Let's get down to brass tacks, it's your special guest host Elton John! Sporting a cap, because any port in a storm, and a jacket with red lining that's probably far more expensive than it looks, plus in an interesting development no glasses. The other Donna Summer single, I Love You, goes behind the rundown.
The Dooleys – Love Of My Life
Of course we (points at comments box) have seen this twice already but they (points at viewing public) haven't, which means they miss out on the transmogrification and join the Dooleys as their transformation into all-pearly grinning supper club entertainers with ideas above their station is complete. Jim of the flowing mane has an open-zipped Evil Knievel castoff of a top and a pair of white trousers that are hitched so far up his body, with the aid of a thick belt, he surely couldn't walk properly. Anne and Kathy are more properly dressed than first time around, in fact one of them not far from Catholic girls' school chic. The keyboard player, taking Jim on at his own game despite being stood right next to a large circle, has gone for the open jacket over bare chest. The bassist is standing right next to Jim on stage, which is building up your part somewhat given the usual vocal arrangement.
Jonathan Richman & The Modern Lovers – Egyptian Reggae
Elton's body language is all over the place, a ten second link sees him bobbing, weaving, shifting from foot to foot and sticking out his right elbow like he's trying to balance on a ball. Maybe because nobody could believe it first time round, "the fantastic" Legs & Co's meisterwork gets a second airing.
Carl Douglas – Run Back
It's now we can clearly see Elton has some sort of small reflective pendant on, could be diamond, could be glass. Should never leave home without one. As the camera pulls over to Carl we can see about a third of the audience are watching Elton instead. Not unsurprisingly, given his relative stature, but you're there for the music, dammit. And maybe for Douglas' dad clothes, a cream fleece for the larger figure and far too tight light brown cords. He's enthusiastic enough when it comes to improvised fist clenching and taking a step down to the lower part of the stage and when he spots a lurking lens it's little eyebrows and pretend surprise all the way. Then, right on the big brassy first note of the chorus, he delivers an over the top comedy wink. He knows alright. He also knows nobody else knows what melisma is yet as he arches backwards and delivers a big note, and then spoils it with another chorus to which he bounces jauntily about on the spot. There are, we note, two sailors down the front. Wrong week!
Julie Covington – Only Women Bleed
We lose Dooley Wilson's As Time Goes By for film rights reasons and pick up as on tape Covington stands, backlit, and sings to two different cameras from various distances in exactly the same way Bowie does in the Heroes video.
Darts – Daddy Cool/The Girl Can’t Help It
"Time to move yourself about a bit now". Here at the halfway point you begin to understand the problem with this show. It's not that Elton isn't entirely comfortable with performance to camera - ah, how times change - or that he starts every link looking at the floor followed by an "OK!", it's that this is the very famous Elton John and he's doing nothing other than 'that was, this is'. Nerves may be coming into play on that front, but why have a big name present the show - not even the last one before Christmas, by the way - and give him no room for manoevure? Anyway... Darts are back in town, Rita's in her most comfortably fitting leopardskin and Den's wearing a jacket that might be made out of discarded carpet material and what looks like adapted white dungarees underneath, looking for all the world like the lost Dr Who. Clearly the third wheel of the arrangement, Bob Fish tries to make up for it by proffering his fists as big chorus punctuation as if he's offering everyone outside, which may well have been the case. Hegarty then inevitably escapes, and after hurredly untangling his mike cable settles his chin upon one of the big set design rings, which suspiciously seems to be much lower and nearer than usual. It's when he puts his whole bodyweight upon the hanging structure and tries to swing forward on it that Griff Fender, who has up to now been miming along with Hegarty's lines, looks slightly worried. As they face off at the end the pair resemble teacher and problem child. Maybe that was the plan.
Elvis Presley – My Way
Some commotion can still be just about heard in the background as Elton brings in Legs & Co again. I can't work out whether this was thrown in at the last minute, as the unfitting pink dresses and last minute choreography involving lots of turning and arm waving during which a member gets out of sync at least once suggests, or planned so they could get Patti - at least we're led to assume it's her as she's not otherwise involved - into silhouette in wig, turned up jacket collar and guitar strummed in profile despite there being no acoustic guitar on the track.
