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I find Level 42 to be such an odd band. They don't seem to have anything about them that makes them stand out, the songs are pretty mediocre and the band themselves don't have any star quality whatsoever.
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I find Level 42 to be such an odd band. They don't seem to have anything about them that makes them stand out, the songs are pretty mediocre and the band themselves don't have any star quality whatsoever.

 

I know they were so MOR but they are a band I really enjoy as they had such a long chart career!

their early 80s and 90s stuff is bad

but in 87 they hit gold with the Running in the Family album

that album is great and had an incredible run of singles from

Lessons in love - Running in the family - To be with you again -It's over

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I find Level 42 to be such an odd band. They don't seem to have anything about them that makes them stand out, the songs are pretty mediocre and the band themselves don't have any star quality whatsoever.

 

 

I agree. I can't think of a single song of theirs that does anything for me.

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60 - Madonna - Holiday

 

 

68th best seller of 1984

Chart Run

53-40-29-13-7-6-13-18-26-35-56

 

Her debut hit in the UK and also in the USA where it was a hit the year before.

 

She chucked it back out in 1985 when it was one of 3 concurrent top 15 songs for her with Crazy For You and Into the Groove, and then again in 1991 to promote the Immaculate Collection, not that it needed promotion. Later in 1984 she would start a run of 16 consecutive top 5 hits - surely the longest for anyone in the 80s??

Edited by Colm

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59 - S-Express - Hey Music Lover

 

 

68th best seller of 1989

Chart Run

29-14-6-7-9-12-21-33-49-72->10

 

 

As was the case with most dance acts in the late 80s - S'express suffered from ever decreasing chart positions. Their peaks would go 1, 5, 6, 21, 32, and 43 before the inevitable re-release of Theme from S'express in 1996 hitting the top 20 again.

That they've managed to release two Best-Ofs while having just six top 75 hits to their name is a credit to someone's continued faith in the market for this sort of stuff!

 

It's still a cracker of a song with all the fun and sample frenzy of their first two hits.

Edited by Colm

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58 - Hue & Cry - Labour Of Love

 

 

68th best seller of 1987

Chart Run

61-61-47-47-50-34-17-13-6-6-12-17-24-30-47-72

 

I remember the lyrics in the verse of this making absolutely no sense to 11 year old me in 1987. If Hue (or Cry) wasn't dressed in a suit in the video and on Top of the Pops I think I'd have been convinced of Labour Of Love's funk credentials.

At least they were more interesting than Level 42. They found top 20 success while Looking for Linda in 1989 but not much else.

 

According to Wikipedia they're released 10 studio albums since 1992 none of which charted in the top 100.

Edited by Colm

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57 - Kenny Rogers And Dolly Parton - Islands In The Stream

 

 

67th best seller of 1983

Chart Run

70-45-35-26-15-11-8-8-7-8-10-24-32-52-68

 

What happened here then? I would have expected a classic like this to have made the top 5 in the UK, being written by the Brothers Gibb.

It went top 5 in 10 other countries and number 1 in 4 of them - USA, Canada, Australia and Austria!

 

This was only Dolly's second hit in the UK while Kenny was much more established. The b-side for the American release is some obscure track called I Will Always Love You

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56 - Bow Wow Wow - Go Wild In The Country

 

 

 

67th best seller of 1982

Chart Run

75-50-46-48-23-16-9-7-11-20-33-38-56

 

I have no recollection of this band or this song.

Bow Wow Wow were formed by Malcolm McLaren by luring two band members from Adam and the Ants, and then launching an audition process for a lead singer. They agreed on a 13 year old Annabella Lwin. Always with an eye for a marketing tactic, McLaren released their debut single as the world's first cassette single - the aptly named C30, C60, C90 which was about the joys of home-taping which was "killing the music industry". RIP.

 

As a 15 year old on Top of the Pops in 1982, Anabelle wasn't short of attitude or confidence. The single is a product of its time with its mashing together of new wave guitar and world music rhythms - which McLaren often used.

 

The band had one further hit in the form of much covered I Want Candy which was originally recorded by New York band the Strangeloves.

 

 

 

 

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55 - Eddy Grant - Gimme Hope Jo'anna

 

 

67th best seller of 1988

Chart Run

66-44-36-25-12-8-8-7-14-30-46-56

 

And here's an example of a sound that Malcom McLaren was often accused of ripping off.

 

Eddy hadn't released a single in over 3 years and hadn't had a hit in 5, when he released this anti-apartheid song, which was banned in South Africa.

It became a hit all over Europe topping the charts in Belgium, Netherlands, Italy and Spain.

 

No more singles were taken from the album, File Under Rock, which perhaps surprisingly, failed to reach the UK Top 100 despite being a minor hit in other European countries.

 

He had to wait until the 21st century before troubling the charts again with a re-mix of Electric Avenue in 2001.

I remember really liking that Eddy Grant song when I was a child. Just listening to it now for the first time in many a year and I can see why, it's very cheery.

