RECORD MIRROR Singles Reviews, 30th August 1980

Message Bookmarked
Bookmark Removed

According to reviewer Mike Nicholls, this is "an above-average crop ... whose pure artlessness is almost reactionary", so maybe reactionary artlessness was his thing. The "Playlists RIP" strapline refers to the apparent abolition of radio playlists, a claim with doesn't seem to be backed up anywhere else (I've looked). Although short on classics (which I thought made it an interesting choice), the 48 singles reviewed here are highly representative of 1980 as 18 year-old me remembers it, with hordes of suburban boys in skinny ties/maroon V-necks over white T-shirts trying to sound like The Jam/The Beat/The Undertones/Squeeze, but failing even to reach the heights scaled by The Vapors/The Chords/The Look/The Jags. There are also some late 70s hit-makers running out of steam, a metal section, a couple of token soul reviews, a splash of pub-rock, and a couple of nods towards synth-pop. At a time when David Hepworth was editing Smash Hits and Mike Read was hosting the mid-evening weekday slot on Radio One, you can see where a lot of this stuff was aimed at.

Poll Results

Yellow Magic Orchestra - Behind The Mask 13
XTC - Generals And Majors 12
The Ruts - West One (Shine On Me) 4
Cathy La Creme - I Married A Cult Figure From Salford 3
The Scorpions - The Zoo 2
Gilbert O'Sullivan - What's In A Kiss? 2
Buzzcocks - Are Everything/Why She's A Girl From The Chainstore 1
The Revillos - Hungry For Love 1
Toad The Wet Sprocket - Reaching For The Sky 0
Classix Nouveaux - The Robots Dance 0
The Motels - Whose Problem? 0
Jeff Scott & The Hitmakers – Keep On Proving It 0
Live Wire - Castle In Every Swiss Cottage 0
The O'Jays - Girl Don't Let It Get You Down 0
The Upset - (10-9-8) Lift Off 0
The Temptations - Struck By Lightning Twice 0
Michael Schenker Group - Armed And Ready 0
Touch - Don't You Know What Love Is? 0
Krokus - Tokyo Nights 0
Pat Travers - Snortin' Whiskey 0
REO Speedwagon - Only The Strong Survive 0
Manicured Noise - Faith 0
The Hitmen - I Still Remember It 0
Blast Furnace & The Heatwaves - Can't Stop The Boy 0
Jezz Woodroffe - Peace In Our Space 0
Darts - Peaches 0
The VIPs - The Quarter Moon 0
The ATs - Come 'Ere 0
Cairo - Movie Stars 0
Headline - Carolina 0
The Korgis - If It's Alright With You Baby 0
Spider - Everything Is Alright 0
The Pin-Ups - Wild In The Streets 0
The Trend - This Dance Hall Must Have A Back Way Out 0
Shadowfax - The Russians Are Coming 0
The Carpettes - Nothing Ever Changes 0
After The Fire - Love Will Always Make You Cry 0
Ian Gomm - Jealousy 0
Jenny Darren - Lover 0
Kenny Loggins - Lead The Way 0
Dr Feelgood - No Mo Do Yakamo 0
Klark Kent - Rich In A Ditch 0

mike t-diva, Tuesday, 31 August 2021 13:58 (two weeks ago) link

Spotify (created in the UK):

Klark Kent - Rich In A Ditch
Jezz Woodroffe - Peace In Our Space (Sue's Song)
Cairo - Movie Stars
Headline - Carolina
The Trend - This Dance Hall Must Have A Back Way Out
Shadowfax - The Russians Are Coming
Jenny Darren - Lover
Blast Furnace & The Heatwaves - Can't Stop The Boy
The Hitmen - I Still Remember It
Live Wire - Castle In Every Swiss Cottage
The Upset - (10-9-8) Lift Off
Cathy La Creme - I Married A Cult Figure From Salford
Toad The Wet Sprocket - Reaching For The Sky

Not found:
Pin-Ups - Wild In The Streets
Jeff Scott & The Hitmakers – Keep On Proving It

mike t-diva, Tuesday, 31 August 2021 14:00 (two weeks ago) link

10 of these 42 charted, although only two went Top 40. Peak positions were: 19 Gilbert O'Sullivan / 32 XTC / 42 Motels / 43 Ruts / 53 Michael Schenker Group / 55 VIPs / 56 Korgis / 61 Buzzcocks / 66 Darts / 75 Scorpions.

