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Post by Earl Purple on Sept 25, 2018 21:35:16 GMT 1
And it also prevent Kayleigh by Marillion from reaching #1:
1(4) The Crowd - You'll Never Walk Alone 2(3) Marillion - Kayleigh 3(1) Paul Hardcastle - 19 4(9) Billy Ocean - Suddenly 5(6) Animotion - Obsession 6(2) Duran Duran - A View To A Kill 7(5) Gary Moore & Phil Lynott - Out In The Fields 8(10) Scritti Politti - The Word Girl 9(25) Madonna - Crazy For You 10(16) Mai Tai - History
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SheriffFatman
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Post by SheriffFatman on Oct 3, 2018 8:04:14 GMT 1
46 – Ebony and Ivory by Paul McCartney & Stevie Wonder
There is a saying, meant to encourage teamwork, that the whole is bigger than the sum of its parts. In this instance, the whole is significantly less.
Paul McCartney and Stevie Wonder are, between them, responsible for many of the absolute finest moments in the history of popular music. Nothing will ever take away from either of them the massive influence that their wonderful music has had on global popular culture. How then did they come to be jointly responsible for this sanctimonious, clichéd pile of patronising crap? Maybe their egos just got too big for them to see what they were doing. Maybe their excitement at working together had a massive negative impact on their own critical faculties. Maybe both were feigning enthusiasm and neither could face telling the other how bad it was. Maybe we’ll never truly know.
Of course the basic premise behind the record, that people should get along regardless of what race they are, is entirely sound. It’s also quite simplistic though, and the record goes no deeper than that whatsoever, despite presenting this obvious truth like it’s a great revelation, a gift from these two pre-eminent thinkers to the world’s population. It really does come across like they believe the mere fact that it’s them saying it will actually make it happen.
There are so many flaws to this record it’s hard to even contemplate how bad it is. The use of ivory as a half of a great symbol of peace despite the fact that it only exists thanks to the brutal slaughter of innocent elephants does not seem to have occurred to them. Also, the pure white and jet black of a piano’s keys leaves approximately 99.99% of the world’s population, who are a thousand different shades of everything in between, out of the equation. Yes, it is only a metaphor, but it’s a really bad one. Piano keys don’t “live in harmony” anyway, they’ve just been put there, they’re inanimate objects.
The real effect of this record, far from bringing about world peace and harmony between the races, was to demonstrate that whatever race a muti-millionaire celebrity is they are still likely to have entirely lost touch with reality. It is a measure of how little either of these two really understood the struggles of their millions of ordinary fans that they thought this would in some way make their lives better.
It would be nice to think that, upon hearing it, the record company were squirming uncomfortably, trying to think of how to explain to them that releasing this would be a very bad idea. In reality though, the very fact of these two working together at all probably had them seeing dollar signs, and indeed in 1982 it was number one on both sides of the Atlantic. In 2013 Billboard ranked it as the US’s 69th biggest hit of all time. In 2007, listeners of BBC 6Music voted it the worst duet in history. Proof if ever it were needed that quality and sales do not always go hand in hand.
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Post by raliverpool on Oct 3, 2018 18:25:32 GMT 1
^ RIP Its sound engineer Geoff Emerick who died yesterday. Ebony & Ivory title was inspired by McCartney hearing Spike Milligan on The Goons Show saying "black notes, white notes, and you need to play the two to make harmony, folks!" The figure of speech dates back to the first half of the 19th century with regards to encouraging racial equality. It was popularised by James Aggrey in the USA during the 1920s, inspiring the title of the pan-African journal The Keys. Oh, the song was written entirely as a solo effort. Had Stevie Wonder passed on the duet opportunity then Smokey Robinson was apparently ready to do the duet with the former Beatles. You also have to remember that what was acceptable & unacceptable with regards to racism was a whole different world to today. For example whilst the long running The Black and White Minstrel Show series came to a 20 year end in 1978, they still performed at the November 1981 Royal Variety Performance sharing the bill with the likes of much loved "comedian" Jim Davidson; the London Cast of the musical Cats; & Adam & The Ants. Anyway (much like the flip-side to Mull Of Kintyre) its B-side was/is brilliant, one of the final recording by Wings (recorded December 6th & 7th 1980) before Macca nixed the band in February 1981 as he (understandably) no longer fancied touring after the murder of his former songwriting partner John Lennon.
