Jadaver

Look who's back!! A new single 'Devout' is out now and Atticus Ross co-produced it: Curiously the accompanying press release only features an image of lead singer Sydney Minsky Sargeant so I assume this is a solo project now? still sounding very much like a Working Men's Club song anyway! 🖤

1970s #04 David Bowie - 'Life on Mars?' (1971) #03 Donna Summer - 'I Feel Love' (1977) Next up is my favourite solo male artist of all-time so I was spoilt for choice! But prior to my appreciation, elsewhere in the family my nan was ahead of the curve discovering Bowie before many others did, as she watched him live way back in 1965, so even pre-'The Laughing Gnome'! She saw him at the 100 Club in London for a Radio Caroline event where he was billed as Davy Jones & The Lower Third. I could listen to her sixties music stories all day long, how cool. Bowie had so many possibilities for this countdown, as 'Space Oddity' is a 1960s triumph, 'Ashes to Ashes' shines in the 1980s and 'Black Star' is also one of my favourite songs of the 2010s, but ultimately the glam rock ballad 'Life on Mars?', which also has cabaret and art rock influences, is my top song of his. So Bowie takes a place in the 1970s part of the thread. 'Life on Mars?' wasn't released as a single until 1973, after reaching the impressive heights of his Ziggy Stardust fame, but existed since 1971 as a track on his fourth studio album Hunky Dory. The song has a really interesting back story that stretches back to the 1960s. No it does not involve my nan. Instead, Bowie was hired by his music publisher to write English language lyrics for a French song named 'Comme d'habitude', in 1968. He rose to the challenge and presented a version called 'Even a Fool Learns to Love'. However, this was rejected by the song's French publishers due to Bowie's obscurity at the time. Soon after, Paul Anka bought the rights to the song and rewrote it as none other than 'My Way', made famous by Frank Sinatra...! Bowie was extremely bitter about how this panned out and challenged himself to write something that sounded a bit like 'My Way', but could be even better. This is how 'Life on Mars?' was born, hence the liner notes for Hunky Dory stating that 'Life on Mars?' was "inspired by Frankie". Bowie claimed the similarity between the two songs was not theft but instead a "statement of rightful ownership". The title 'Life on Mars?' was inspired by media coverage surrounding the space race between the United States and Soviet Union. Lyrically, the song is about an isolated girl with "mousy hair" who wants to escape her mundane life by going to the movies. But she is left disappointed when the film is a "saddening bore", so the song raises existential questions about the difference between life and art. Bowie contributes unique, poetic lyrics as ever. Verse 2 particularly stands out to me as it's stuffed with so many vivid entertainment references, from Mickey Mouse to John Lennon. His vocal performance of these words is also a highlight as Bowie's delivery builds up well to the passion in the chorus. The production was handled by Bowie and Ken Scott. The latter has worked with many big names including The Beatles, as he was an engineer for them. The beautiful piano playing in the song was courtesy of Rick Wakeman who has been a member of both The Strawbs and Yes. The string arrangement, that effectively grows in intensity throughout much like the vocals, was handled by guitarist Mick Ronson who also plays on the recorder during the second verse, in addition to electric guitar contributions. The BBC Symphony Orchestra are also present on the recording and play violins, violas, celli and string basses to create that lush sound. Trevor Bolder is the man behind the bass guitar and Mick Woodmansey is the drummer. Bowie is an absolute star on this track, a sentiment further enhanced by his striking image in the iconic visuals, but this classic is also made by that instrumental, which follows his lead in often being tender but soaring in the right places. 'Life on Mars?' became Bowie's fifth U.K. top 10 single at the time when it peaked at #3. This song has experienced long term impact as it: inspired the name of the British television show Life On Mars, was used for space-related events and has been covered by a number of singers. No-one does it as well as the man himself but I did enjoy Lorde's cover version at the 2016 Brit Awards ceremony, performed as a tribute to Bowie after his sad passing. ••• Bowie's collaborator Brian Eno told him that Donna Summer's 'I Feel Love' would change the sound of club music for the next 15 years and he was on to something. Summer had previously worked with producer Giorgio Moroder on her sexually charged hit single 'Love to Love You Baby' in 1975. He was very fond of her, stating she was both talented and disciplined. They would come together again, alongside fellow producer and writer Pete Bellotte, for her 1977 album I Remember Yesterday. The concept for I Remember Yesterday was for each track to evoke a different time period. For example, it opens with a 1940s style title track, then moves on to the 1950s influenced 'Love's Unkind', followed by swinging sixties tribute 'Back In Love Again' and so on. This was all a warm-up to final track to 'I Feel Love', with the idea of ending the album on a song that sounded futuristic. They hit this brief and then some as this track would go on to be massively influential. 'I Feel Love' was produced with a Moog synthesiser which was highly unusual for disco music at the time, instead orchestras were the typical backing. Moroder and Bellotte borrowed the Moog from classical composer Eberhard Schoener. His assistant Robby Wedel turned out to be an unsung hero as he demonstrated how to use a click track, which was a "revelation" according to Moroder. The team also took white noise generated by the Moog and processed it with an envelope, to get a hi-hat sound. Aside from Summer's vocals, the only production element that didn't involve a machine was the kick drum played by Keith Forsey, as they were not satisfied by the kick sound of the Moog. The sophisticated, pulsating instrumental was the first to combine repetitive synth loops with a continuous four-on-the-floor bass drum and off-beat hi-hat, which would become a main feature for techno and house music over a decade later. What a triumph, I can't imagine how futuristic this must have sounded at the time. Summer's vocals are just as hypnotic as the instrumental as she delivers those euphoric lyrics in a sensual, floaty way. This lighter, head voice delivery was quite unusual for disco music at the time, as vocals in the genre were typically sang in a deeper chest voice. So this track was a game-changer on several levels. Like 'Layla', I always stream the longer 8 minute version of 'I Feel Love', although the video embedded is 'only' 6 minutes as I wanted an upload that also incorporated clips of Donna Summer's live choreography. That's quite fun to watch with the mix of both robotic and flowing movements. The public displayed sensational taste on this occasion as 'I Feel Love' was Donna Summer's sole U.K. chart topper, spending four weeks at #1. 'I Feel Love' has been covered and sampled by the likes of Beyoncé, Bronski Beat and Sam Smith - plus has influenced Blondie, The Human League and Kylie Minogue just to name a few. Truly timeless.

