Top of the Pops: 6th October, 1977.

Yes in concert, in 1977 by Rick Dikeman (Own work)
[GFDL or CC-BY-SA-3.0], via Wikimedia Commons

Those who follow me on Twitter know that, over the last few days, I've become increasingly obsessed with the back-catalogue of David Essex.

So, it's clear my musical taste's in fine fettle for the task ahead.

Also no doubt in fine fettle is Noel Edmonds who kicks it all off by making a baffling comment about things being black.

At first I assume its because the first few artists pictured on the chart rundown are all black. Why Noel should seek to draw attention to this, I don't know.

But then it then becomes apparent that Noel hasn't joined the Ku Klux Klan since we last saw him. He was merely referring to the track that's playing over the rundown.

Sadly, so bad is my memory as I enter old age that I can't remember who it's by even though they were only on last week.

But even my crumbling memory can't forget Smokie - mostly because they seem to be on every edition.

And so it is that they return, with Needles and Pins which Noel declares to be a classic.

Next it's the Emotions with Best of My Love.

Is that the Soul Train set I detect?

It is. Which means there's going to be plenty of dancing, not least from the Emotions who have a peculiarly jerky dance style that's somewhat shown up by the much cooler groovings of the audience.

As always, each member of the audience only has one actual dance move, which he/she repeats endlessly as though powered by clockwork.

Now it's Danny Mirror.

At first I make the fool's mistake of thinking I've never heard of him...

...but then he opens his mouth and I realise at once that I have heard of him.

For it is he who inflicted the song I Remember Elvis Presley on us.

As Elvis Presley was Number 1 only last week, it's not that great a feat of recall on Danny's part - but then I can't remember the names of acts who were on last week, so maybe I should cut him some slack.

But it does show how the mind plays tricks on one. I always remembered this as having been done by Les Gray of Mud.

"He's just a golden mammary," sings Danny. And, with his attempts to replicate The King's voice and random chunks of his hits, Danny's clearly determined to milk that mammary for all it's worth.

I hated this song at the time and I hate it now.

And now it's Legs and Co dancing to something.

It sounds suspiciously like the hirsute man the world in 1977 knows only as Giorgio.

And it is, with From Here to Eternity. It might be a million years old now but it's still a stunningly cool record.

Legs are waving lots of tin foil around. No doubt in the hopes of thwarting the radar of any World War Two bombers that might still be around.

Thwarting none but the forces of punk are Yes who are on with Wonderous Stories.

This song is the first I ever heard of Yes and it's one of those tracks I most strongly associate with 1977.

As we quickly see, Yes meet the challenge of punk head-on by completely ignoring it.

Someone else paying no lip service at all to punk is Deniece Williams, back with a song which seems to be called Baby Baby My Love's All For You, with which I've been previously unfamiliar. That's a shame as it seems quite pleasant but possibly no more than workwomanlike.

The Stranglers are back with No More Heroes.

And now Baccara are Bacc. They're as breathy as ever and they're still what can only be labelled, "Vocally challenged."

And now Steve Gibbons is back with a song in the same vein as his last hit.

As always, he's got his tightest leather trousers on but, frankly, this is a bit rubbish. Despite Steve's best efforts, it has no oomph to it at all.

Not that David Soul cares about oomph. Although displaying a total lack of that quality, he's at Number 1 with you-know-what song. He's still in that video and he's still not cheered up.

But now Noel's with a woman and doing a link that's got me totally baffled. It seems her name's Kim and she has a record out but he doesn't say what it is or let her speak. It seems to be some sort of in-joke but I'm oblivious to its in-ness.

We play out with Leo Sayer who's still got thunder in his heart.

In retrospect, I can't help feeling this week's show struggled to get going. I appreciated the Stranglers of course, as I always do, but it was a performance we've already seen before and I can't think of anything else that grabbed me. Even Smokie failed to work the magic they so often have.

In the end, the totally Zeitgeist deficient Yes were probably my highlight, which says it all about the strange failure of the edition to fully grip the handles of my nostalgia.

Top of the Pops: 29th September, 1977.