John Otway & Wild Willy Barrett – Really Free
Finding himself among the audience for the first time all night Elton gets really out of whack, referring to this "making its debut on Top Of The Pops, for the charts anyway". Mind you, knowing what was coming, wouldn't you be stutteringly apprehensive? No amp climbing or place losing from Otway this time but he does do a few laps of the tiny stage with a suitcase amp in the middle, tear open his shirt just as nobody's expecting or requesting it and have to be pushed back towards the mike by Barrett to start the last verse. Four people down the front headbang vigorously. The rest look confused, not least the next band briefly glimpsed on the other stage.
The Emotions – I Don’t Wanna Lose Your Love
What must they have told people back home about their experience on Britain's famous pop show? Elton rates Best Of My Love as one of his favourite songs of the year, which doesn't stop the orchestra's blaring brass crashing in early and his having to shout over them. Whichever Emotion is taking lead almost immediately exerts the audience to clap their hands. Two people, one of the sailors inclusive, do so. Nevertheless she's pushing on with energy, grabbing the mike and completely foregoing her bandmates' routine with a series of shoulder exercises and playing to the front row. Fine work.
Wings – Mull Of Kintyre
Different clip this week, from the Mike Yarwood show, with Paul standing alone in the middle of a pretend forest clearing, namely one very plastic tree, some dry ice and an old painted backdrop. It must be catching, even Elton's calling it "the number one sound", and to add to the general DLT-ism he adopts a Yorkshire accent introducing the Floral Dance outro, stumbling over the name as he goes. Does he say anything to acknowledge this very famous and characterful pop star has been your guest host for the night? Of course not. Was he doing it under heavy duress?
Showing posts with label the dooleys. Show all posts
Showing posts with label the dooleys. Show all posts
Friday 21 December 2012
Thursday 4 October 2012
TOTP 1/9/77 (tx 4/10/12): the long one
Tony greets us straightforwardly into a countdown backed by Meri Wilson's Telephone Man. Meri Wilson's Telephone Man! It's unlikely the show ever chose a less comfortably fitting track for a fastpaced chart rundown.
Hudson-Ford – Are You Dancing?
In which two former Strawbs attempt to get hep. Hang on - big curly mass of fair hair and at least developing facial hair, big dark glasses, prominent cellos, hint of disco being taken on board... Jeff Lynne? Is that you? He's got the better look than his colleague, who seems to have pioneered the look of Andy from Little Britain. They actually do go back to back for the instrumental break, but that doesn't hide they have a third guitarist doing the solo. When does he get his name in the business title? Tony announces it'll be Noel's record of the week, just to put the mockers on it completely.
Yvonne Elliman – I Can’t Get You Out Of My Mind
She seems to have been in the top 30 for most of these eighteen months but this video is the first we've actually seen of her. The video format is of course very much in its primacy, hence this is Elliman in all her a-bit-like-Coolidge form, or possibly what Scott Gorham of Thin Lizzy would actually look like as a woman, standing in front of a lightly blowing wind machine in a kaftan, and then during the second verse someone turns the front lights out for a bit.
Elvis Costello – Red Shoes
No, hang on, that's not it. Costello's debut, backed by the Attractions, and I wonder if the TOTP reworking was his first recording with them - they made their live debut with Elvis seven weeks earlier, the US band Clover (most of whom became Huey Lewis' News) back him on the original and they're not on the following single either. Playing in front of what is a white spiral this week, Elvis is the angry nerd of early infamy, staring down the camera sneering and angry as he goes, taking advantage of every close-up and pull shot, as if all this was somehow our fault. Drummer Pete Thomas' T-shirt reads 'ELVIS Original P(something)' and he's in firing mode too, drumrolling and cymbal crashing well into the link out. "Why not? You can't get done for it" claims Tony. About the wearing, not the drumming.
David Soul – Silver Lady
Legs & Co without Lulu or Rosie but with... go on, guess. Yes, silver outfits. Flimsy chain mail skirts and bra tops, in fact. Despite much early promise of bum-waggling it's fairly standard prancing and the two increasingly common move, holding up the arms while moving sideways and striding forward with chest forward like a Tex Avery suited cartoon villain. Tony plugs Starsky & Hutch, Saturday 9pm on BBC1. Don't actually watch at that time in expectation.
Steve Gibbons Band – Tulane
The original is 45 minutes long yet they kept a repeat (the first appearance) of this in?