Wow the 'Long Haired Lover From Liverpool' to 'Are 'Friends' Electric?' back-to-back is indeed transitioning from some of the very worst music of the decade to the best Sorry Jimmy but those vocals are nails on a chalkboard. The also mentioned 'Crazy Horses' is the best Osmonds related release by far! 'Are 'Friends' Electric?' is right up my street with that dark, futuristic synth-pop sound. I like what Richard X / the Sugababes did with it too. 'I Will Survive' is of course a classic as well, with an instantly recognisable dramatic intro. 'Hit Me With Your Rhythm Stick' is my favourite of the three to drop out today. Very quirky indeed and it also has a great bassline.

Voted for Vengaboys this time

Missed the last round but currently voting for Ne-Yo as well, a non-entity in his catalogue

Well done John, Rollo and Tylky for your 39 scores yesterday 🥳 today's game: Round 1: 30 (didn't get: Cozy Powell, Seal, 1982 - one year out) Round 2: 36 (didn't get: 1975) 3-in-10: 3 (It's Not Unusual, Green Green Grass of Home, Delilah)

Congrats uhsting!! Amazing to see my bronze medal win and my gold from O FUTURE in 2nd place. My whole podium just about made the top 10 with HMLTD hanging in there too, yay. My absurd run of 7 top 10s in a row in this contest had to come crashing down at some point, but a shame it had to happen with a theme (and host!) that should've been well suited to me on paper. 'ARCHANGEL' didn't quite connect as much as I hoped but at least I just about managed top 20 after languishing on 0 for a little while at the start. Thanks everyone who supported this entry! I don't think I ever would've called 10cc making the top 5 despite standing out so much, love that. Meanwhile, a shame to see 'Fallen Angel' and 'You Better Sit Down Kids' in the bottom 10! Thanks Chez for a great hosting job, I enjoyed the theme and your commentaries in this results thread.