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Post by Earl Purple on Oct 3, 2018 21:37:11 GMT 1
Would Ebony And Ivory be on this list had it been done by two ordinary singers rather than Paul McCartney and Stevie Wonder. I wonder if, because it's Paul McCartney, you're raising your expectations in standards and this simply doesn't meet them. I think it's quite a pleasant tune, the lyrics are rather twee though.
There have been a number of anti-racist / different colours getting along songs. I think "People Are People" by Depeche Mode is among the better ones (lyrics wise).
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Post by Earl Purple on Oct 3, 2018 21:45:25 GMT 1
Ebony And Ivory spent 3 weeks at number one. This was the top 15 on the middle week.
1(1) Paul McCartney & Stevie Wonder - Ebony And Ivory 2(6) Bardo - One Step Further 3(3) Pigbag - Papa's Got A Brand New Pigbag 4(11) England World Cup Squad - This Time (We'll Get It Right) 5(17) Bananarama & Fun Boy Three - Really Saying Something
6(22) Shakin' Stevens - Shirley 7(10) Shalamar - I Can Make You Feel Good 8(4) Dollar - Give Me Back My Heart 9(12) Haircut 100 - Fantastic Day 10(8) Elton John - Blue Eyes
11(2) Bucks Fizz - My Camera Never Lies 12(5) Chas & Dave - Ain't No Pleasing You 13(34) PhD - I Won't Let You Down 14(7) Roxy Music - More Than This 15(9) Shakatak - Night Birds
I went for a top 15 so you would see all of last week's top 10.
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Post by SheriffFatman on Oct 8, 2018 10:38:14 GMT 1
45 – Save Your Love by Renee & Renato The history of UK pop music is really a story about the people who bought it. The popularity of different genres of music at certain times often correlates with changes in society, as definable categories of consumer emerge and are targeted. In the 1970s the middle class, suburban housewife emerged as a recognised phenomenon. Not part of the work force, with less children than had historically been the case and husbands working long hours for ever increasing wages, these women had spare time and cash, and were consummate consumers, a key target for marketing from many industries.
The music business was no exception, and the impact on the charts is recorded for all to see. The music aimed at them was aspirational, romantic and often deliberately reminiscent of expensive foreign holidays. The reality of the cold, wet English suburbs outside could almost completely be erased from the memory by the exotic crooning of the likes of Julio Iglesias or Demis Roussos, both of whom had number one hits in the mid 70s. These artists would stand out like a sore thumb in the charts today, but in an age where disco, punk, reggae and country music often stood side by side in the charts without anyone batting an eyelid, they just added to the general diversity.
By the 1980s economic, social and musical changes had pretty much consigned this pop quirk to history, to the point where record producer Johnny Edwards took a punt on there now being a comic novelty value in a distinctly European looking man warbling a catchy tune in a funny accent. He had written Save Your Love as a joke. With its stomach churningly corny references to “summer nights with moon and stars above” and promise that “the reddest rose I always bring you” (not just any rose you’ll notice, the reddest one) it was deliberately bad, intended to be a parody of kitsch 70s pop. Whether the public got the joke or not is a moot point, maybe half of the consumers were laughing at the other half who took it entirely seriously. Either way, as a commercial proposition it did the trick – despite slow progress on an independent label it eventually became 1982’s Christmas number one.
Renee and Renato were actually Renato Pagliari, a British Italian Aston Villa fan from Tamworth in Staffordshire, and a lady called Hilary Lester. Hilary and Renato mustn’t have sounded exotic enough. He warbles and occasionally lapses into actual Italian, she whispers either seductively or asthmatically depending on your point of view, the violins soar and the whole effect is queasy and astonishingly bad.
The fact that this is an awful record is now universally accepted, an example of how sometimes success can mean deliberately, knowingly setting aside any notions of quality or credibility. Making cash from crap music at Christmas has subsequently become a British tradition, one that can trace its origins directly back to Save Your Love. Thanks for that.
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Post by SheriffFatman on Oct 8, 2018 10:46:18 GMT 1
You also have to remember that what was acceptable & unacceptable with regards to racism was a whole different world to today. I certainly didn't mean to suggest Ebony And Ivory itself was racist, I hope you didn't think that. Far from it, the message clearly comes from the right place, it is just so ludicrously simplistic that it is actually very patronising.
