One January Evening....every #1 from EG's personal Top 40 (1984-2010) | Page 20 | The Popjustice Forum

One January Evening....every #1 from EG's personal Top 40 (1984-2010)

Discussion in 'Charts, rates etc' started by Eric Generic, Dec 8, 2018.

  1. Back to McCartney, and this B-side from the Press To Play era ought to have been a single. Far more in tune with what the charts of 1986 were about. Imagine a club remix of this:

     
  2. "A question of time" is even more sinister when you think that it could have been playing at the "Mineshaft" NYC Nightclub in it's final days - Summer 1986 at the height of the AIDS crisis.....but the club was closed in November 1985!
     
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  3. Mine shaft is mine own?
     
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  4. https://en.wikipedia.org/wiki/Mineshaft_(gay_club)

    I am absolutely fascinated by GAY social history. I know someone - now well into their 60's who went to the Mine Shaft and Fire Island before the AIDS plague and it's very interesting to hear his stories about the social context of the time - especially the music that was been played at these places - hence my love of Patrick Cowley!
     
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  5. Dodgy lyrics are indeed a DM speciality. Usually hidden, as you said, by some thumping refrain that was instantly catchy.

    As with a lot of BC tracks, truly awesome live.
     
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  6. I'm glad I was able to see DM on the Black Celebration tour just before my health gave out completely. I probably shouldn't have gone, given how I felt afterwards, but they were my favourite band and I'd bought the tickets before I fell sick.
     
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  7. I’m glad you managed it - I never saw them until World Violation tour and was instantly envious of those who’d seen them previously. 101 just made that feeling worse!
     
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  8. Yeah, the 101 film shows them at arguably their peak. Imagine the Music For The Masses material being played right there in front of you. Wow.
     
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  9. I feel exactly the same as @ModeRed - "101" is one of all time favourite concert films along with "Stop Making Sense" - I too saw them on the World Violation Tour in November 1990 at Wembley Arena and I used to wear the long sleeve black T-shirt with the red roses for the next seven years - until I got too chubby for it! It was handed down to my nephew when he was 11 and he was a "cool" kid at school for a while - when he used to wear it!
     
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  10. I only started taking an interest in this in the last couple of years. There was a 10-15 year period there where it must have been quite an experience being a gay man. So many young people lost. A generation really. I do wish I had some older gay friends. I'm sure they have some stories.By the time I came out it was 1998 and the landscape was very different.
     
  11. My brother still has his as a painting shirt now it’s a faded grey. Skinny git!

    I opted for the white T with blue rose, worn until it disintegrated... I miss it still!
     
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  12. The Landscape Is Changing.

    (Yes, I got another DM reference in!).
     
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  13. @phoenix123 (and everyone else) - you might find this documentary fascinating - it was the first time I had ever heard of GRID/AIDS back in April 1983. I was 13 years old and knew I was gay - I watched it upstairs in my brother's bedroom when he was out...it scared the life out of me. In hindsight, it's interesting to note the tone of language used and how sensitive the programme producers were....!

    https://www.bbc.co.uk/iplayer/episode/p01z2lbp/horizon-19821983-killer-in-the-village
     
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  14. OOooo don't think I've seen this one. I've tried to find everything I can on youtube!
     
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  15. What was the BBC doc on a year or so ago, about the AIDS epidemic and possible reasons for it....I think it was that Alice Roberts lady presenting it, although I may be mixing it up with something else. There were some quite harrowing bits of footage showing men in 80s NY hospitals dying.
     
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  16. Oh god I've watched the first 5 minutes and it really was a different world back then in every respect. The way they are talked about - like some kind of inexplicable alien race, the voiceover being a rather staid british chap, the tone is factual but the words are still judgemental…. sheesh.
     
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  17. I think this is the one I've uploaded
     
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  18. Oh right! Let me catch a look, I saw the 1983 date and assumed it couldn't be the same.
     
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  19. No, this is different...perhaps uses some of the same archive material, but the doc I saw was made with modern sensitivities.