Golden Earring in 1974 By AVRO
(Beeld En Geluid Wiki - Gallerie: Toppop 1974)
[CC-BY-SA-3.0], via Wikimedia Commons

For  the most part, today's proven to be a battle with the madness of modern technology for me.

But will that deter me from tangling with yet more technology in order to sample the finest music the 1970s can offer?

Of course it won't.

And I'm not the only one, because Ed Stewart too is braving the latest hi-tech, in the form of a tiny spaceship that all my sci-fi geek instincts tell me has Mat Irvine's fingerprints all over it.

And it's not the only Space Age thing Ed brings with him, because, straight away, he launches us into Jean Michel Jarre, for the countdown.

And what do you know? Jean Michel works much better as countdown music than most records have lately.

But how futuristic the future sounded in the late 1970s.

I don't have a clue who the next act are but there's plenty of them and they've got the funk. Whoever they are, they're putting Honky in their place - and that's not a phrase I say every day.

Ed's back and he tells us it was Rose Royce, which gives some hint of the level of musical knowledge I have.

And this is David Soul.

Lots of meaningful looks from David.

I am really disappointed that, when the camera pulls back, it turns out the thing he's riding around on so moodily isn't a Raleigh Chopper. Just how great would that have been?

If he'd had any style, he'd have followed that up by whipping out a pair of Clackers.

But, now, not a Clacker in sight, he's out on the street, doing something that vaguely resembles the purchasement of druggage.

But David's cut off barely before he's begun, to make way for Legs and Co dancing to Bob Marley's I Don't Wanna Wait in Vain For Your love.

Needless to say, they've dressed appropriately for reggae by wrapping themselves in their local boarding house's net curtains.

Old Flick did like plenty of skirt waggling, didn't she?

You have to hand it to her, there's not many choreographers could come up with something quite this inane at such short notice.

But now Ed's back, and staying well away from females. After weeks of you-know-what, it is quite striking to be confronted by a presenter who shows no interest at all in the audience members around him. At the time, it must have seemed very stand-offish. No wonder he hardly ever got the gig.

And now it's the man who gave us the cover of Sgt Peppers Lonely Hearts Club Band.

That's right; it's Peter Blake.

He's changed a lot since then, hasn't he? In fact, he's practically unrecognisable.

Hold on a minute. Is that Kirk St Moritz?

Whether he is or not, it does seem like there was a union rule at the time that every edition had to include a Rock and Roll revivalist with what looked like roadkill on his head.

In fairness, it may be hokey old rubbish but he's giving it a go.

And now it's Ram Jam with Black Betty.

Quite frankly, I've never really known what to make of either Ram Jam or Black Betty. I don't like to judge people on appearances but they do look like very dodgy people and it does seem a somewhat mean-spirited song. On top of that, it has one of the most ludicrously out-of-place guitar solos in history...

...which we don't get to hear, as Top of the Pops fades it just as we're about to receive its full glory.

David Essex is back and he's still Cool Out Tonight, a phrase that has as much chance of catching on as Kid Jensen's, "Good Love."

"Bump bad a boo boo," declares David, clearly out to capture the eternal angst of the human spirit.

Orville's back! with I Plead Guilty.

I wonder if he looked that permanently surprised in real life.

I wonder why bright yellow suits never caught on.

I wonder why this one sounds exactly the same as their last one.

Their bolt well and truly shot, they make way for a woman about whom you could never make that accusation. It's Donna Summer with I Remember Yesterday. Let's be honest, it's not that great an achievement. Most people do. After all, it was only a few hours ago.

It's not the greatest video I've ever seen either. In fact, a far crueler man than I might label it, "terrible," as Donna prannies around dressed like a bad magician who's lost a fight with a bottle of bleach.

And her hat doesn't fit.

And it's a totally pointless song.

Now it's Golden Earring and Radar Love, one of those records I've heard mentioned plenty of times without ever having encountered.

If it's to win me over, the singer has to make an effort to bear less resemblance to Bono than he currently does.

This is getting worryingly close to heavy metal for my enjoyment.

Nope. I've decided I don't like it.