The Jacksons – Dreamer
A close-up of some lights provides a divider between that film and this video. No Randy, for some reason, and he's not missing a lot as the other four, Michael very much in the foreground and getting to hold a yellow mike that looks like a ball and cup game, sit on stools in bow tie, frilly shirt and blue suits against a green screen backdrop achieved by panning across some stretched out wallpaper patterns. They're all sitting in different ways, interestingly, Michael side-on to be better in the full band shots, one at 45 degrees, one bandy-legged, one with the left leg casually around the side. At no point do they get up from the stools and walk towards the camera. Look and learn, modern bands.
Elkie Brooks – Sunshine After The Rain
Back in her finest overalls. Well, not back per se, as it's a repeat. Tony draws particular specific attention to the melody.
Joe Dolan – I Need You
And you thought Enge seemed out of place in 1973. Big cabaret night pop had a presence throughout the decade and Irish easy listening hero Dolan, whom Tony notes "hasn't had a release out in this country for a long, long time", knows his place when it comes to theatrical stylings. On a stage not long vacated by Costello, for contrast, this essential rewrite of Demis' Forever And Ever is patterned by moments of Dolan bursting into big flamboyant phrases pitched several keys above the tune before experimenting in alarming laryngitis-esque falsetto. Gesturing in the backing vocals, pointing at the camera - he knows his showbiz alright. The audience even look slightly engaged. "Wow, some of those high notes!" Tony muses as the four women around him clap appreciatively in a way we've never seen the people gathered around a presenter do before.
The Dooleys – Think I’m Gonna Fall In Love With You
Repeat. She'll catch her death.
Nazareth – Love Hurts
Soft rock's turn to strike a blow, big Marshall amps and all. Dan McCafferty, clad in white trousers and what can only be described as a flowery blouse, emotes like a man hurt. The drummer in his big beard and shrunk-to-fit-naturally cap sleeve vest seems like he came from central rock casting.
Candi Staton – Nights On Broadway
More flashing lights lead in the video, so even more flashing lights. Consider it a glamorous take on road safety Public Information Films.
Mink De Ville – Spanish Stroll
Tony suggests we've never been to Spain with him. Well, no, Tony. Video again. "I didn't understand a word of that, did you?" Tony mugs afterwards.
David Essex – Cool Out Tonight
Tony has some more plugging to do. "Tuesday, eight o'clock, I want you to remember this, on BBC television, David Essex starts the first of his brand new series of six shows". Yes, but when does he finish it? And again, don't actually watch at that time in expectation. Well versed in showbiz performance as he is, David has full command of matey side-on looks to camera and keeps the power of surprise, producing a rhythm guitar halfway through. Shame he's forced his saxophonist to come along as the man has nothing to do with the instrument despite keeping it strapped on - union getting uppity? - and has to increasingly listlessly shake a tambourine, being positioned right behind Essex's left shoulder in straight on shots not helping his cause much. And one more blow for light entertainment, David's elaborate bow to the audience in the background as Tony starts talking again.
Carly Simon – Nobody Does It Better
A Legs & Co repeat, maybe to prove that they really were well covered after all.
Elvis Presley – Way Down
And a third Legs & Co appearance! It's not so long - months, come to think of it - since they wouldn't let us see more than one dance on the same show edit, possibly thinking we'd all get overexcited, hyperventilate and black out. But here they are again in the same outfits as for Silver Lady, shot entirely from one stage right and from the back with Sue in the foreground, doing at least three different routines at once to begin with before falling into formation prancing, facing a Toppotron™ slide projection of his photos as between those two points kids shuffle awkwardly. At least one teenage male seems to be doing it ironically. It briefly looks like the girls are going to keep going regardless of what the music's doing but they notice and slowly gyrate to a standstill before applauding everyone else for dancing, which is big of them. Tony continues his one man Radio Times recital by plugging his morning Radio 1 show and Magic Fly plus lots of close-ups of lights sees us out.
Hudson-Ford – Are You Dancing?
In which two former Strawbs attempt to get hep. Hang on - big curly mass of fair hair and at least developing facial hair, big dark glasses, prominent cellos, hint of disco being taken on board... Jeff Lynne? Is that you? He's got the better look than his colleague, who seems to have pioneered the look of Andy from Little Britain. They actually do go back to back for the instrumental break, but that doesn't hide they have a third guitarist doing the solo. When does he get his name in the business title? Tony announces it'll be Noel's record of the week, just to put the mockers on it completely.
