One January Evening....every #1 from EG's personal Top 40 (1984-2010) | Page 5 | 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. "The Reflex" in it's single version is just excellent - along with "Save a prayer" and "Skin Trade" to follow - my three faves singles from Duran Duran in the 80's!
    It is to this day the only Duran Duran single that all my siblings like (oldest brother liked Punk/New Wave, Middle brother liked Disco and my sister loved pop) - The Reflex covers all these genres!
     
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  2. It was the only Duran Duran single I ever actually bought, even though I've loved loads since.
     
    Last edited: Dec 23, 2018
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  3. On my 100 chart, Reflex is up 6 to #17, I'm all about Head Over Heels by the Go-Go's for the entire month of May 1984.
     
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  4. There were so many classic singles around in May 1984, many of which would be higher than The Reflex in an all-time list of my favourite records....The Lebanon, Thieves Like Us, Such A Shame....as well as Dazzle by Siouxsie & The Banshees, the Cocteau's Pearly Dewdrops Drops and Assassing by Marillion (yes, I was beginning to discover my darker side haha).
     
  5. The only issue with the Reflex and all it’s epicness is it was/is so overplayed! New Moon... was my favourite from ‘7...’, but Union of the Snake had the best b-side in Sekret Oktober
     
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  6. I can never get e-e-e-enough-gh-gh of the 7-7-7 inch of "The Reflex-ex-ex"!
     
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  7. Oh god, it's that bloke again...

    Number ones: #15

    [​IMG]
    • HOWARD JONES Pearl In The Shell (WEA)
    • Week Ending 2nd June 1984
    • 2 weeks at #1

    Another HoJo single, so another #1 on my personal Top 40. Predictable but unavoidable, I’m afraid!

    Since his last single, the Human’s Lib album had been released and hit #1 on the UK charts. Of course, it did the same on my own Top 30 Albums list (which I had began to compile simultaneously from March 1984), and had only relinquished top spot to Blancmange’s Mange Tout the week before Pearl In The Shell became his third #1 for me.

    In the pantheon of Howard Jones hits, Pearl In The Shell occupies a similar position to that of Dancing Girls in Nik Kershaw’s catalogue of singles; a medium sized hit (#7 in this case) sandwiched between better-known tracks which enjoy a higher profile when viewed through today’s retrospective lens.

    Pearl In The Shell is also something of an anomaly for HoJo, with its bold and brassy refrain driven along by an incessant snare drum beat. There are still some keyboards, and a subtle but inventive arrangement from producer Rupert Hine, to add to the playful mood, yet it doesn’t sound like anything else in his repertoire.

    As with You Take Me Up on the Thompson Twins’ Into The Gap LP, I didn’t spot Pearl… as an obvious future hit from Human’s Lib. Even now it still surprises me how it did so well on the UK Top 40, proof of just how high his stock was during that period. It has more in common with the non-single cuts such as Conditioning, Equality and Natural in its structure, lyrical style and overall vibe. Perhaps after the sombre, reflective and very grown-up Hide & Seek, showcasing the opposite side of his persona was a clever move on WEA’s part. It kept the pop fans onside without alienating those who had been drawn in by New Song and What Is Love?

    Oh, and the 12″ mix is incredible.
     
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  8. Which I’m looking forward to finding out once my box set arrives!
     
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  9. Vicki at the HoJo store was kind enough to get a replacement corrected disc to me, and they have a different matrix code to the original so fingers crossed it'll have the index issue sorted out.
     
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  10. Good to hear!
     
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  11. Just like "The Reflex" HoJo's "Pearl in the shell" was much better in it's single mix! It's the next one I really like....and which reminds me of later summer 1984 - especially the video!
     
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  12. Ladies and gents, it's the big one. When you hear the air attack warning, you and your family should take cover...

    Number ones: #16

    [​IMG]
    • FRANKIE GOES TO HOLLYWOOD Two Tribes (ZTT)
    • Week Ending 16th June 1984
    • 5 weeks at #1

    So, Relax was great and everything, making one hell of a mark on British pop culture at the start of 1984, but the question everyone was asking six months later had to be….how the devil are they going to follow it?

    They didn’t. They comprehensively topped it with the staggering doom-disco-meets-metal assault of Two Tribes. Hide yourself? There was no escape. Not with a production so mutli-layered, so groundbreaking, so what-the-giddy-aunt-is-going-on-here that it allegedly brought Trevor Horn close to a nervous breakdown in the search for sonic excellence. Two Tribes was designed to be an event. For a lot of people that June in 1984, it certainly was an event.

    I couldn’t get enough of it, immediately buying both the 7″ and 12″ formats as soon as possible (I’d like to conjure this moment as a scene of rabid pop fans fighting to get to the front of the queue in some major-city HMV store, wild with excitement as the record went on sale, but it was actually the music department of Bentalls on a balmy evening with virtually nobody else around….very Rock’n’Roll).

    The 12″ version – the original 12″ mix, that is, “Annihilation” – was extraordinary, taking the somewhat frenzied rush of the single mix, breaking it down and stretching it out to almost 10 minutes. It featured a lot more of Patrick Allen’s unsettling narration from a pair of genuine public information films from the early ’80s (Protect And Survive and Casualties), plus a series of pronouncements and quotations from a Ronald Reagan soundalike (Chris Barrie, then of cutting-edge satirical puppet show Spitting Image and later the Sci-Fi comedy Red Dwarf). If the song itself was predominently the work of Holly, Paul and The Lads (early session recordings suggest that to be the case), then the Annihilation Mix was very much ZTT’s brainchild; Horn (music) and Paul Morley (ideas, general PR shenanigans) going to an especially sizeable town with the original concept.