mike t-diva, Tuesday, 31 August 2021 14:01 (two weeks ago) link

Image close-up:

mike t-diva, Tuesday, 31 August 2021 14:02 (two weeks ago) link

Not sure I know any of these apart from Behind The Mask so will try to resist just voting for it although I suspect it's the best thing here anyway.

nashwan, Tuesday, 31 August 2021 14:12 (two weeks ago) link

The only ones I remember are Buzzcocks, The Korgis, Blast Furnace, XTC, The Ruts and Gilbert O'Sullivan (and I didn't buy any of them). They're a largely obscure bunch, many with very low play counts, but looking at other RM singles pages from the same period, this was fairly typical.

mike t-diva, Tuesday, 31 August 2021 14:22 (two weeks ago) link

The Pat Travers is some fine late period buttrock. And I had the Michael Schenker one on cassette, with the cover that suggests he’s about to have an unpleasant dentist appointment. Most of this list rings no bells though.

Josefa, Tuesday, 31 August 2021 14:27 (two weeks ago) link

Generals and Majors

Les hommes de bonbons (cryptosicko), Tuesday, 31 August 2021 14:38 (two weeks ago) link

Cathy Le Creme is a tribute to / parody of John Cooper Clark. The b-side is a post punk dub wonder and thus gets my vote.

stirmonster, Tuesday, 31 August 2021 15:02 (two weeks ago) link

It has sometimes been rumoured that Cathy La Creme later became Jenny Eclair, but Jenny Eclair has refuted this on Twitter; however, she acknowledges being a member of Cathy La Creme's cabaret troupe, the Rum Babas (sometimes known as the Rum Babies).

mike t-diva, Tuesday, 31 August 2021 15:06 (two weeks ago) link

i always assumed it was Jenny Eclair.

stirmonster, Tuesday, 31 August 2021 15:14 (two weeks ago) link

There's a visual similarity...

mike t-diva, Tuesday, 31 August 2021 15:18 (two weeks ago) link

I don't know many of these but I do like Manicured Noise (although iirc I like the demo version of that song better than the single version)

bovarism, Tuesday, 31 August 2021 15:35 (two weeks ago) link

I think Jenny Éclair could pronounce "Entrepreneurs" correctly (xpost)

Mark G, Tuesday, 31 August 2021 15:36 (two weeks ago) link

How is it possible that there were 2 different bands that chose the moniker "Toad The Wet Sprocket"?

enochroot, Tuesday, 31 August 2021 17:08 (two weeks ago) link

West One should have been massive.

Bach on harmonica! (Boring, Maryland), Tuesday, 31 August 2021 17:17 (two weeks ago) link

Toad the Wet Sprocket takes its name from a Monty Python comedy sketch called "Rock Notes",[6][7]

visiting, Tuesday, 31 August 2021 17:31 (two weeks ago) link

lol, YMO's "Behind the Mask" not "living up to the predecessor", and "insidious superficiality", "as empty as Numan's stuff", "basking in nowhereness and wasted potential"

takes that did not age well

professional anti- (Karl Malone), Tuesday, 31 August 2021 18:15 (two weeks ago) link

i'm gonna check out that other song that is much better though

professional anti- (Karl Malone), Tuesday, 31 August 2021 18:15 (two weeks ago) link

actually, does anyone have a link to the jezz woodruffe (woodroffe? it's spelled differently in different places)?

note that it's on youtube, but the first comment kind of authoritatively makes the case that it's the wrong song

professional anti- (Karl Malone), Tuesday, 31 August 2021 18:18 (two weeks ago) link

No, that's the right track, also on YouTube here. There's another different track with the same name on YouTube, but the first comment makes it clear that it's the wrong track.

mike t-diva, Tuesday, 31 August 2021 18:29 (two weeks ago) link

oh nice, thanks! i only saw that second link, not the first

professional anti- (Karl Malone), Tuesday, 31 August 2021 18:31 (two weeks ago) link

Only knew Shadowfax as late-80s (Grammy winning!) Windham Hill new age. Reading now that they go back to the early 70s.

... (Eazy), Tuesday, 31 August 2021 18:48 (two weeks ago) link

I hardly know any of these, the Ruts' track is great.

"Bobby Gillespie" (ft. Heroin) (Tom D.), Tuesday, 31 August 2021 20:11 (two weeks ago) link

What could have been.