Yvonne Elliman – I Can’t Get You Out Of My Mind
She seems to have been in the top 30 for most of these eighteen months but this video is the first we've actually seen of her. The video format is of course very much in its primacy, hence this is Elliman in all her a-bit-like-Coolidge form, or possibly what Scott Gorham of Thin Lizzy would actually look like as a woman, standing in front of a lightly blowing wind machine in a kaftan, and then during the second verse someone turns the front lights out for a bit.
Elvis Costello – Red Shoes
No, hang on, that's not it. Costello's debut, backed by the Attractions, and I wonder if the TOTP reworking was his first recording with them - they made their live debut with Elvis seven weeks earlier, the US band Clover (most of whom became Huey Lewis' News) back him on the original and they're not on the following single either. Playing in front of what is a white spiral this week, Elvis is the angry nerd of early infamy, staring down the camera sneering and angry as he goes, taking advantage of every close-up and pull shot, as if all this was somehow our fault. Drummer Pete Thomas' T-shirt reads 'ELVIS Original P(something)' and he's in firing mode too, drumrolling and cymbal crashing well into the link out. "Why not? You can't get done for it" claims Tony. About the wearing, not the drumming.
David Soul – Silver Lady
Legs & Co without Lulu or Rosie but with... go on, guess. Yes, silver outfits. Flimsy chain mail skirts and bra tops, in fact. Despite much early promise of bum-waggling it's fairly standard prancing and the two increasingly common move, holding up the arms while moving sideways and striding forward with chest forward like a Tex Avery suited cartoon villain. Tony plugs Starsky & Hutch, Saturday 9pm on BBC1. Don't actually watch at that time in expectation.
Steve Gibbons Band – Tulane
The original is 45 minutes long yet they kept a repeat (the first appearance) of this in?
The Jacksons – Dreamer
A close-up of some lights provides a divider between that film and this video. No Randy, for some reason, and he's not missing a lot as the other four, Michael very much in the foreground and getting to hold a yellow mike that looks like a ball and cup game, sit on stools in bow tie, frilly shirt and blue suits against a green screen backdrop achieved by panning across some stretched out wallpaper patterns. They're all sitting in different ways, interestingly, Michael side-on to be better in the full band shots, one at 45 degrees, one bandy-legged, one with the left leg casually around the side. At no point do they get up from the stools and walk towards the camera. Look and learn, modern bands.
Elkie Brooks – Sunshine After The Rain
Back in her finest overalls. Well, not back per se, as it's a repeat. Tony draws particular specific attention to the melody.
Joe Dolan – I Need You
And you thought Enge seemed out of place in 1973. Big cabaret night pop had a presence throughout the decade and Irish easy listening hero Dolan, whom Tony notes "hasn't had a release out in this country for a long, long time", knows his place when it comes to theatrical stylings. On a stage not long vacated by Costello, for contrast, this essential rewrite of Demis' Forever And Ever is patterned by moments of Dolan bursting into big flamboyant phrases pitched several keys above the tune before experimenting in alarming laryngitis-esque falsetto. Gesturing in the backing vocals, pointing at the camera - he knows his showbiz alright. The audience even look slightly engaged. "Wow, some of those high notes!" Tony muses as the four women around him clap appreciatively in a way we've never seen the people gathered around a presenter do before.
The Dooleys – Think I’m Gonna Fall In Love With You
Repeat. She'll catch her death.
Nazareth – Love Hurts
Soft rock's turn to strike a blow, big Marshall amps and all. Dan McCafferty, clad in white trousers and what can only be described as a flowery blouse, emotes like a man hurt. The drummer in his big beard and shrunk-to-fit-naturally cap sleeve vest seems like he came from central rock casting.
Candi Staton – Nights On Broadway
More flashing lights lead in the video, so even more flashing lights. Consider it a glamorous take on road safety Public Information Films.
Mink De Ville – Spanish Stroll
Tony suggests we've never been to Spain with him. Well, no, Tony. Video again. "I didn't understand a word of that, did you?" Tony mugs afterwards.
