1974: As with 1980 yesterday, this was the first show back after a long strike, seven weeks off as the culmination of a variety of strike action over the year. Leave a comment if you do. There is a kind of upheaval here too, as this was the first show to start with the rundown instead of that quite nightmare fuel-esque title sequence, something that remained until... the first show after the 1980 strike. Look lively, Charles. And what are Mud doing in their shot? For all Les' becaped glory when he actually gets going, surely the best bit is just before the first chorus when the marauding cameraman nearly runs several fans of The Rubettes over. Can't help thinking my running those songs together shows the difference between types of glam, despite the latter featuring two types of strap mounted keyboards. It must have been an emotional day for them as their original studio singer Paul da Vinci, still working that falsetto for all he's worth. "A spectacle of colour like you wouldn't believe" is a little strong in describing The Glitter Band but those sequined outfits are quite the statement of the times, as in its own way is the overuse of CSO. A big brassy vocal duo like Sweet Dreams seem far out of pop in this company, but watch that audience jive.
1985: Cat In The Hat style was clearly the rage at the time, evidenced by Amazulu. Meanwhile on guitar, the Laura Ashley Barney Rubble range. Despite a brave effort to silence Richard Skinner he still comes back in time to introduce us to Princess, her three hairstyles and her optimistic earrings. Go West insist on their backing musicians wearing the same suits and then break ranks themselves, and not even in the same colours. Know your place, sessioneers.
1991: Live scratching! There's something to fill any living drum. The Shamen also have Mr C in a particularly upbeat mood. From acid to acid jazz, evidently you couldn't be in the genre alongside Young Disciples without a spare part on lightly tapped bongo drums. And then there's Blur, fronted by a big cock.
1997: Peter Andre and dancers in virginal white far too baggy suits, the real moment coming right at the end when someone dressed almost exactly the same way storms the stage to Andre's evident surprise. There's something that doesn't work about North & South, not just the two keyboardists lineup but that this is a song referencing Tarantino aimed at kids. Lots of arms out forward from the front row. Texas took their inspiration from Schindler's List.
1 comment:
That opening sequence in 1974 is quite good, presumably it was too much effort to do it every week hence the return to stills, but it's interesting as to how they managed to squeeze in thirty graphics and thirty clips when by 1977 the chart was darted through at a rate of knots. The Mud shot might be a live shot. I love the zoom in to Jimmy Ruffin.
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