Someone who doesn't care what I like is Elvis. After five weeks, he's still dead and still at Number 1. Sadly, the latter of those two facts is likely to change sooner than the former.

Legs and Co are still dancing to him. They must be completely knackered by now.

Here's a turn-up. We've just had the Number 1 but, instead of the play-out that we'd normally get, Ed's joined by a man in the Steve Wright envelope. Ed introduces him as, "Giorgio," a no-doubt obscure personage from Italy.

Apparently, he's the man behind a song called, From Here to Eternity.

And then, it's dawned on me.

It's Giorgio Moroder!

That's right, Top of the Pops has sandwiched Giorgio Moroder in as some sort of afterthought and not even bothered telling us his surname.

To be honest, up until now it'd never occurred to me that Giorgio Moroder actually existed. I'd sort of had the notion he only existed in anecdotes, like Gloria Swanson. It's a bit of a shock to see there's actually a man behind the legend. In this sense I should probably thank Top of the Pops but, in another, I should probably curse them for destroying my fantasies.

Top of the Pops: 1st September, 1977.

Yvonne Elliman in 1975; by Matt Gibbons
(http://www.flickr.com/photos/ultomatt/120599196/)
 [CC-BY-2.0], via Wikimedia Commons

Last week brought something of a conceptual break-through into our musical lives. Will this week see the trend continue or will it be back to the mould we all hoped had been broken for good?

Like a herald of the new age, Tony Blackburn welcomes us through the airwaves.

And we leap straight into it with Meri Wilson and her legendary track Telephone Man playing over the chart countdown.

I may be a dirty old man but I think I spotted a momentary moment of subtle innuendo in the lyrics there.

Sadly, the innuendo doesn't last long, as we very quickly launch into... ...erm, someone.

Whoever they are, they sound lively.

This is all very funky. I approve of this.

It has a hint of John Miles, the Bee Gees and ELO about it.

Despite the seeming banality of its lyrics, this is threatening to be my favourite track ever by an opening act I've never heard of.

Apparently it was by Hudson Ford. I don't even know if Hudson Ford's the singer or the band.

According to Tony, it's Noel Edmonds' record of the week. No wonder I've never heard of it.

But now it's someone whose career even Noel Edmonds wouldn't be able to sink because it's Yvonne Elliman with a song that's not by the Bee Gees.

Admittedly, when I say it's not by the Bee Gees, I don't have a clue if it is or not but I'm assuming it isn't as it lacks their usual drama.

Also lacking drama is the video, which isn't the most imaginative I've ever seen, even by the standards of its day. It's basically Yvonne motionless as the camera points at her upper half.

It would seem the song's called I Can't Get You Out Of My Mind and I'm trying to work out if you can sing Tommy Steele's Little White Bull over it.

I decide I'm not sure if you can.

But a man who could rarely be confused with Tommy Steele is Elvis Costello who's singing (The Angels Wanna Wear My) Red Shoes on what I believe to be his first Top of the Pops appearance.

This makes me happy, as I was a very big fan of Elvis at the time and had been ever since I'd first seen him on TV one afternoon being interviewed by Mavis Nicholson.

It's Legs and Co dancing to Silver Lady - my favourite David Soul track.

It took me many years to realise it but this is about the Virgin Mary, isn't it?

Admittedly he does call her, "Baby," at one point but David's a big star and big stars do things differently from the rest of us. He probably calls Jesus, "Dude," as well.

This is exactly the sort of track Legs and Co should be dancing to. It's hard for even them to mess it up.

We've got to the chorus. I'm singing along with it. The neighbourhood cats are no doubt suitably impressed. They accept me as one of their own.

The acceptance of cats means more to me than life itself.

Just as I say that, I lose reception again. Those dagnabbit cats. It's them. It must be. They're trying to cut me off in my prime. But, damn their vertically pupiled eyes, they won't succeed.

I defeat the local cats in time for the Steve Gibbons Band to return. Is this the third time they've been on?

Now it's the Jacksons and a track with which I'm unfamiliar. This is strange, as I would've thought all Jacksons singles from this era would be famous enough to grant instant recognition. It seems to be called Dreamer and bears some lyrical resemblances to the Supertramp song of the same name.