David Essex – Cool Out Tonight
Tony has some more plugging to do. "Tuesday, eight o'clock, I want you to remember this, on BBC television, David Essex starts the first of his brand new series of six shows". Yes, but when does he finish it? And again, don't actually watch at that time in expectation. Well versed in showbiz performance as he is, David has full command of matey side-on looks to camera and keeps the power of surprise, producing a rhythm guitar halfway through. Shame he's forced his saxophonist to come along as the man has nothing to do with the instrument despite keeping it strapped on - union getting uppity? - and has to increasingly listlessly shake a tambourine, being positioned right behind Essex's left shoulder in straight on shots not helping his cause much. And one more blow for light entertainment, David's elaborate bow to the audience in the background as Tony starts talking again.
Carly Simon – Nobody Does It Better
A Legs & Co repeat, maybe to prove that they really were well covered after all.
Elvis Presley – Way Down
And a third Legs & Co appearance! It's not so long - months, come to think of it - since they wouldn't let us see more than one dance on the same show edit, possibly thinking we'd all get overexcited, hyperventilate and black out. But here they are again in the same outfits as for Silver Lady, shot entirely from one stage right and from the back with Sue in the foreground, doing at least three different routines at once to begin with before falling into formation prancing, facing a Toppotron™ slide projection of his photos as between those two points kids shuffle awkwardly. At least one teenage male seems to be doing it ironically. It briefly looks like the girls are going to keep going regardless of what the music's doing but they notice and slowly gyrate to a standstill before applauding everyone else for dancing, which is big of them. Tony continues his one man Radio Times recital by plugging his morning Radio 1 show and Magic Fly plus lots of close-ups of lights sees us out.
Thursday 20 September 2012
TOTP 18/8/77 (tx 20/9/12): sunshine, nights and the stars
Firstly, that short T.Rex clip posted last week? The whole thing has now surfaced. There's a second keyboard player doing Gloria Jones' supposed parts! Swizz!
Clipped straightforward DLT, Stranglers' Something Better Change under the rundown, the Fleetwood Mac slide moved so we can see Mick's face.
The Dooleys – Think I'm Gonna Fall In Love With You
A band who'd become semi-regulars in the coming years, not actually on their debut - that was on the wiped show a fortnight previously - but dressed for their big break, Jim Dooley in the requisite half-open shirt and medallion unnecessarily tightened around his thorax, one sister in a cocktail bar evening dress, the other pushing the boat out in velvet full-length skirt and open jacket with tube top. She's not shy about casually pushing the side of the jacket aside to show her full worth either. At least all this preparation is something when allied to a form of disco that started out showband weak and is now fed through the orchestral mangle.
The Floaters – Float On
No, hang on, that's not it. "I've got some loonies up here" DLT remarks, which is two-faced of him given they're women and thus he doubtless chose them to join him. One seems to be rivalling Dooley Left in the cold studio stakes. (This is beginning to seem unseemly already, isn't it? I do apologise) The Jonathan Cainers of smooth soul are on tape, having like half the other smooth soul troupes we've seen fallen for the popularity of powder blue suits, bow ties and ruffled shirts in mid-70s Detroit. Maybe someone had a knock-off job lot going.
Elkie Brooks – Sunshine After The Rain
"A lot of people were really, really pleased" by her hit, apparently. Shooting her from underneath is an unkind way to repay the compliment, though, BBC. Curiously the theme for the week is overalls, red one-piece with zip and brooch that looks a lot like that worn by Mr Dooley for Elkie, pristine white for her band, including a drummer with a bravura perm. A four way mirrored shot attempts to add the visual element that costumes and plants used to provide, but the main note to take away is one horrid line of off-key harmony twixt Brooks and Ladybirds, who you may recall used to be her friends. Still, when it lifts at the end the audience seem keen, including one young chap literally spinning into the middle of the crowd shot. As the camera slowly pans back, DLT is miming along to the last words. I hope he wasn't doing that for effect as thinking he sings along with everything would explain a lot.
Mink De Ville – Spanish Stroll
"Brother Johnny, he caught a plane and he got on it". Yeah, we'd kind of been led to assume that. Faux-live clip, which reveals the backing vocalists to all be men. DLT bemoans "all that foreign lingo".