    Wow there is some graphic stuff, the marks that appear....this must be the sort of thing, in a milder way, that Roger and Brian from Queen were talking about when they said how Freddie's condition would develop and he'd try to show them his newest marks, but they'd be too upset to want to look or know.
     
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  20. Time for the young person's guide to the twelve inch.....and our next #1....#straightladsoffgth.....

    [​IMG]
    • FRANKIE GOES TO HOLLYWOOD Rage Hard (ZTT)
    • Week Ending 6th September 1986
    • 3 Weeks At #1

    Eighteen months can be an awfully long time in pop music, as the chart kings of 1984 – Frankie Goes To Hollywood – were about to discover.

    Last sighted in early 1985, via a shortened and souped-up version of Welcome To The Pleasuredome‘s title track (packaged with B-sides and Live material as “The Escape Act” E.P.), Holly, Paul and The Lads had spent much of the subsequent year a long way from home. First, touring America in an attempt to conquer the US market (outcome: hmm, not quite), and then settling in Ireland to write and record a follow-up album beyond the clutches of the taxman (a common trend in the 1980s).

    They briefly broke their silence with a performance at the Montreux Pop Festival over Easter 1986, debuting rough versions of two new songs. It felt like the most exciting thing that could happen; new Frankie! Warriors Of The Wasteland! Rage Hard!

    What to make of the new material? Well, you weren’t going to get an unbiased reaction from me, despite the typically poor sound of Montreux through a small ’80s television set. They sounded heavier than the Pleasuredome style, but once Trevor Horn worked his studio magic, then they’d surely sound amazing. Besides, we’d had Two Tribes already, no point in simply regurgitating the same old formula.

    Eventually, the first finished fruits of Frankie’s second LP arrived. ZTT did their ZTT thing and gave Rage Hard the full promo push, creating an event out of its release as was expected. The artwork, completely different in style to Pleasuredome, was bold and confident. There were the usual array of formats, including Cassetted, Compacted and a glorious 12″ mix entitled The Young Person’s Guide To The Twelve Inch that managed to evoke both the naughtiness of Relax and the bombast of Welcome To The Pleasuredome while carving out a niche of its own with the plummy female voiceover from Pamela Stephenson (deliberately intended to sound like Joanna Lumley, though she declined to do the job herself) taking us through the multitude of instruments and effects, introducing each member of the band, enquiring as to how it felt for them (“hard”, naturally) before reassuring the listener that this was the “sound of Frankie, and Frankie only”.

    Fantastic.

    Not even the absence of Trevor Horn seemed to matter, thanks to longtime collaborator Stephen Lipson’s efforts; Rage Hard looked and sounded like prime Frankie Goes To Hollywood fare. The only question was how long it would take to top the UK charts. Would it even debut at #1, perhaps?

    Some chance.

    In a glimpse of the brutal upheaval about to occur in UK chart pop in the final months of 1986, this eagerly-awaited new Frankie single could only manage a #6 debut followed by an apologetic climb to #4. Within 7 weeks, Rage Hard had dropped out of the Top 75 completely. What a return!

    Just as I was with other favourites such as Howard Jones, Thompson Twins and Heaven 17, I remained loyal and impervious to the relentless march of change that was obliterating the fortunes of so many mid-80s TOTP regulars. Rage Hard is a magnificent record, for all the infighting taking place behind the scenes with the band and the misgivings of the label, coupled with Trevor Horn’s reluctance to take a hands-on role.

    It wasn’t really the fault of the record that it failed to emulate what had gone before, although the same could not be said of the rest of Liverpool, the doomed second album which lacked enough killer tunes or fully-realised tracks to mount any sort of commercial fightback in the wake of its first single underperforming.

    Divisions within the band, both social and creative, eventually proved their undoing, with Holly and Paul keen to continue Frankie’s relationship with the dancefloor while The Lads were determined to become the next Led Zeppelin. Rage Hard was a rare example of these two worlds meeting successfully, the artful Martin Fry pastiche of the verses leading into a blockbuster chorus that surely satisfied both factions.

    It’s the sound of Frankie, and Frankie only.
     
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