." Bachman asked if he could re-record the vocals first, without the stutter. Fach agreed, but Bachman says "I tried to sing it normal, but I sounded like Frank Sinatra. It didn't fit." Fach said to leave it as it was, with the stutter.
When "You Ain't Seen Nothing Yet" entered the UK Top 30 at No. 20, BTO were obviously unable to perform in the TOTP studios. Fortunately the BBC did not show the rather horrid promo video but opted for the Flick Colby treatment instead. And the result is nothing short of spectacular. Bikini tops with matching scarves, tight blue jeans and silver boots (again) provide the visual foundation for this exciting performance, while the stimulating choreography will literally finish you off. There's so much to say about this outstanding routine, but my intro has already become a bit lengthy, so I will leave that to you. Let me just conclude by saying that we are very fortunate to have this clip as it was wiped by the BBC, yet luckily home recordings exist.
For me there can be no doubt that the rating has to be full marks:
10 / 10
Picking a dancer is really difficult as all the girls look fantastic, but I have decided to select Ruth.
This is the sort of track that Flick & Pan's People excel to when switching to upbeat mode and this is no exception. A lot of great moves here, some possibly seen before in the Nutbush City Limits routine but that's no criticism when so much choreography was required every week of the year.
I always laugh at the woman who walks passed the set with bag in hand (1:58) seemingly oblivious to the ongoing performance and recording taking place - using the studio as a short-cut on her way home perhaps?!
The camera moves around almost as much as our dancers and there's some nice miniature solo spots with close-ups. Almost trademark mid-70s costumes with that very appropriate splash of colour. Everyone is having a lot of fun and really getting into this great rock track but I picture my DotD above who is virtually on fire! 9/10
One of the more recent rare routines to grace the blog, and another winner for me. I don’t usually think of jeans as ideal dancing attire, but with the silver boots and coloured scarf-bra combos these particular ones are inspired and I love them. The dancing is similar to Nutbush City Limits, but has a more open feel to proceedings and flows brilliantly from one sequence to the next. The group and solo pieces are all excellent and the whole dance is thoroughly entertaining. If I had to nit pick, I’m not a big fan of seeing the rest of the studio and people wandering around in the background, they could have brought in a few audience members to try and give a better look, but purely focusing back on the dancing it’s an easy 10/10 for me.
DOTD well i'm genuinely torn between Cherry and Ruth, but on reflection Ruth just gives a little bit more oomph (that a technical term by the way) and that swings it for me, Ruth it is.
Classic classic classic. I met five devil women, they took my heart away. Put five lovely ladies in tight jeans, boots and halter tops, add a liberal helping of Pans hip action with textbook Colby moves and let them dance to a rock anthem from the World's second biggest Nation and you've got a sure fire winner on your hands. And so it goes. Only the clairvoyant WTC Ground Zero set distracts me at all but the action is so non-stop and so fine that there's only one possible result. Ruth in her exuberance almost takes out a cameraman with her hips (lucky blighter) and that trademark Cherry sneer ("you know you can't take your eyes off me, go on, just try") make DotD a challenge but in the end Ms Gillespie just grabs me and won't let go. This one is irresistible and is one of the few "oldies" I recall clearly, such was it's impact even on a feckless youth 10+/10
Some Dancers who gave a good time, broke all the rules, played all the fools, yeah yeah yeah they blew our minds
A more simple dance routine, but one that nevertheless still hits the spot if you're looking for great entertainment for just a few minutes, everybody's working flat out to make their stage presences really felt by the audiences, with some of the fastest dance moves that I've ever watched, especially Sue, who must still have been learning the ropes during the earlier period of her reign with TOTPs.
The neck ware's very curious looking, it's like a crossover between cravats, & scarves, long, & hanging down towards the ground like builder's plumblines.
This is a very engaging performance full of energy and verve..... a veritable Vivacissimo of a dance routine.
True, the rather odd looking set is a minor distraction, as are the assorted members of the production staff hanging about hither and thither, as well as the lady taking a short cut to the bar chased by one of the cameras.