Carly Simon – Nobody Does It Better
Go on, guess how DLT linked into Legs & Co using the song title as leverage. No sitting down this week, and Flick must have had words as everyone's gone all out on their behalf. The stage has various levels and steps to work around. The set has funny round things hung all around like the curtain between the kitchen and counter in a cheap kebab house. The costumes use flesh-coloured materials and glitter to give a barely-there look, coupled with slit full length skirts, long gloves and a variety of cummerbunds. The routine veers from elegant solo spots to bits where everyone seems to just be doing their own sets of crouches and spins, which if you look closely are actually in pattern but on simultaneous viewing look a bit of a mess. They also have those eyemasks-on-sticks things that probably have a proper name, but only Gill seems to use hers for their proper purpose at one moment, as opposed to wafting them about like a rhythmic gymnastic implement.
Danny Williams – Dancin' Easy
One of the girls now with DLT has 'Midge' picked out in glitter on her T-shirt. You can tell the Slik kids a mile away. Taking "the anchor position", as DLT renames number 30, Danny's gone for the suave white suit this time. Half the audience join him two lines in, as if all suddenly realising it's that one from that advert simultaneously, and begin bopping on the spot immediately. In the background Legs & Co can be seen leaving their set to put coats on before they catch their deaths. Given two options of where to look, a good proportion of the audience chooses the third and stares at the overhead monitors. A man in a suit stands side of stage impassively throughout, watching the kids more than the singer. Security? Really? A red shirted friend joins him later on, ready to leap onto the stage right at the end, and tries to barge past an audience member despite surely not heading anywhere. Williams and his brown wing collars continues effervescently on regardless.
The Rah Band – The Crunch
Again. According to someone on Twitter the subtitles read 'STOMPIN' RHYTHM & BLUES PLAYED ON AN ELECTRIC KEYBOARD'. DLT claims he can get bin liners cheap. I bet he can.
Candi Staton – Nights On Broadway
A triumph of Flick-esque literalism in video making as Candi in an ambitious pink trouser suit sings from Broadway. At night. "I'm standing in the dark" she sings under film lighting. Then she sits on the bonnet of a Cadillac. Hope she asked first.
The Jam – All Around The World
Like Danny Williams, the Jam's set is flanked by a huge spiral of red lightbulbs, which they must be proud of as it keeps prominently appearing in a suspiciously large number of side-on shots. Unlike Danny Williams, Weller is wearing shades. If Williams had been given enough weeks, though... Midge Girl is standing right front and centre, angry young men proselytizing youth explosions right beside her, and she's standing side on chatting to someone. This happened last time the Jam were on. Were these really the salad days of punk's life if the youth are not only feigning ignorance but doing it so pointedly?
Elvis Presley – Loving You
Or so it says here, Elvis having died two days previously. It seems to have been cut for rights reasons - it was a clip from the film of the same name and the Presley estate are a lot more hard on that sort of thing being rebroadcast these days, especially as the Beeb don't hold the UK broadcast rights. When a run of Elvis reissues reached number one in 2005 the show was banned from broadcasting any actual footage of him.
Brotherhood Of Man – Angelo
After an age, it finally makes it to the top. Despite this, for once they're not available to come in. Space's synth odyssey Magic Fly sees us out.
Clipped straightforward DLT, Stranglers' Something Better Change under the rundown, the Fleetwood Mac slide moved so we can see Mick's face.
The Dooleys – Think I'm Gonna Fall In Love With You
A band who'd become semi-regulars in the coming years, not actually on their debut - that was on the wiped show a fortnight previously - but dressed for their big break, Jim Dooley in the requisite half-open shirt and medallion unnecessarily tightened around his thorax, one sister in a cocktail bar evening dress, the other pushing the boat out in velvet full-length skirt and open jacket with tube top. She's not shy about casually pushing the side of the jacket aside to show her full worth either. At least all this preparation is something when allied to a form of disco that started out showband weak and is now fed through the orchestral mangle.
The Floaters – Float On
No, hang on, that's not it. "I've got some loonies up here" DLT remarks, which is two-faced of him given they're women and thus he doubtless chose them to join him. One seems to be rivalling Dooley Left in the cold studio stakes. (This is beginning to seem unseemly already, isn't it? I do apologise) The Jonathan Cainers of smooth soul are on tape, having like half the other smooth soul troupes we've seen fallen for the popularity of powder blue suits, bow ties and ruffled shirts in mid-70s Detroit. Maybe someone had a knock-off job lot going.