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Post by SheriffFatman on Oct 15, 2018 9:56:17 GMT 1
44 – Cha Cha Slide by DJ Casper The urge to dance is a deeply rooted instinct within human beings, almost too deeply rooted to be properly explained, moving rhythmically in reaction to what we hear is part of what we are. While musicians since the dawn of time have relied on this instinct for the popularity of their output, before pop music dancing was a rather restrained and heavily controlled affair, in civilised society it was almost as though giving in to the instinct to dance was a weakness. Older generations who saw mid 50s rock & roll as a major threat to society were particularly horrified by the sight of young people’s unrestrained dancing, it just wasn’t proper to let yourself go in this way.
Since then, within all types of popular music, one route to success has been making music which makes people want to dance. From 60s pop, through Motown & disco, all the way to modern dance music, or EDM as the Americans insisted on calling it when they discovered it 20 years after everyone else, pop music and dancing have been inexorably linked. Pop music is multi-layered medium – the listeners’ interpretation of what the words say is important, but how the track makes them feel is critical. Making people feel like dancing is an art, and if you’ve mastered it then you’ve almost certainly got a hit single on your hands. You can persuade people to dance using pulsating rhythm, subtle beats or catchy hooks, or if, like DJ Casper (aka Willie Perry Jr.), you have no discernible musical talent, you can just tell them to.
The Cha Cha Slide started life in that well known breeding ground for top chart hits, Bally Total Fitness Health Club in Chicago. DJ Casper’s nephew was a fitness trainer at that august institute, and having seen his Uncle trying to flog copies of his track that he’d had pressed himself, he decided to give him a helping hand by playing it in the gym. To be absolutely fair, you can see how a throbbing beat and instructions to “slide to the left” and then, wait for it, “slide to the right” would be perfectly suited to that environment, but there was no excuse for subjecting the pop charts to them. That’s exactly what happened though, and in a moment of collective madness it was a minor hit in 12 different countries. In one country, however, there was nothing minor about it, and it reached number 1, spent 8 weeks in the top 10, and ended 2004 as the third best-selling single of the year. Hang your heads in shame, UK.
Of course, there’s nothing new about songs that give listeners instructions on what to do while listening, but at least Agadoo has a tune. As far back as 1986 Spitting Image’s The Chicken Song even reached number one lampooning the concept, but with instructions like “eat a Renault 4” and “disembowel yourself with spears” it was actually very funny, and is therefore entirely excused. There’s nothing remotely funny about DJ Casper’s instructions to “take it back now y’all, right foot let’s stomp, left foot let’s stomp”, it’s just relentlessly bad. A lot of the time it’s not even clear what he’s on about – what exactly you’re supposed to do when he enthusiastically shouts “Charlie Brown” is anyone’s guess. You could of course go to his YouTube channel to find out, or alternatively you could just get a life.
A listening experience that absolutely no one except the very drunk wants, The Cha Cha Slide has gone on to be a regular feature of family functions and Christmas parties, an essential stepping stone between the last thing you will remember doing and the point where you throw up on someone’s shoes. Ironic for a song which was apparently intended to help increase fitness.
DJ Casper had one more hit, making the top 20 with a version of the Gap Band’s not entirely dissimilar Oops Upside Your Head. In what can only be interpreted as a sign of his complete lack of other ideas, he appears to have been performing for several years under the name Mr C The Slide Man. One can only hope that his lack of further inspiration means his commercial success is very much behind him.
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Post by Earl Purple on Oct 15, 2018 10:55:13 GMT 1
Renee And Renato was just the same melody repeated ad-infinitum. He sings the same lyrics every time, she sings various different ones, and it's supposed to be a tale about what was a holiday romance but she's now gone home.
When she changed gender and sang "Save Your Love" with Angela it didn't do as well commercially but was probably technically a better song, much that I wasn't keen on it.
As for Cha Cha Slide, we're already into unmemorable number one land, and the phenomenon whereby we had stopped dancing to songs and instead just to "dance music", of which some was creative (like what Robert Miles and Chicane etc made) but most was not had long passed.
