He/Him
#30
Peaches – Substitute
Average Score: 7.248
Highest Score: 10 x 2 (@unnameable, @Trouble in Paradise)
Lowest Score: 2 x 1 (@kermit_the_frog)
And the overperformer award goes to…. Peaches!!!! If you had told me when I began this rate that a little band from Australia with only one true hit behind them would not only reach the top half of the list but would beat icons like The Supremes, The Pointer Sisters or Bananarama – I would have laughed in your face! This is indeed just what Peaches ended up doing to the Nay-Sayers (namely our resident Cher - @Baby Clyde). With each low score thrown its way at the beginning, Substitute was really struggling to break the top 50, but then the late voters just (en masse) decided Peaches were worth at least a 7.5 and its average continued to soar and this is where we are now!
Unlike most of the girl bands selected for the list here, there isn’t really a rich history behind Peaches as they were really only active for a couple of years (from 1977-1980). Substitute (another cover on the song list [original by The Righteous Brothers, made famous by Clout], the best performing cover here?) was their highest peaking entry in the Australian Chart at its #15 reach. One of the reasons I wanted to include these girls (beyond the 70s list looking bare) was that Peaches is credited as Australia’s first all female band (giving you a taste of what we are capable of beyond the Bardot and Veronicas we are most famous for)! And they truly were a gifted band as the ladies also played instruments and more than held their own vocally. Margaret Kirk (nee Britt, lead vocalist) was thought to be ‘world class, better than Suzi Quatro’ by Atlantic Records’ then owner Peter Hood.
The girls were ‘pioneered’ by record producer Gene Pierson and he thought the timing was perfect for them, as so many boy bands were popular at the time, and Peaches would be a great alternative to that saturation. Margaret initially started Peaches out under the band name ‘The Vamps’ during the 60s and toured extensively in military bases in the late 60s. From then they went to the US and performed for most of the early 70s, returned to Australia and upon Pierson’s suggestion changed the name to Peaches to make them more accessible, and probably not be tied to all that history.
The group’s efforts after Substitute didn’t end up doing very well commercially so they disbanded in 1980. Their take on Substitute I must say is incredibly lovely. There is a nice homeliness to the sound, the kind you get with a garage/jam session as opposed to a big production. Maybe that’s where a lot of voters found the track so charming – the authenticity and lack of artifice certainly played well with me!
What does PopJustice have to say for itself with this cut?
Zar-Unity (7) uses a mighty amount of superlatives for a 7 but here goes! - Nice, uplifting melody and lavish instrumentation and vocals. Kermit_The_Frog (2) does not hear charm, just noise - Clearly my 70s knowledge is terrible as I’d never encountered Peaches before. Really not my cup of tea - a collision of some of my least-favourite song traits (not entirely pleasant vocal, repetitive lyrics, sub-ABBA musicality). Against this competition it doesn’t stand a chance. Spillett (7) is back to the @Mina-isms - (catchy)
Filippa (8) likes but does not find it adequate substitute for another - The song is huge, I love it. But I like Clout’s version better. Trouble In Paradise (10) is flabbergasted at the quality! - Where did this ABBA bop come from?! Empty Shoebox (6) also compares to Clout and finds this lacking - Just not as good as the Clout version. I still like the song, but when I'm listening to this, I'd rather be listening to the other recording. Baby Clyde (4) is still a bitter betty! - (How did they qualify???)
DominoDancing (7.5) has caught feelings for this one! - A bit ABBA-lite, but that is one hell of a catchy chorus. Iheartpoptarts (7) dislikes what I love most - Massive potential, but the production’s not the greatest here. Ufint (8) may have a bit of a lisp - Totally ABBA-esque with just a dash REM’s “Man On The Moon” and Tinta Turnters’ “Simply The Best”, and it totally works. Unnameable (10) is back to more fond memories (and potentially Australian?) – I loved hearing this on the wireless as a kid. DJHazey (8) was more impressed than anticipated! - Okay this somehow WOOO WOOO'd its way into a high score.
Unlike most of the girl bands selected for the list here, there isn’t really a rich history behind Peaches as they were really only active for a couple of years (from 1977-1980). Substitute (another cover on the song list [original by The Righteous Brothers, made famous by Clout], the best performing cover here?) was their highest peaking entry in the Australian Chart at its #15 reach. One of the reasons I wanted to include these girls (beyond the 70s list looking bare) was that Peaches is credited as Australia’s first all female band (giving you a taste of what we are capable of beyond the Bardot and Veronicas we are most famous for)! And they truly were a gifted band as the ladies also played instruments and more than held their own vocally. Margaret Kirk (nee Britt, lead vocalist) was thought to be ‘world class, better than Suzi Quatro’ by Atlantic Records’ then owner Peter Hood.
The girls were ‘pioneered’ by record producer Gene Pierson and he thought the timing was perfect for them, as so many boy bands were popular at the time, and Peaches would be a great alternative to that saturation. Margaret initially started Peaches out under the band name ‘The Vamps’ during the 60s and toured extensively in military bases in the late 60s. From then they went to the US and performed for most of the early 70s, returned to Australia and upon Pierson’s suggestion changed the name to Peaches to make them more accessible, and probably not be tied to all that history.
The group’s efforts after Substitute didn’t end up doing very well commercially so they disbanded in 1980. Their take on Substitute I must say is incredibly lovely. There is a nice homeliness to the sound, the kind you get with a garage/jam session as opposed to a big production. Maybe that’s where a lot of voters found the track so charming – the authenticity and lack of artifice certainly played well with me!
What does PopJustice have to say for itself with this cut?
Zar-Unity (7) uses a mighty amount of superlatives for a 7 but here goes! - Nice, uplifting melody and lavish instrumentation and vocals. Kermit_The_Frog (2) does not hear charm, just noise - Clearly my 70s knowledge is terrible as I’d never encountered Peaches before. Really not my cup of tea - a collision of some of my least-favourite song traits (not entirely pleasant vocal, repetitive lyrics, sub-ABBA musicality). Against this competition it doesn’t stand a chance. Spillett (7) is back to the @Mina-isms - (catchy)
Filippa (8) likes but does not find it adequate substitute for another - The song is huge, I love it. But I like Clout’s version better. Trouble In Paradise (10) is flabbergasted at the quality! - Where did this ABBA bop come from?! Empty Shoebox (6) also compares to Clout and finds this lacking - Just not as good as the Clout version. I still like the song, but when I'm listening to this, I'd rather be listening to the other recording. Baby Clyde (4) is still a bitter betty! - (How did they qualify???)
DominoDancing (7.5) has caught feelings for this one! - A bit ABBA-lite, but that is one hell of a catchy chorus. Iheartpoptarts (7) dislikes what I love most - Massive potential, but the production’s not the greatest here. Ufint (8) may have a bit of a lisp - Totally ABBA-esque with just a dash REM’s “Man On The Moon” and Tinta Turnters’ “Simply The Best”, and it totally works. Unnameable (10) is back to more fond memories (and potentially Australian?) – I loved hearing this on the wireless as a kid. DJHazey (8) was more impressed than anticipated! - Okay this somehow WOOO WOOO'd its way into a high score.
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