Elkie Brooks – Sunshine After The Rain
"A lot of people were really, really pleased" by her hit, apparently. Shooting her from underneath is an unkind way to repay the compliment, though, BBC. Curiously the theme for the week is overalls, red one-piece with zip and brooch that looks a lot like that worn by Mr Dooley for Elkie, pristine white for her band, including a drummer with a bravura perm. A four way mirrored shot attempts to add the visual element that costumes and plants used to provide, but the main note to take away is one horrid line of off-key harmony twixt Brooks and Ladybirds, who you may recall used to be her friends. Still, when it lifts at the end the audience seem keen, including one young chap literally spinning into the middle of the crowd shot. As the camera slowly pans back, DLT is miming along to the last words. I hope he wasn't doing that for effect as thinking he sings along with everything would explain a lot.
Mink De Ville – Spanish Stroll
"Brother Johnny, he caught a plane and he got on it". Yeah, we'd kind of been led to assume that. Faux-live clip, which reveals the backing vocalists to all be men. DLT bemoans "all that foreign lingo".
Carly Simon – Nobody Does It Better
Go on, guess how DLT linked into Legs & Co using the song title as leverage. No sitting down this week, and Flick must have had words as everyone's gone all out on their behalf. The stage has various levels and steps to work around. The set has funny round things hung all around like the curtain between the kitchen and counter in a cheap kebab house. The costumes use flesh-coloured materials and glitter to give a barely-there look, coupled with slit full length skirts, long gloves and a variety of cummerbunds. The routine veers from elegant solo spots to bits where everyone seems to just be doing their own sets of crouches and spins, which if you look closely are actually in pattern but on simultaneous viewing look a bit of a mess. They also have those eyemasks-on-sticks things that probably have a proper name, but only Gill seems to use hers for their proper purpose at one moment, as opposed to wafting them about like a rhythmic gymnastic implement.
Danny Williams – Dancin' Easy
One of the girls now with DLT has 'Midge' picked out in glitter on her T-shirt. You can tell the Slik kids a mile away. Taking "the anchor position", as DLT renames number 30, Danny's gone for the suave white suit this time. Half the audience join him two lines in, as if all suddenly realising it's that one from that advert simultaneously, and begin bopping on the spot immediately. In the background Legs & Co can be seen leaving their set to put coats on before they catch their deaths. Given two options of where to look, a good proportion of the audience chooses the third and stares at the overhead monitors. A man in a suit stands side of stage impassively throughout, watching the kids more than the singer. Security? Really? A red shirted friend joins him later on, ready to leap onto the stage right at the end, and tries to barge past an audience member despite surely not heading anywhere. Williams and his brown wing collars continues effervescently on regardless.
The Rah Band – The Crunch
Again. According to someone on Twitter the subtitles read 'STOMPIN' RHYTHM & BLUES PLAYED ON AN ELECTRIC KEYBOARD'. DLT claims he can get bin liners cheap. I bet he can.
Candi Staton – Nights On Broadway
A triumph of Flick-esque literalism in video making as Candi in an ambitious pink trouser suit sings from Broadway. At night. "I'm standing in the dark" she sings under film lighting. Then she sits on the bonnet of a Cadillac. Hope she asked first.
The Jam – All Around The World
Like Danny Williams, the Jam's set is flanked by a huge spiral of red lightbulbs, which they must be proud of as it keeps prominently appearing in a suspiciously large number of side-on shots. Unlike Danny Williams, Weller is wearing shades. If Williams had been given enough weeks, though... Midge Girl is standing right front and centre, angry young men proselytizing youth explosions right beside her, and she's standing side on chatting to someone. This happened last time the Jam were on. Were these really the salad days of punk's life if the youth are not only feigning ignorance but doing it so pointedly?
Elvis Presley – Loving You
Or so it says here, Elvis having died two days previously. It seems to have been cut for rights reasons - it was a clip from the film of the same name and the Presley estate are a lot more hard on that sort of thing being rebroadcast these days, especially as the Beeb don't hold the UK broadcast rights. When a run of Elvis reissues reached number one in 2005 the show was banned from broadcasting any actual footage of him.
Brotherhood Of Man – Angelo
After an age, it finally makes it to the top. Despite this, for once they're not available to come in. Space's synth odyssey Magic Fly sees us out.
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