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Post by Earl Purple on Oct 15, 2018 11:02:28 GMT 1
The Christmas chart of 1982:
1(1) Renee & Renato - Save Your Love 2(4) Shakin' Stevens - The Shakin' Stevens EP (lead track "Blue Christmas") 3(10) David Bowie & Bing Crosby - Peace On Earth / Little Drummer Boy 4(3) Culture Club - Time (Clock Of The Heart) 5(5) Madness - Our House 6(17) Phil Collins - You Can't Hurry Love 7(30) David Essex - A Winter's Tale 8(9) Modern Romance - Best Years Of Our Lives 9(6) Lionel Richie - Truly 10(2) The Jam - Beat Surrender
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11(21) Cliff Richard - Little Town ... 45(71) The Waitresses - Christmas Wrapping
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Post by Earl Purple on Oct 15, 2018 11:07:17 GMT 1
Cha Cha Slide did the rare feat in 2004 of climbing to #1 having entered at #2 behind Britney Spears' hit "Toxic" which entered at #1 that week. Then they switched places.
1(2) DJ Casper - Cha Cha Slide 2(1) Britney Spears - Toxic 3(-) Jennifer Lopez - Baby I Love You 4(3) Peter Andre - Mysterious Girl 5(-) Enrique ft Kelis - Not In Love 6(-) Black Eyed Peas - Hey Mama 7(6) Jamelia - Thank You 8(5) Kylie Minogue - Red Blooded Woman 9(4) George Michael - Amazing 10(7) Beenie Man ft Ms Thing - Dude
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11(-) Fountains Of Wayne - Stacy's Mom
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Post by SheriffFatman on Oct 15, 2018 12:01:11 GMT 1
The Christmas chart of 1982: 1(1) Renee & Renato - Save Your Love 2(4) Shakin' Stevens - The Shakin' Stevens EP (lead track "Blue Christmas") 3(10) David Bowie & Bing Crosby - Peace On Earth / Little Drummer Boy 4(3) Culture Club - Time (Clock Of The Heart) 5(5) Madness - Our House 6(17) Phil Collins - You Can't Hurry Love 7(30) David Essex - A Winter's Tale 8(9) Modern Romance - Best Years Of Our Lives 9(6) Lionel Richie - Truly 10(2) The Jam - Beat Surrender -- 11(21) Cliff Richard - Little Town ... 45(71) The Waitresses - Christmas Wrapping
Much as I love Beat Surrender, Christmas Wrapping probably just edges ahead of it as the best song in your post
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Post by Deleted on Oct 15, 2018 15:22:58 GMT 1
Sadly almost everybody dislike "Save Your Love" now, it's the one from my favourite singles of 1982 (together with "Fantasy Island" and "My Camera Never Lies") and my favourite UK Christmas # 1.
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Post by SheriffFatman on Oct 22, 2018 10:58:22 GMT 1
43 There’s No One Quite Like Grandma by Saint Winifred’s School Choir Kids are lovely, aren’t they? Well yes, your own are, even those belonging to friends or close family members can be, but that’s about the limit. When they appear on your telly all dressed in pink and sing shrilly about how much they love their Grannies, something has gone seriously wrong with your channel selection. In the barely rememberable, pre-digital, three TV station age though, the lack of choice occasionally caused some very strange anomalies in popular culture. One such inexplicable occurrence is the Christmas number 1 from 1980, There’s No One Quite Like Grandma.
Of course, while it seems inexplicable at first, the key to the success of this twee drivel is in the title. Back in the days when you didn’t have to understand what Spotify was in order to contribute to the singles charts, Grannies simply had to walk en masse into shops and make a purchase to leave the Top of the Pops producers scratching their heads about how they could accommodate a primary school choir in the studio. Only a few years earlier they had managed to fit the Wurzels on stage with a full-size John Deere tractor, so if they could do that anything was possible.
Of course it’s pointless to criticise the lyrical content of a song performed by primary school children, it’s just not a place you would go for life changing insights. Even so, the basis of this record - “Grandma we love you / Grandma we do” - is so flimsy it hurts. While there is obviously no artistic merit here whatsoever, the naked commercialism on display is actually quite stark. The record company must have realised they were on to a massive winner very quickly – any granny who didn’t own a copy of this by the end of the 1980 festive season must have been very much in the minority. Interestingly, the song hit the top of the charts exactly 10 years after Dad’s Army star Clive Dunn did the same with exactly the same concept, except his song, which dialled down the twee factor and was therefore nowhere near as bad, was called Grandad. Happily, Christmas 1990 was entirely free of songs dedicated to Aunties, Uncles or whatever abomination might have come next if someone had noticed a pattern forming.