Mark G, Tuesday, 31 August 2021 20:39 (two weeks ago) link

The run of Buzzcocks singles already compiled on Singles: Going Steady was so perfect that it somehow closed a chapter on them. The next single ("You Say You Don't Love Me") flopped, and this, the first of three 1980 releases in quick succession, was the their final chart entry. Lacking the pristine modernistic sheen of their hits, there's a roughness to both sides which feels retrograde. I'm more familiar with Heaven 17's 1981 B-side cover of "Are Everything", and I still prefer it. As for "Chainstore", I want to hear a Diggle vocal on a Buzzcocks track about as often as a Ringo vocal on a Beatles track, and "Harmony In My Head" thus sufficed. (NB. there's one thing that the Buzzcocks have in common with Genesis: they both replaced their departing original singers with remarkably similar-sounding existing band members.)

While familiar with both of Stewart Copeland's 1978 singles as Klark Kent ("Too Kool To Kalypso" and "Don't Care"), "Rich In A Ditch" passed me by. Copeland plays all the instruments himself, which is fine, but he's no singer, and singing about wanting to be rich ("I don't wanna work in a ditch") is an odd thing for him to be doing in 1980.

I've just learnt about the strange evolutionary afterlife of YMO's "Behind The Mask": recorded by Michael Jackson with his own lyrics during the Thriller sessions (and posthumously released in 2010), a US club hit for Greg Phillinganes in 1985, a UK Top 20 hit for Eric Clapton in 1987 (both using Jackson's lyrics), each version getting less synthy and more rocky. Play the Clapton next to the YMO, and there's barely anything left of the original. I'm getting strong Daft Punk vibes off the original.

Mike Nicholls dismisses YMO as superficial and empty, then bizarrely expresses a preference for Jezz Woodroffe's thin synth doodle ("catchier and more creative", like REALLY?), perhaps weighted by Woodroffe's minor Black Sabbath connection (as "Gerald Woodruffe", he played keyboards on Technical Ecstasy in 1976).

"Peaches" was Darts' penultimate chart entry, and so much of a retread of "The Boy From New York City" as to render it pointless. That said, it still feels wrong that they were outlasted by ShowaddyBloodyWaddy.

Formed from the ashes of Stackridge, The Korgis failed to match the success of their two big hits, but this is decent and probably deserved better. Their switch from prog to pop was elegantly handled, and Andy Davis (who played acoustic guitar on Lennon's "Gimme Some Truth" and "Oh Yoko") later toured with Goldfrapp, also guesting on their first two albums. Fair play to him.

The VIPs were one many bands that were lumped in with the much-hyped but under-delivering mod revival, and "The Quarter Moon", their only chart entry, sounds like Marc Bolan playing Merseybeat, which isn't such a bad thing. It was produced by Mike Leander, and the sax was played by Rudi Thompson, formerly of X-Ray Spex (and then playing in a band called The Outpatients with Paul Dean (also ex-Spex) and a workmate of mine whose brother was in The Members, but I digress). Jed Dmochowski from The VIPs pops up on YouTube, saying "I remember writing this at home in my attic bedroom, looking out at the sky for inspiration one night and seeing the quarter moon. It's about comforting someone after some sort of trauma, and how powerful that can be."

"I don't want no liberated woman in my house", sing Beat-wannabe flash-in-the-pans The A.T.'s (geddit?), so they can fuck off. Fun fact: bassist Neil Deamer ended up in ex-Korgi Andy Davis's backing band in the mid-90s. Look, I'm trying, OK.

Fronted by ex-Steel Pulse singer Michael Riley (aka Mykaell Riley, who formed the Reggae Philharmonic Orchestra and remixed East 17 and Bjork), black London ska band Headline drastically speed up The Folks Brothers & Count Ossie Afro-Combo's Prince Buster-produced 1960 bluebeat classic "Carolina", later sampled by Shaggy to chart-topping effect. The original remains fantastic.

I might do some more write-ups later, but it's a busy weekend.

mike t-diva, Saturday, 4 September 2021 12:30 (two weeks ago) link

Don't forget the Senor Coconut cover of 'Behind The Mask' which I am also a complete sucker for.

nashwan, Saturday, 4 September 2021 13:23 (two weeks ago) link

Released on short-lived Manchester indie label Absurd Records, Cairo's "Movie Stars" is an undistinguished generic ska follow-up to their only other single, the better and less frantic "I Like Bluebeat". Some obscure records are obscure for a reason.