Dance wise though this is certainly a 10 (costume wise a 20).
Sue just edges it in terms of camera focus (and focus thereon) and, looking devilishly scrumptious in pink, is my DWotD !
We often talk about Lulu's transition throughout her time on TV but from my perspective Sue too had a blossoming from innocent youthful appeal in 1974 to full-on womanhood in early 1975. I wonder if anyone else agrees
Some Dancers who gave a good time, broke all the rules, played all the fools, yeah yeah yeah they blew our minds
However did Smashy and Nicey's approval in the mediocre nineties hoodwink us into thinking this belting record is a joke best left for dinosaurs? A much truer impression can be found here with the girls in city-wear straight out the pages of Vogue, with the sort of moves that should never go out of fashion. By what rare fortitude could we possibly resist turning round if they passed us in the street? Why, not chewing a Rowntrees Fruit Pastille would be easier. With the woman walking past and Cherry more than once casually sweeping her hair off her face I also would have thought this a rehearsal, had it not been for Noel. And I'm reassured in not being the only one who perceives an eerie resemblance to Ground Zero; and, P4PM, quickly moving on, I agree about Sue's comparatively under-discussed transformation and her dewy charm is evident here. Hips have it in outfits that already draw attention to that area. Each girl brings personality to their turn in the spotlight but I would like to have seen a little more variety in their moves, particularly as the song invites something progressively spectacular. It's like 'Here's my thing' - Much the same as the others. Even so there's no doubting this is compelling, with attitude, sexiness and plenty of close-ups. I'll happily take what I can get.
Cherry and Ruth have the most of the devil in them. Preference for Ruth by a nostril for DOTD.
Ironically, when former Guess Who lead singer Burton Cummings left the band to pursue a solo career, one of the songs he recorded for his 1976 debut was a version of "You Ain't Seen Nothing Yet". But his version does sound more like Frank Sinatra - in fact he even changed "devil woman" to "gentle woman"!
I first saw this routine last year during Ryan's presentation in Derby. I remember being impressed then, but there were so many great performances to view that day, that it rather faded from my mind. So I was very pleased when a few months later it suddenly appeared on the blog. I really like the song and found the history of it fascinating so thanks to Vin for that.
The only slight niggle is some sloppy camera direction which sees the other camera come into view, not to mention the woman who looked as though she had just finished her shift and was heading for the exit. I don't think that the lighting is quite at the right angle and height either.
The girls are looking great and their hips are in overdrive as is my enjoyment, so it's a resounding 10 out of 10, with Ruth just beating off stiff competition from Cherry and Sue to take DOTD.
Probably from watching too much Harry Enfield I love the song, the outfits are right up there with some of the best especially those silver boots. As has already been said thanks to PVL Ken and the unknown bloke at the BBC who made the Pan's compilation with it on that somehow ended up in Ian Levines hands without it getting wiped first. Not quite the best they've done but still damn good 9/10.
Dotd: Not much between them and I was edging towards Sue and her pink bikini top, that was until Cherry gave that look to the camera a fraction before the screen shot that Panslegs has used above!
Sandy Borne and Tricia Roberts Appreciation Society
"I met 5 devil women they took my heart away " beat me to it p4pm
Broke the bank to get hold this originally but never regretted and pleased it's on the blog now
Mary WhiteHouse would have hated
Girls all go for it and give their most showing off
Favourite pans lineup
Song and devil lyrics
Camera work excellent really brings off the dancing focussing in both groups and individuals and giving all an equal airing
Dee Dee and Sue swapped colours that's wrong.
10 and Sue narrowly ahead of the alluring Cheryl gets dotd
This was a fantastic dance to see and one that I will hold in my memory forever more. I remember watching this in 1974 and asking my Dad to buy me this record. I still have the seven inch copy now and the b-side instrumental track was equally fab as it was a tribute. The dance was beautiful and gets a big ten out of ten from me. I loved the outfits and I loved the hair styles. My best dancer goes to Ruth.
Everywhere, wherever you look, manipulation rearing it's head.