    A multitude of remixes and different formats attempted to keep up the momentum, and with a 9-week run at the top of UK charts throughout that summer it was pretty much a job well done, even if the danger of Frankie fatigue was never far away. On my own Top 40, Two Tribes became the first single to go straight in at #1 and stayed there for a further month (a then-record), although in truth I expected it to last beyond that. Then again, a week in your life when you’re 13 years old can be a very long time…
     
  13. "Two Tribes" was the bees knees back in the summer of 1984 - it will certainly spend longer than five weeks at Number One on my Retrochart!
     
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  14. I thought it would stay #1 on my chart for ages, but then an unexpected artist appeared on my horizon.
     
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  15. Dearly beloved....

    Number ones: #17

    [​IMG]
    • PRINCE & THE REVOLUTION When Doves Cry (Warner Bros.)
    • Week Ending 21st July 1984
    • 2 weeks at #1

    If my obsession with Two Tribes was not entirely unexpected, the same could not be said of the record, and indeed the artist, which replaced it at #1 on my Top 40 mid-way through July 1984.

    Had I been paying closer attention to the UK charts in early 1983, I would have known who Prince was (via 1999 or to a lesser extent Little Red Corvette) and had an idea what he sounded like. But I hadn’t been, and so I didn’t. When Doves Cry seemed to come from nowhere, and turned my world upside down.

    It also sounded like nothing I’d ever encountered before; this was, of course, due to the deliberate absence of any bassline on the track but I had yet to become serious enough about the pop experience to realise that was why. Adding to the mystique, When Doves Cry was taken from an autobiographical feature film which he also starred in. An American pop star big enough to front a major movie, that I’d barely even heard of. Amazing.

    So all of this, plus the sheer dreamy brilliance of 17 Days (which I discovered upon flipping over the copy of the single I’d rushed out and bought in WH Smiths) and then the cryptic sleeve notes on the rear of the 12″ single, added up to a sense of fascination and wonder at a new musical universe suddenly opening up in front of me. The whole Minneapolis sound, the risque lyrics (that mostly went over this boy’s head), even the look of his band, The Revolution. These crazy-looking, yet supremely cool people decked out in an assortment of funky, quirky and sometimes downright naughty outfits. Girls, boys…..boys who looked like girls, girls who dressed like boys.

    The full Purple Rain album would be added to my barely-started collection not long after (an advert in Smash Hits, taking up the whole page, seduced me into parting with 4.99 on the LP before I’d heard any of the other songs), and I was properly hooked. Purple Rain would soundtrack the rest of my summer, especially the opening track Let’s Go Crazy. In the US, it was chosen to follow-up When Doves Cry and had already made great strides towards #1 on Billboard’s Hot 100 by the time I was encountering ridicule from some Our Price employee for choosing to purchase the album from their emporium. Had the UK also gone for Let’s Go Crazy as single #2, then it is more than likely it would have repeated the success of When Doves Cry on my own chart.

    Instead, they opted for the title track – leaving Let’s Go Crazy for last, in early 1985 – and there would only be the one chart-topper from Purple Rain for me.
     
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  16. Back in July 1984 it took me a long time to get my head around "When doves cry" - it was a read head screw after the "1999" album from the previous year. I had rented and copied the album from the local library and was really getting into it by early 1984. "Let's go crazy" should have been released in the UK on that August Bank Holiday. I'm convinced it would have been an instant top ten smash and could have knocked "Careless whisper" off the Number One stop...but instead we got "Purple Rain" later that month in September! The moment for "Let's go crazy" was lost! My Retrochart will correct all that!
     
    Last edited: Dec 28, 2018
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  17. Putting out Purple Rain as the 2nd UK single still ranks as one of the most baffling label decisions I can think of.
     
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  18. My singles release campaign for Purple Rain would have gone something like this:

    1. When Doves Cry (June 1984)
    2. Let's Go Crazy (Sep 1984)
    3. Purple Rain (Nov/Dec 1984)
    4. Take Me With U (Jan/Feb 1985)
     
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  19. I must have typed a while, the latest one by Neil and Stephen....or something in that style....

    Number ones: #18
    [​IMG]
    • BLANCMANGE The Day Before You Came (London)
    • Week Ending 4th August 1984
    • 2 weeks at #1


    Best known these days as the answer to the pop trivia question “which cover of an ABBA song reached a higher chart position than their own version?”, The Day Before You Came extended the duo’s run of consecutive Top 40 UK entries to six; although sadly it would also prove to be their penultimate hit single. Just as it was for ABBA.

    The original album mix on Mange Tout hardly screamed down from the rafters as potential single material, yet some shrewd remixing and embellishing (courtesy of Pandit Dinesh’s sublime percussion) made it sound like prime Blancmange. We lost the clever, doleful reference to another ABBA classic Money Money Money in the middle eight, but gained much more in the process.

    Remembered mainly as a wacky Eighties synth duo, it’s often overlooked how good they were at melancholy. For every Living On The Ceiling or Don’t Tell Me, there was a Waves, a Time Became The Tide, or one of their finest compositions from 1985’s Believe You Me swansong Why Don’t They Leave Things Alone. Even their debut single for London Records, God’s Kitchen, was paired with the reflective I’ve Seen The Word.

    So their take on such a gloomy ode to…well, what exactly nobody can ever agree on…is it death? is it a new love? is it something else?….was never quite the stretch it might have appeared to be to casual observers. They play it straight, or as straight as any man who pointedly sings the (altered from the original) line “I must have read a while, the latest one by Barbara Cartland” – cue possible comic interlude – “…or something in that style” ever could.
     
  20. "The day before you came" is a sublime song in any of it's versions...Abba recently had a top ten hit with it on my Retrochart - can Blancmange do the same? "Waves" will be heading for the Top five next March 1983/2019!
     
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