I was too young ever to see The Rezillos live (a matter of some regret, as I loved them right from their very start), but I caught Fay Fife & Eugene Reynolds' spin-off band The Revillos at the back end of the year, and briefly dated one of their costume designers. This rather pallid Johnny Kidd & The Pirates cover does not showcase them at their best. Try Where's The Boy For Me? or Motorbike Beat instead, they're great.

Spider's "Everything Is Alright" is one of the first recorded compositions by Holly Knight, then their keyboardist, who went on to huge success as a songwriter during the 1980s (e.g. Tina Turner "The Best", Pat Benatar "Love Is A Battlefield", Animotion "Obsession", all of which help to explain why this efficient, polished and bloodless piece of drivetime AOR leaves me cold).

"Wild In The Streets" was the only release for Pin-Ups, and there the trail goes cold.

According to their press release, The Trend "germinated in the hills of the Pennines". Their first three singles were self-penned, but for this, their final release before reforming in the mid-2010s, it looks as if MCA had pushed them into the unlikely hands of Tony Macauley ("Build Me Up Buttercup", "Love Grows Where My Rosemary Goes", "Silver Lady"), who wrote and produced it. To the old lag's credit, he does a serviceable Springsteen-esque power pop job, and it's a shame that it only exists online in such a rough recording.

I dimly recall "The Russians Are Coming" getting some evening airplay on Radio One (it's a very 1980 Mike Read Show type of record), but it was the first and last single for East Dulwich's Shadowfax, and the sole release on their own Risky Discs label. Although it sounds like power pop, the band's image was more hard rock, and so they've been catalogued on a NWOBHM site, which details the grim fates of three of the band members, and one of their managers.

Durham's The Carpettes started out as bog standard second-generation 1977 punk rock, of the sort that John Peel became overly fond of, and they recorded two sessions for Peel during 1978. By 1979's "I Don't Mean It", which I clearly remember, they were nudging towards power pop, and by 1980 their quest to sound like a Jags tribute band was complete.

Best known in the UK for "One Rule For You", a minor chart hit but major radio airplay hit from summer 1979, and in the US for an English language cover of Falco's "Der Komissar" that reached #5 in 1983, Christian pop-rockers After The Fire were obvious candidates for the Mike Read treatment, and between 1978 and 1983 they chugged along comfortably, with sufficient modest recognition to keep them viable. If Alan Tarney had ever produced Nick Lowe, it might have turned out something like "Love Will Always Make You Cry".

Best known for "Hold On", a 1979 #18 hit in the US, Ian Gomm had been in Brinsley Schwarz with Nick Lowe, and he co-wrote "Cruel To Be Kind" with Lowe. "Jealousy" fits comfortably into that whole Rockpile/Graham Parker/Elvis Costello slipstream, but without anything else to distinguish it, and its YouTube/Spotify play counts are very low.

Taken from her fourth and final LP for DJM, Jenny Darren's self-penned, "Ashes To Ashes"-biting "Lover", her ninth of ten singles, fared as poorly as the rest of her output - which included the original version of "Heartbreaker", re-jigged a year later by Pat Benatar into her first hit record. Jenny Darren finally got her five minutes of fame in 2018, when she performed "Highway To Hell" on Britain's Got Talent, aged 68, when she gamely submitted to their "frumpy grandma strips to reveal leather-clad rock chick" narrative.

Accidentally reviewed by Mike Nicholls as the lead track, when in fact it was the B-side to "I'm Alright", the theme from Caddyshack, "Lead The Way" is a completely forgettable orchestrated ballad; meanwhile the sprightlier, Buckingham-esque "I'm Alright" reached #7 in the US. Nicholls would make the same mistake again further down this column.

mike t-diva, Saturday, 4 September 2021 15:06 (two weeks ago) link

Love that Loggins story ^^

... (Eazy), Saturday, 4 September 2021 15:25 (two weeks ago) link

And the passwords joke

Mark G, Saturday, 4 September 2021 16:13 (two weeks ago) link

Released on short-lived Manchester indie label Absurd Records, Cairo's "Movie Stars" is an undistinguished generic ska follow-up to their only other single, the better and less frantic "I Like Bluebeat". Some obscure records are obscure for a reason.

I'm very partial to Cairo's "I Like Bluebeat", possibly for nostalgic reasions as it was always on Radio 1 in the evenings (Mike Read show?) while I was doing my homework.