I missed the first round but would've gone for Shania anyway, switching to P!nk now

Oh yes, unsurprisingly the '70s rock' edition was hosted by you! I tried to look up the compilation you're referencing on Discogs and if I've found the right one then 'Wuthering Heights' is also on it, so that's cool they've dropped out together here. I think I knew the longer version of 'Layla' first and have only heard the short one a couple of times, the piano solo is a must. 'Comfortably Numb' is a great pick! That's another Pink Floyd song I first knew through a 2000s sample/cover, this time Scissor Sisters instead of Eric Prydz. I was spoilt for choice with Kate for both the '70s and '80s in particular, but 'Wuthering Heights' has always especially wowed me - as you say it sounds like nothing else. Yeah 'Layla' has such an instantly recognisable riff nevertheless but the lengthier version really completes the experience. ❤️ --- Thank you both for commenting '70s #4 and #3 coming tonight - this is going so fast!

Oh wow that website for Bror's artist puts the garish graphics on www.x-jades-kool-website-x.piczo.com (RIP) to shame

2 as I think I'm more likely to make the whole session on Wednesday

Ooh so it was leww behind my favourite happy to see that doing so well. Thanks Lindsey for the bronze medal 🥰

Thanks Addy and Tafty! It was cool to briefly be in touching distance of the top 10 but am still doing better than I was expecting even at this stage.

Oh the taste - I thought 'Pisoteo' was a striking left-field pick, we share the same 12 and then a silver pour moi?! Thanks Juan Carlos ❤️

Pleasantly surprised to see 10cc on top at the moment! Order restored with that identity reveal after the shock of Rollo not being behind Fish in the retro contest The Cher song was a nice discovery as someone who appreciates that '60s Baroque sound, glad I could fit it in my votes. An actual medal?! Thank you Pavel

Thanks Jim! Single-handedly lifting me out of the bottom 10 after that lengthy drought

Ooh progress, out of the bottom 5 now. Thanks DaTilt and especially vibe for my highest points so far. The HMLTD song stuck out like a sore thumb but in a very good way, fantastic stuff.

The host lifting me off 0 is a welcome turn of events, thank you Chez 🥳 had a feeling that song might be yours.

Oops I felt quite confident when confirming 'ARCHANGEL' as I thought it hit the 'art pop' brief really well - with the opening strings, Lykke style vocals and a switch-up to boot, but lowered my expectations considerably after the listen through Indeed I accidentally linked 'GAY ALICE IN WONDERLAND' at first oops - that was the song that lead me to discover Thunder Bae (thanks YouTube algorithm) and I loved the synths, but didn't connect with the lyrics as much as I wanted to from that attention grabbing title. So I looked around the rest of her catalogue to see if anything else would hit me more as a whole package and this one did. Apparently I still had the link of the other song copied though I did notice 'GAY ALICE IN WONDERLAND' in James' chart so not surprised that's now shown up in BJSC, intrigued to see how it does. Anyway, let's hope this picks up a bit. Fantastic entry from uhsting there 🤩