But didn't there used to be more of the Jacksons?

To be honest, this is rubbish. It's in the same league as the Floaters - and Michael's moving around too much for such a mellow song. He's starting to get on my nerves.

Mink DeVille are back. After all these years, I still don't know what the Spanish bit of this song means.

According to Tony; on Tuesday, David Essex starts the first of his new series. I shall be watching.

Actually, I really shall. In our house, we used to watch the David Essex show and all those other programmes hosted by pop stars like Leo Sayer, Lulu and Cilla Black. I wonder if we'll ever see those days return, with the likes of Adele and Jessie J hosting middle-of-the-road TV for an audience of a certain age?

The track he's doing right now seems to be called Cool Out Tonight.

To be honest I'm not a David Essex fan. Even I can spot his twinkly eyed-charm but his records always seem so wooden to me. Rock On was of course the exception. A genuine classic.

This presumably isn't a classic, as I've never heard it played on the radio ever.

Tempo change. It's all gone a bit Beatles.

And now it's all gone a bit David Essex again.

That guitar solo's very Pilot.

But what does this song remind me of? It's driving me up the wall.

It's time to pass me my Union Jack parachute because we now get Carly Simon and Legs and Co.

To the surprise of no one, Elvis Presley's Number 1 with Way Down.

Legs and Co are getting a good work-out tonight, because they're back, doing a continuation of their earlier David Soul routine. Their sheer energy gives me great pleasure although too many of their moves seem to have been taught them by a chicken.

Some less than flattering photos of Elvis appear on the giant screen, one or two of which give the impression he was inflated with a bicycle pump before the photographer showed up.

But enough of Elvis because we play out with Magic Fly.

Well, apart from Elvis Costello making his debut, it was definitely a return to type for Top of the Pops but I did feel that, despite the anonymous nature of many of its songs, it did get away with it.

And how ironic that Elvis Costello should make his first appearance just as the other Elvis was checking out.

A better man than me would be able to find symbolism in that.

Top of the Pops: 14th April, 1977

The same old troubles finding a Free-Use Image of any of tonight's acts, so
here's a shot of ex-Star Trek sexpot Jolene Blalock in Cairo.
Jolene was in  Star Trek Enterprise. Popular music is a form of private
enterprise. Therefore Jolene has many valid links with Top of the Pops.
Photo by Jolene Blalock (Canon Eos)
[GFDL or CC-BY-SA-3.0-2.5-2.0-1.0], via Wikimedia Commons

A wise man once demanded we, "Clunk click every trip."

That man was Jimmy Savile.

That man is our host tonight.

And that's good news, because we're on a trip to the past and, on previous TOTP form, the odd clunk can be practically guaranteed.

As always, I have no idea who the first act is, as they and I haven't been formally introduced. By the looks of things, they come with no shortage of frills but will they be equally well-stocked with thrills?

Seemingly not.

It is the first time I've ever heard this, so I may be being premature in my judgement but, so far, it sounds terrible. I would say they have a singing drummer but, to be honest, I'm not sure that, whatever it is those strange noises are that're emanating from his mouth, that they qualify as singing - or any other form of communication known to man. The last time I experienced such sounds coming from a human being, I was reading an HP Lovecraft novel, and a giant space octopus was involved.

I do know though that someone's beautiful.

I know that because the main singer – the one who's not the drummer - keeps saying it, over and over and over again. I think he's after the world record for the most number of times anyone's ever said the word, "beautiful," in one lifetime.

Thankfully Sir Jimmy's back to tell us they were The Brothers, who I seem to remember having been on a few weeks ago, although I'm sure they seemed like a totally different group of people back then.

Marilyn McCoo and Billy Davis Jr are back with You Don't Have to be a Star.

It's the same vid as before.

As we've already seen it, I think I can gloss over it all, other than to say the spinning Dalek's still with them and that the pair of them still remind me of the Chanter Sisters, with their moves.

Good grief! It's Brendon again! Who'd have thought he'd get to appear on Top of the Pops quite so many times?