There were actually 2 versions of "I Like Bluebeat" out almost simultaneously, the other one by The Outline and not as good imo. I always wondered what that was all about. Any idea mike?

stirmonster, Saturday, 4 September 2021 16:23 (two weeks ago) link

The Outline and Cairo were actually the same band. The Outline's version is earlier, before they changed their name, and Cairo's version, while extremely similar, is more produced. One version of the single actually has both recordings, separately credited to both band names.

mike t-diva, Saturday, 4 September 2021 17:00 (two weeks ago) link

It was some sort of licensing deal, apparently Absurd said "never again"...

Mark G, Saturday, 4 September 2021 19:28 (two weeks ago) link

Perhaps unsurprisingly the only songs I know here are the Michael Schenker and the Scorpions. I like the Schenker better.



but also fuck you (unperson), Saturday, 4 September 2021 19:36 (two weeks ago) link

thanks! x post

the zoo rules.

stirmonster, Saturday, 4 September 2021 19:51 (two weeks ago) link

Its title is the only even vaguely interesting feature of "No Mo Do Yakamo", a lacklustre will-this-do chug which cemented Dr Feelgood's status as former hitmakers, and which, with pointedly cruel timing, was reviewed in the same week that Ian Dury & The Blockheads' "I Want To Be Straight" (featuring the recently joined Wilko Johnson) entered the singles chart.

And while we're paddling in the spillage of pub rock, here's the third and final single from Charles Shaar Murray's alter ego, Blast Furnace (formerly "and The Heatwaves", until Rod Temperton's band took them to court). Featuring Bob Geldof and Phil Lynott on backing vocals, "Can't Stop The Boy" first appeared on the B-side of the band's 1978 debut EP release, and its chummy references to Dee Dee Ramone and The Boomtown Rats already sound two years out of date.

Although "I Still Remember It" is a tidy and effective little slice of power pop, The Hitmen sounded less generic and more characterful on their best known single, "Bates Motel" (1981). At some point in their brief career, the line-up featured Alan Wilder, later of Depeche Mode, but he's not playing on this one. Most of the other band members did OK after they split: the singer joined Youth and Jimmy Cauty in Brilliant, before forming Juno Reactor; the guitarist wrote and produced for Kirsty MacColl, Alison Moyet, Terence Trent D'Arby, Anni-Frid Lyngstad etc; the bassist became Nick Lowe's producer for over 20 years, and worked with Bryan Ferry and others.

Earlier in 1980, I saw Manicured Noise at the Lyceum, at the bottom of a bill which also featured, in order, The Teardrop Explodes, Echo & The Bunnymen (I fell asleep), A Certain Ratio (I woke up) and the Psychedelic Furs. I remember them as more scratchy/angsty/angular/post-punky than this more, uh, manicured recording. Their second single (which was covered by Shack in 1998), it followed "Metronome", which sounds closer to the way I remember them.

mike t-diva, Sunday, 5 September 2021 13:04 (one week ago) link

Automatic thread bump. This poll is closing tomorrow.

System, Tuesday, 7 September 2021 00:01 (one week ago) link

Can’t quite work out Mr Nicholls. Tempted to vote for the enjoyable After the Fire in reaction to him lambasting them as “perennial wimps”. I googled him and the top result was home raving over noted macho man Elvis Costello so 🤷‍♂️.

Alba, Tuesday, 7 September 2021 00:46 (one week ago) link

Home = him

Alba, Tuesday, 7 September 2021 00:47 (one week ago) link

I quite like the Classix Nouveaux track but it does also sound like a Flight of the Conchords parody of the era.

Alba, Tuesday, 7 September 2021 00:54 (one week ago) link

I love these threads btw, especially the move to Record Mirror with the extra weirdness. The playlists alone are a great way of dropping into another time without the filter of modern day preferences.

Alba, Tuesday, 7 September 2021 10:31 (one week ago) link

Hitmen->Brilliant->Juno Reactor! Charles Shaar Murray! Who knew? mike t-diva knew. Good stuff.