'the boy is mine' has passed 700 million streams 🫶

1970s #06 Kate Bush - 'Wuthering Heights' (1978) #05 Derek & The Dominos - 'Layla' (1970) Hounds of Love is my favourite Kate Bush project overall, but 'Wuthering Heights' from debut album The Kick Inside is my top song from her wonderful, eclectic catalogue. Bush's record company EMI originally had the track 'James and the Cold Gun' pencilled in as her debut single but she was determined to get 'Wuthering Heights' out there first instead. The rest is history and 'Wuthering Heights' was introduced to the world in early 1978, following delays, as it was feared the song would get lost in the Christmas rush. It gained airplay on stations such as Radio Luxembourg and BBC Radio 1, then wowed Top of the Pops audiences, after she first broke into the top 40 at #27. A star was born. Kate Bush impressively wrote 'Wuthering Heights' in one night when she was 18 years old. Bush was specifically inspired by the 1967 BBC adaptation of Emily Brontë's 1847 gothic romance novel of the same name. She subsequently read the book itself and was also fascinated by the fact Brontë shared the same birthday as her. Bush sings from the perspective of the novel's Catherine Earnshaw, or "Cathy", who once shared a romance with fellow character Heathcliff and later passes away. Kate Bush as Cathy reminisces on her time with Heathcliff, who she views as her true love and haunts him from beyond the grave. Two music videos were shot for the song. The one chosen for U.K. audiences sees Kate as Cathy in a white dress, performing suitably ghostly choreography. The alternate video, instead filmed outdoors in a red dress, has become iconic in its own right and even inspired an annual get together called The Most Wuthering Heights Day Ever, where fans dress up like Kate in that video. Kate's poetic lyrics, unique high pitched vocal performance and piano playing are a spellbinding combination. The majestic instrumental also contains the sound of drums, celesta (an idiophone operated by a keyboard), my good friend from the '60s write-ups aka the Hammond organ, acoustic guitars, bass guitar and crotales, aka antique cymbals. The powerful, Floyd-esque guitar solo was performed by the late Ian Bairnson, who was a member of Pilot and the Alan Parsons Project. What a striking debut and all the more impressive coming from the mind of someone so young. OMD's Andy McCluskey said it was the very first song he fell in love with. I also know my mum was into Kate Bush at the time after she grew out of acts like The Bay City Rollers...! So this appreciation of her evidently passed on to me. 'Wuthering Heights' climbed to #1 in the U.K. and stayed there for four weeks. This achievement put Kate into the history books as the first female artist to achieve a U.K. #1 hit with an entirely self-written song. It was the tenth best-selling single of 1978 here. The song re-entered the top 40 this year thanks to Emerald Fennell's updated film adaptation of Wuthering Heights. ••• 'Layla' by Derek & the Dominos has an interesting release history, as it originally existed in 7:03 glory on the album Layla And Other Assorted Love Songs in 1970, then a shorter version was released in the U.S. in 1971, which was followed by a re-release in 1972 where it charted here in the U.K. for the first time, then made the top 10 again upon another re-release in 1982. Finally it charted once more in 1992, albeit lower down, in an acoustic version credited to just Eric Clapton. Phew! Clapton formed Derek & the Dominos with keyboardist and singer Bobby Whitlock, bassist Carl Radle and drummer Jim Gordon, after all four had previously been involved with the group Delaney & Bonnie and Friends. Disagreements over money led many members to leave that ensemble, so Clapton seized the opportunity to get this new group together. 'Layla' was inspired by Clapton's at the time unrequited love for model Pattie Boyd, who was married to Clapton's friend George Harrison. She would later wed Clapton after her previous marriage broke down. I became fascinated with Pattie Boyd after learning she was the muse behind songs as iconic as 'Layla', fellow Clapton composition 'Wonderful Tonight' and 'Something' by The Beatles, although Harrison did downplay her influence on the latter down the line. Whatever the truth, she still appears in the promo video for it, alongside other Beatle partners. Here are a couple of Pattie things I own, including a vintage 1960s British Vogue cover with her on the front, plus memoir Wonderful Tonight, where she came across well and respectful to her former flames: The title 'Layla' was inspired by the the poem The Story of Layla and Majnun by 12th century author Nizami Ganjavi, which in itself was based on the ancient Arab love story Layla and Majnun. Eric Clapton's friend Ian Dallas was converting to Islam and gave him a copy of The Story of Layla and Majnun, which he really connected with. This story involves a young man who goes crazy after he falls in love with a girl who is instead married off to someone she doesn't love. Clapton poured his own feelings about Boyd into 'Layla', addressing his desires, her mixed signals and the cracks in her relationship with Harrison ("I tried to give you consolation, when your old man let you down") - such as him cheating on her with Ringo Starr's then wife Maureen. What a messy musical universe. I think it's quite something that Clapton and Harrison were still friends even despite all of this, with Harrison even later attending Clapton's wedding party for him and Boyd after his own marriage was over...! 'Layla' was originally a ballad but took a turn once its signature riff was born. Duane Allman, who was invited to the Layla And Other Assorted Love Songs album sessions as a guest of Clapton, played that instantly iconic opening slide guitar riff that takes over 'Layla' for a short while. The song has an unusual structure, as the first few minutes contain extremely raw vocals by Clapton (Pattie Boyd said she was bowled over by his passion in this song) but then morphs into a very long instrumental section right until the end. This is dominated by the equally bittersweet sounding piano piece played by the band's drummer Jim Gordon. However, its origins are sketchy, as he got the credit but multiple people claim his then girlfriend Rita Coolidge instead came up with the piano melody for this iconic coda. Allman, from the opening riff, is also back for this movement of the song and impresses me once again with his high pitched guitar playing, which has been described as a "crying bird" at this point. Clapton of course contributes guitar parts of his own, as he plays acoustic and slide guitar, while Carl Radle provides the bass. Final Dominos member Bobby Whitlock can be heard on harmonies alongside Clapton's vocals and also plays the Hammond organ, in this very textured instrumental. I'm no fan of Clapton as a person but he, in addition to the talent he surrounded himself with, created something really special here. 'Layla' is a bonafide rock classic that always overwhelms me in the best way, with its intense vocals and initially frantic instrumental, that morphs into a more graceful reflection. What a stunning composition. 'Layla' achieved its U.K. peak in 1982 under the double billed Derek And The Dominos/Eric Clapton 'Layla/Wonderful Tonight (Live Version)' release, which got to #4. It previously first made the chart here as just 'Layla' in 1972, peaking at #7.