He's playing a guitar! This is what I like about him. He introduces a new element every time he appears. Last time, it was smiling. This time, it's playing an instrument. Who knows what wonders he might unleash on us if allowed a fourth visit?

He does have a look of Stan Boardman about him.

It's a terrible admission for one of my intense musical credibility to make but it's actually starting to grow on me. This is mostly because - God bless him - Brendon's doing everything he can to sell it to us.

David Soul's still at Number 2. And this time we actually get to see him.

He still looks like the kid in Charlie and the Chocolate Factory. But, then, he probably feels like the kid in Charlie and the Chocolate Factory, with all the records he's selling lately.

Now Jimmy's with a strange looking man in dark glasses. It's not Roy Orbison and it's not the bloke from the Rubettes.

The Stylistics are back and, right from the off, the singer looks startled.

I really have never seen a man look so permanently surprised.

They seem to be dancing a bit faster than they were last time.

I'm starting to realise why. Is it my imagination or is the track accelerating as they go along? Like the tape deck's out of control?

It literally seems to be getting too fast for them to keep up with comfortably. No wonder the main man looks startled. The way it keeps velocitising, it must be all he can do to keep from bursting into flames.

From that oddly frenetic thing, to something far more sedate, as John Williams and Cleo Laine give us Feelings.

Sadly it's not the Star Wars John Williams. It would've been great seeing Cleo Laine trying to sciddly diddly daddly doodlie her way through Darth Vader's march of menace.

To be honest, I think this must've been the part of the show when everyone was expected to go and put the kettle on.

My dad was always a big fan of Cleo Laine but, on her performance here, she seems completely mental. Frankly, she's scaring me - especially when she look straight at the camera. It's like she can see right through the screen and at me. I'm starting to worry she's going to climb out of the TV, crawl across the floor and get me, like that woman in The Ring.

"I wish I'd never met you, boy," she's singing. Personally, I'm glad she's never met me.

This is rotten. I mean, seriously, why's she singing like that? It's like she's some weird form of human theremin.

This is more like it. It's Andrew Gold with Lonely Boy. He may never have been fashionable but Goldy knew how to bang out a catchy tune. Of course, he is currently suffering the handicap of being danced to by Legs and Co.

I really don't see what this cheery routine has to do with a song about loneliness.

Now it's all gone a bit, "At the Hop."

It's like, in their heads, they're dancing to a totally different track from the one we're hearing.

Billy Ocean's back. It's the performance from a couple of weeks ago, which means there's no new developments on the collars-and-cuffs front. But it's a great song and a great performance. If only all acts on TOTP had Billy's gusto.

ABBA are still Number 1. It's still that video. You'd think they'd have got cold by now and decided to go somewhere warm.

I've just realised, the bloke in ABBA who doesn't have a beard reminds me of Bill Mumy who had a sort of hit with the magnificently bizarre Fish Heads and played an alien in Babylon-5. I think he was also Will Robinson in Lost in Space but don't quote me on that.

I wonder if anyone else in ABBA reminds me of anyone?

No.

They don't.

That game didn't last long. :(

They're playing out with Boney M and Sunny. I love Boney M. I love Sunny. This means that, as far as I'm concerned, the show's going out on a high.

Regardless of whatever musical highs and lows it may have had, the thing that most sticks in my mind about tonight's show is a feeling of dread.

Dread at the disturbing tour de force of madness that was Cleo Laine. But also at the audience members Sir Jimmy was hanging around with throughout the show, who seemed to get more and more menacing as it went along. If the past really is a foreign land, it seems it's a foreign land we must sometimes mark with just three words.

"Here be dragons."

Top of the Pops: 31st March, 1977.

Lynsey De Paul by AVRO
(Beeld En Geluid Wiki - Gallerie: Toppop 1973)
[CC-BY-SA-3.0], via Wikimedia Commons

A week; it's a long time in politics but nothing compared to a fortnight in popular music. What massive changes'll have swept through British musical culture in the two weeks since the last edition of everyone's favourite music show? What new musical empires'll have risen, and which will have fallen?