 

 

 

Also, I'm quite fond of that Hue & Cry song too. Definitely not one I hear a lot but it's pretty catchy. I'm off to add it to my 80s playlist

I like all of the tracks so far, some I like a lot, and a few I love.

 

Holiday drops into the love bracket along with History. Hey Music Lover is fab. Scritti Politti is up there too, I forgot to mention earlier.

 

Re: Level 42, often mildly pleasant and nothing special, their muso laid-back jazz-funk was really the only lasting legacy of the 1981 jazzfunk UK music scene, but sometimes they poppedout a good single like Sun Goes Down, Something About You, a fab track like Lessons In Love and latterly good ones in 1994 Forever Now and Love In A Peaceful World, which is when I saw them on tour, with the pretty substantial back catalogue and decent current stuff. Pretty much Greatest Hits is all anyone should need though, and there would still be a bit of filler.

 

Eddy Grant is wonderful, a shame he sort of retired from music. Fab in The Equals in the 60's, then a reggae icon in the 70's, a global smash in the 80's around 82/83 and Jo'anna was his last hurrah sadly. Bow Wow Wow I never got. Adam & The Ants were the tribal drum real deal, McLaren's project were merely OK and not much more. Bee Gees should have had lots more hits in the 80's but they were persona non grata after Saturday Night Fever subsided and the Disco Sucks movement killed their career off overnight. So giving away hits to veterans was good for Streisand, warwick, Rogers, Parton & Ross, but they should have been actual Gibb hits. Islands In The Stream is OK, but Kenny & Dolly have much better early 70's classics - but it was nice they got a later career smash.

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54 - Terence Trent D'Arby - If You Let Me Stay

 

 

67th best seller of 1987

Chart Run

62-38-22-15-7-7-7-8-12-20-33-51-72

 

D'Arby's debut single from a very, very hyped act in 1987. The hype came from both himself and his record company. He claimed that his debut album was the most important album since Sgt Pepper's and his record company had such confidence of his potential to be a major recording artist that they released a demo cassette titled "Work in Progress" months before the album had even been completed.

 

The chart performance of the album did seem to support such haughty aspirations - it spent 13 weeks as the highest selling artist album (as opposed to compilation album) in its first 12 months. Eight of those were consecutive weeks in early 1988, the longest spell at the top since Brothers in Arms in 1986 and the longest for an American since the Kids from Fame in 1982.

Sales by the end of its tenure were at 1.4 million. The follow up was a flop, missing the top 10 and exiting the top 75 after just 5 weeks.

 

If You Let Me Stay is the first of 6 singles in this rundown to spent 3 weeks at number 7.

Edited by Colm

great record, but ol Sananda has always seemed intent on career self-destruction following. Delicate was a goodie off the 3rd album, but by that time he had to agree to pose naked on the Q cover (and inside) to try and make a comeback after the 2nd album disaster. It worked, somewhat. I know I bought that edition of Q... :o
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His name change was part of his attempt to distance himself from the madness of his music career and the baggage that he wasn't able to shake off.
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53 - Bronski Beat - Why?

 

 

67th best seller of 1984

Chart Run

22-7-6-7-11-16-27-31-58-66

 

Follow up to the absolutely essential Smalltown Boy (which should be experience in the 12" version for full gravitas). In the top 10 when Stevie Wonder's I Just Called, and the Ghostbusters theme were selling extremely well, Why? would have made number 4 in many earlier weeks of 1984.

In fact, its weekly sales outpeaked those of their I Feel Love/Johnny Remember Me duet with Marc Almond which made number 3 the following year.

 

Jimmy Somerville left after that hit and was replaced by vaguely similarly-voiced (but nowhere nearly as iconic) John Foster and the band continued to modest success.

Edited by Colm

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52 - John Parr - St. Elmo's Fire (Man in Motion)

 

 

67th best seller of 1985

Chart Run

56-45-38-27-10-6-6-6-9-17-27-44-71

 

John Parr hit big with the theme for the film St. Elmo's Fire, which was a US box office hit in the summer of 1985. It hit number 1 in the USA and finished as the 18th best seller of the year, there. The song is the product of something of a supergroup - members of Toto, REO Speedwagon and Mr. Mister all appeared on the single.

It was in the top 10 in the UK while Jennifer Rush and A-Ha took up residence in the top 2 and is one of only 2 singles in this rundown to spend 3 weeks at number 6.

 

John had some other minor chart success after this but never made the UK top 40 again.

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51 - Bomb The Bass - Megablast/Don't Make Me Wait/

 

 

 

66th best seller of 1988

Chart Run

20-6-6-9-14-21-29-34-51

 

Pleasingly, the follow up to Beat Dis wasn't just an inferior version of that debut hit, although Megablast certainly was that. Despite Megablast getting the primary slot in the title of the double-A-side, it was Don't Make Me Wait that got most of the airplay and is considerably the stronger of the two tracks. The record hit the top 6 in the exalted company of Groovy Kind of Love, He Ain't Heavy, Teardrops and The Only Way is Up.

 

Tim Simenon went on to become a highly regarded and versatile producer and continued to also have hits under the Bomb the Bass banner.

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