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    I wasn't aware of the Ray Dorset-Feels Like I'm in Love-Elvis connection.

    The Elvis impersonator version is great.

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      He has a few other great "Elvis" versions on his channel. I suspect that Ray Dorset's vision for "Feels Like I'm In Love" was more like "Burning Love" than disco.

      Price & Stubbs take a rather dim view of "Feels Like I'm In Love". I rather like it, though I am awfully susceptible to letting nostalgia cloud critical judgment. "Feels Like I'm In Love reminds me of funfairs. I can virtually smell the grilled sausage and cotton candy and sugared almonds when I hear the song. It makes me happy, so (as Al might say) fuck critical facultehs.

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        It's a good tune, but the production is pretty hateful.

        It would have been good if Giorgio Moroder had got his hands on it (and called up Donna Summer).

        Or Elvis.

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          But it goes without saying that the British were mostly rubbish at Disco.

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            Kelly Marie seems to adopt a country twang for the vocal. I think the tune influences You Spin Me Round by Dead Or Alive, but is better, having a bit more space and not being drowned by the loud vocal.

            Would Elvis had gone near disco? It was perhaps a bit gay and urban for his Southern/Memphis schtick. He had more mileage with the Neil Diamond stuff, which still had a market in 1980, albeit albums more than singles.

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              One of Stubbs or Price points out that "way Down" had a touch of disco, without it being disco. There was lots of that. "Accident Prone" by Status Quo is a good example of rock nodding at disco (though whether the nod is affectionate or expedient is another question). Elvis certainly wouldn't have gone Ethel Merman on us, but the man had a genuine connection with black music, so it's plausible that there might have been one or the other disco-soul sounding number, or a ballad from that genre. Elvis' cover of "Love Don't Live Here Anymore" (also mentioned in this episode) would have been interesting.

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                I was interested to hear the experts' opinion of Randy Crawford, whom I regard as one of the greatest vocalists of any age. I was delighted to hear Simon pose the question (I paraphrase): "Why is she not regarded as Aretha Franklin's equal?" Damn right.

                Without wishing to challenge Aretha's greatness, I actually prefer Randy Crawford's singing (though Aretha has more great tunes in her catalogue). It's not just the tone, though I don't find Aretha's voice particularly lovely. Aretha tends to bark a lot, and in the 1980s she began to scream. And she does quite a bit of showboating, which is fair enough when you have that kind of talent. Crawford does none of these things. But, man, can she sing and convey emotion. Just listen to Tender Falls The Rain -- goosebump stuff.

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                  Ray Dorset's version of Feels Like I'm in Love is dreadful. I think our Elvis impersonator has inadvertently made the seminal version.

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                    That 'Elvis' version is magnificent.

                    I semi-regularly sing and/or play the Kelly Marie version to a parrot I look after sometimes. It seems to be his favourite song, it can always make him bob and 'dance' and start 'singing' along. I think it must be a combination of the general high-pitched tunefulness and bounce plus the 'boop-boop, boop-boop' synth-drum(?); it certainly gets the macaw vote.

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                      Great to hear New Musik get some love from both Nishlord and Spearmint, off the back of the appearance by the Nick Straker Band. I agree with Spearmint that Sanctuary is one of the great lost singles of that period.

                      Also, I had no recollection of The Beat’s single Best Friend. Imagine my surprise to discover Dave Wakeling et al invented jangly indiepop in 1980. It’s fantastic.

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                        I’m not ashamed. I had Kelly Marie disco stick in my head this last week, and I liked it.

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                          Just to go back to The Beat for a second, really interesting point about how by this point the mod revival bands a la Secret Affair had run out of steam, whereas in contrast the ska/2-Tone acts were developing their ideas and progressing with confidence. It really makes me want to check out I Just Can’t Stop It.

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                            Wonderful podcast as always. I really must investigate those beat albums. I only know the singles.

                            Regarding scary performances on totp, Boney m doing ma baker used to really creep me out. The song sounded really menacing, both in its arrangement and the vocals too. Plus I remember being really scared by the big videoscreen of ma baker doing her talking bit at the beginning of the song.

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                              I thought I was the only one who remembered the Madness/Modness badge.


                              https://www.onetouchfootball.com/sho...hlight=modness

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                                Originally posted by Jon View Post
                                Wonderful podcast as always. I really must investigate those beat albums. I only know the singles.

                                Regarding scary performances on totp, Boney m doing ma baker used to really creep me out. The song sounded really menacing, both in its arrangement and the vocals too. Plus I remember being really scared by the big videoscreen of ma baker doing her talking bit at the beginning of the song.
                                If the Beat album,, is the red and black, one, sorted.

                                They were never in doubt. 6 singles, straight up. Specials did a couple/3 Number ones, but you don't remember "... About Your Girl" either.

                                Madness were already in the Ian Dury space, which wasn't... quite... covered, so they were fine.

                                The Beat were so fucked, they had to make another band change thei... wait, THE BEAT had to change their name to the Beat UK.

                                And fucking hell, those badges! The one with the Selecta! (not -er) girl, and the checkered flag guy with the pork pie hat WAS THE BEAT guy, while he was waiting for UB40 (Who appeared.... pretty much alongside/awrongside, beautifully)

                                And you fuckers were all thinking about which city? I was dancing.

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                                  I should point out, right now, that if the episode with Haysi Fantayzee comes on, 'he' will look like Colin Bell, without the French tips.

                                  *Please don't make me explain myself.... S'Express. I missed the HDMI and the headphones. Sorry, I typed this, but, maybe some... no, someone did not have to. x
                                  Last edited by Gerontophile; 13-12-2017, 06:57.

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                                    I've just thought about something Nish said: and if he hasn't he fucking should have: You pick which side of Liquid Gold and Echo Beach, you are. And you fucking stay there... type thing.

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                                      And that isn't at all. I just presumed for... bollocks. I am off my face. It was the S'X-Press song.... No-one reads this early morning shit? (Games= good. Totopoly= Maybe not.)

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                                        Oh yeah. They are trying to kill me... To, (Elizabeth Taylor in The Mir... oh fuck it)

                                        "Let's name it Violet, and kill your first born?
                                        Whadda ya thank?

                                        I'd quite like to get back to the music and her muffins."

                                        x

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                                          Originally posted by Serge Gainsbourg View Post
                                          I thought I was the only one who remembered the Madness/Modness badge.

                                          https://www.onetouchfootball.com/sho...hlight=modness
                                          Following the links from there is an excellent way to spend the first hour at work...

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                                            New episode! 22nd December 1983, with Spearmint and Neil Kulkarni.

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                                              I've listened to the first half-hour and they're discussing Smash Hits.

                                              Smash Hits was a very big thing in the early 80s, in an era of limited access to information. Although I used to read my friend Julian's copy. But I think I was mostly looking at photos, reading interviews and reading the song lyrics. It was only much later that I realised how good the reviews were.

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                                                YAY Chart Music for christmas.

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                                                  Woo hoo! That’s my post crimbo party hangover Saturday sorted so! Already half cut. My order of green had better be waiting in the gaff.

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                                                    They really lay into Peel, while acknowledging his importance in being the most regular source for hearing new great acts.

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