Only Diddy David Hamilton can tell us. For it is he who's to guide us tonight through the brave new world of pop we're set to encounter.

I do feel sorry for the first act on each week because they never get an introduction. It must've been hugely frustrating; you get your big break, appearing on TOTP, excited about the huge boost it's going to lend your career, and then no one has a clue who you are because you weren't introduced.

This week has to be a perfect case in point because I don't have a Scooby who the opening act are. They seem quite easy-going - a bit Smokie but without their charisma, or the self-confidence that comes from having been on virtually every week since the dawn of time.

Whoever they are, their song seems to be called Capture Your Heart and, lack of introduction aside, they seem quite pleased to be there.

But why do I have a feeling they were to never be there again?

Apparently they were Blue. Amazing to think that Blue were around back in the 1970s - though Antony Costa's clearly changed a lot since then.

Now it's Billy Ocean and Red Light Spells Danger. He seems to be going for the world record for the size of collars and cuffs a man can support before the sheer weight of them renders him immobile.

Legs and Co are on next, dancing to David Soul and This Time I'm Going In With My Eyes Open.

The last time I saw skirts like that they were on one of those dolls that boarding house landladies used to use to cover up toilet rolls.

In a shock twist, David Dundas is back, out to prove he had more than one hit in him.

He has a very strange look on his face,

On the strength of this and his last one, I do get the feeling he was the Mungo Jerry of his day.

It's all quite Eurovision.

Which leads us perfectly into Lynsey De Paul and Mike Moran, flying the flag for Blighty, with Rock Bottom. It can't be easy having a rock bottom - especially if you have Dave Edmunds' rock piles.

But it shows how the memory plays tricks on you. I remember talking about this in the playground at primary school, which is impossible as it didn't come out until I was in secondary school.

I know people love her and she has the most popular mole outside of Wind In The Willows but I always felt there was something vaguely sinister about Lynsey de Paul, a feeling that refuses to go away.

I would say there's something sinister about Mike Moran but there isn't.

This always reminds me of a Bill Oddie song that often got played during silent scenes in The Goodies.

Berni Flint's back.

And now he's gone, replaced by The Stylistics - looking weirdly like Gerry Anderson puppets. This is the third song on this week's show that I have no memory of.

Their dancing can only be called half-hearted.

Their singer has a weird look of permanent startledness on his face.

And their dancing's still half-hearted.

The last few minutes have led me to conclude The Stylistics are a band best heard and never seen.

Bonnie Tyler's More Than A Lover is the fourth song on this week's show that I have no memory of. Can it be? Can our hero be going senile?

Argkh! That first note was a bit rough. Frankly, if a bloke on your local building site came out with it, you'd send him off for a packet of Strepsils.

Though, in fairness to her, she's looking better than I remember.

What does this tune sound like?

Is it When Doves Cry? Or is it Time to Hide by Wings? Or is it something else altogether?

Whatever it sounds like, I quite like it. It has a vague unconventionality about it.

Now Mike Nesmith's on, talking to David Hamilton and plugging his song Rio.

He has a beard!

Did he ever talk in The Monkees? I don't remember

Whatever, he wasn't with David for long.

ABBA are at Number 1, with Knowing Me, Knowing You: A-Haaaaa.

It's still that video. They're still freeze-framing and looking through each other. I still prefer the one who's not blonde. She looks cheeky. The blonde one never looked cheeky.

We play out with Elvis and Blue Bayou.

I do feel sorry for David Bowie though. He's now at Number 5, having been on the chart for what seems like months, and still can't get on the show. I only hope it doesn't finish his career.

In summary, I do feel this week's show was a let-down after the upturn in quality we got a fortnight ago, full of songs that made so little impression on me at the time that I had no memory of them, mostly mid-tempo and resolutely unchallenging. The fact that – ABBA aside - a Bonnie Tyler song I've never heard before in my entire life was the highlight can't be taken as a good sign.

Still, the good thing about TOTP is that no matter how disappointing an edition might be, there's always the hope that next week's will be better.

And that David Bowie might finally be allowed on.