Michael Jones, Tuesday, 7 September 2021 10:59 (one week ago) link

Classix Nouveaux were originally conceived as a vehicle for X-Ray Spex after Poly Styrene left in 1979, and an advert was placed in Melody Maker looking for her replacement. Sal Solo answered the ad and got the gig, but only two ex-Spexers (guitarist Jak Airport and drummer B.P. Hurding) actually joined the new band (Rudi Thomson and Paul Dean ending up with my workmate Paddy Carroll in The Outpatients, see above). By the time that "The Robots Dance", their debut single, was released on their own ESP label (the label's only release, as they signed to Liberty later in 1980), Jak Airport had already left the band, who had by then been lumped in with the emerging New Romantic scene, rather to their surprise. The track sounds to me like a bridge between the post-punk that dominated at the start of the year, and the futurism that had just begun its ascendancy (we're still exactly two months away from the release of Spandau's "To Cut A Long Story Short", which would properly kickstart the column inches).

I first read about The Motels in Punk in late 1976, but the original line-up split up in 1977, reforming in 1978 with just singer Martha Davis and guitarist Jeff Jourard remaining from the first line-up. They'd already had a Top 10 hit in Australia with "Total Control" in 1979, and they wouldn't crack the US chart until 1982 with "Only The Lonely", but in the interim they had two minor UK hits with "Days Are OK" and "Whose Problem", its immediate predecessor (both recorded after Jeff Jourard had left). "Whose Problem" is my best discovery of this poll, which slips neatly into its post-Pretenders times; it's immensely pleasurable, and I might yet vote for it.

Jeff Scott & The Hitmakers "Keep On Proving It" can't be found online, and it remains rare, selling for around £35 on Discogs. The weedy-voiced Jeff Scott's other two choppy power pop singles - one solo, another with the Hitmakers - are all on YouTube, and sell for similar amounts. They're nothing special.

Despite Mike Nicholls' perplexing praise and predictions of future greatness, Live Wire plodded on hitlessly until 1981, during which time they released three flop albums for A&M. As with Jenny Darren's extended tenure at DJM, you do wonder why they were given so many chances; this is dreary, pedestrian stuff.

For a band much lauded for their intelligence, XTC's "Generals And Majors" offers a pretty facile commentary on the armed forces, rendered more facile still by its video, featuring Richard Branson. Andy Partridge thought so too, commenting that Branson only appeared "because he's a complete publicity hog. He decided he was gonna turn up and keep suggesting that he be in the video. That is the worst video ever made by man".

As with Kenny Loggins above, that silly old Mike Nicholls accidentally reviews the B-side of The Upset's only single, "Hurt". I saw tons of bands like The Upset in support slots during 1980 - there was an absolute glut of them - so it made sense for three of the band (who had supported Dexys on tour) to quickly jump ship and join forces with five ex-Dexys (including Mick Talbot) in The Bureau.

Cathy La Creme's John Cooper Clarke pisstake is nicely done, her vocals reminding me of Yorkshire punk poet Joolz Denby.

"West One (Shine On Me)" is the only one here that I ended up owning on vinyl, as it appeared in the autumn on a cheap Virgin compilation called Cash Cows. Malcolm Owen, who had been fired for his heroin habit and then re-hired, had fatally OD-ed six weeks earlier, making this their final single. I'm torn between voting for this and The Motels.

mike t-diva, Tuesday, 7 September 2021 13:18 (one week ago) link

It would be good if we could poll one of James Hamilton’s disco review columns from Record Mirror. Early 80s ones were pretty interesting with disco, soul, early rap, electro and dance friendly rock all featuring.

Dan Worsley, Tuesday, 7 September 2021 14:54 (one week ago) link

Yeah, I can easily do one of those next, as I've been turning them all into a blog over the past four years (started at 1975, now up to 1989).

mike t-diva, Tuesday, 7 September 2021 14:58 (one week ago) link

Automatic thread bump. This poll's results are now in.

System, Wednesday, 8 September 2021 00:01 (one week ago) link

Honourable set of votes there. The Ruts deserved more, it's a fine track and an indication that they would have gone on to greater glories.

Mark G, Wednesday, 8 September 2021 08:25 (one week ago) link

Agreed re. The Ruts. That's a resounding mandate for YMO and XTC. Not really getting the love for the latter, but the people have spoken.

mike t-diva, Wednesday, 8 September 2021 08:42 (one week ago) link

The Ruts track is miles better than the XTC track and I speak as an XTC fan of old. Can't quibble with YMO tho.

How does Spock's brain come into this? (Tom D.), Wednesday, 8 September 2021 08:48 (one week ago) link

New poll: RECORD MIRROR James Hamilton's Disco Page, 15th September 1979

mike t-diva, Wednesday, 8 September 2021 11:51 (one week ago) link

You must be logged in to post. Please either login here, or if you are not registered, you may register here.