I like 'Sanctuary' and voted for it at the time but I get where you're coming from about it not necessarily being the best representation of your sound overall. I have a similar relationship with my own winners, two are on the more commercial end of dance and one is pop, which are not my typical avenues. 81 was quite an out of character month sonically for me as well, sending Sonia y Selena, but they were more childhood icons that I thought would be a fun moment. Love that 'Sock n Doll' was your 18, I think it was my 15 - what a highly memorable song and video!! Ahhh 'Alchemy' I remember giving that an 18 it was my favourite Deandria entry for a while. I thought 82 was a really strong one overall. I don't think I voted for 'Bonbon' at the time but it was a huge post-contest grower. Wow what a brutal DNQ streak for Deandria at this point and so soon after winning as well. </3 Ooh we had snap 18s in BJSC 83! I still love 'In The Flames' ❤️

Playing catch-up again. 'Sunday Girl' and 'Rat Trap' are both excellent from Friday's trio! Blondie managed to strike an impressive quality / quantity balance with their 5 #1s, all great to varying levels. I have opposite feelings on Showaddywaddy and Chuck Berry's appearances from Saturday! I'm not a fan of Showaddywaddy's formula in general but think this is their best song (admittedly a low bar), while Chuck Berry is a musical icon yet this track is dire, awful representation for his sole chart topper. 'Blockbuster' is my favourite of the three, good fun and a well used sample in 'Doctorin' the Tardis' as already mentioned by Jaz. 'One Day At A Time' is another dreadful record and particularly feels archaic for 1979 which is otherwise a superb, cutting edge year for #1s on the whole. I don't think I realised 'Dance Away' was that big, wow at it actually finishing higher here than the song that blocked it from #1 😯 I like the chugging charms of 'In The Summertime' the most of these three.

I don't really have a connection to Joseph And The Amazing Technicolor Dreamcoat as I've never seen it or been involved with a production (my big one at school was Bugsy Malone!), but do prefer Jason's version to the Lee Mead one at least, even if the latter was likely the first one I came across. 'Bring Your Daughter... To The Slaughter' getting to #1, especially for two weeks ahead of its harsh drop, is an interesting chart moment (and the whiplash of this and another chart-topper back-to-back when working through a #1s marathon is quite funny) but I'm not a fan of it musically either. Shame they couldn't have reached the top with one of their more iconic songs instead. I'm normally a big sixties music advocate but do actually think 'Dizzy' works better at a faster pace, which feels apt for its title and lyrics. So I like this daft version more than the original! I think I first discovered 'Don't Let the Sun Go Down On Me' through X Factor as Joe McElderry sang it for both Wham!/George Michael week and as a duet with George in the final. I agree with your sentiments that this duet is vocally competent but just alright as a song.

Thanks all - well done for the strong scores on Friday 🥳 today's game: Round 1: 33 (didn't get: Strawberry Switchblade) Round 2: 36 (didn't get: 10cc) 3-in-10: 3 (Buffalo Stance, Manchild, Woman)