There’s No One Quite Like Grandma was number one for 2 weeks over Christmas 1980 and new year 1981, although the second week has been a bone of contention for John Lennon fans, and indeed anyone with any musical taste, for years since. These were the days when chart compilers all took a week off after Christmas, and the published chart consisted entirely of non-movers. It hardly ever mattered – whatever was number one at Christmas was usually a big enough seller and far enough ahead of everything else to make the chances of a change at the top in a week when the shops were only open for 3 days very unlikely. On this occasion though, the non-moving top 10 included 3 singles by a recently deceased John Lennon, including his festive favourite Happy Xmas (War Is Over). When the next chart did come out, 2 weeks after Christmas, that one was number 2 behind a re-issued Imagine, and Grandma was all the way down at number 6. It is widely believed that Happy Xmas was the best seller that week, but there’s no way to know for sure, and so the history books have it as one of the all-time best-selling number twos, a fond favourite in the minds of a nation that has been trying to forget Saint Winifred’s School Choir ever since.
The choir themselves never had another hit, so they’re officially a one hit wonder. That overlooks a fact which was little reported at the time though – they’d actually sat at the top of the charts already only two years earlier, singing The Big Ship Sails on the Alley-Alley-O as backing vocals to Brian & Michael’s peculiar but not entirely bad Matchstalk Men And Matchstalk Cats And Dogs. No more chart action awaited them though, just occasional appearances in documentaries about awful Christmas singles talking about what it was like to be number one when you’re 7. You’d think they’d want to stay quiet about it.
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Post by Earl Purple on Oct 22, 2018 11:38:24 GMT 1
Grandad was #1 in January 1971. A year later Neil Reid got to #2 with "Mother Of Mine". It was kept off by the New Seekers "I'd Like To Teach The World To Sing".
Paul Petersen did an atrocity about his dad in 1962 which made the top 10 in the USA but didn't trouble us over here. But for those who are curious enough this is it:
Having said that, I do like his comedy song "She Can't Find Her Keys".
The only reference to uncles around the start of 1991 was in the title of Morrissey's album and then the uncle was being ordered a death sentence. Not sure if Morrissey who was himself an uncle at the time was referring to himself.
John Lennon being a very high selling #2 would include sales from its original release plus all the later downloads when popular Christmas songs were being downloaded every year and later streams being included. Wham! were already one of the biggest selling #2s but the Pogues and Mariah Carey now also are due to the renewal factor.
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Post by Earl Purple on Oct 22, 2018 11:45:48 GMT 1
The top 10 this week:
1(2) St Winifred's School Choir - There's No One Quite Like Grandma 2(1) John Lennon - (Just Like) Starting Over 3(3) Jona Lewie - Stop The Cavalry 4(45) John Lennon, Yoko Ono & the Plastic Ono Band with the Harlem Community Choir - Happy Xmas (War Is Over) 5(4) Abba - Super Trouper 6(5) Police - De Do Do Do De Da Da Da 7(10) Adam & The Ants - Antmusic 8(6) Madness - Embarrassment 9(RE) John Lennon - Imagine 10(9) Stray Cats - Runaway Boys
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Post by SheriffFatman on Oct 22, 2018 16:04:54 GMT 1
Grandad was #1 in January 1971 Yes, but it was clearly aimed at the charts of Christmas 1970.
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Post by Earl Purple on Oct 22, 2018 16:13:32 GMT 1
Whilst I'm not overly keen on Grandad, I vastly prefer it to any of the other songs I mentioned about parents or grandparents.
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Post by raliverpool on Oct 22, 2018 18:57:22 GMT 1
Whilst I'm not overly keen on Grandad, I vastly prefer it to any of the other songs I mentioned about parents or grandparents. I much prefer Grandad too.
Still the St Winifred's School Choir did at least get their just "desserts" .... (sadly the whole original clip is taken down off youtube but you get what happened - Karmically, Jona Lewie was on the same show).
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Post by SheriffFatman on Nov 5, 2018 15:39:56 GMT 1
42 (Barry) Islands In The Stream by Vanessa Jenkins & Bryn West featuring Sir Tom Jones & Robin Gibb
Comic Relief was founded in 1985 by comedy writer Richard Curtis and comedian Lenny Henry. The aim was to use comedy to raise money for charitable causes, particularly for victims of famine. It was an immediate success, with the first ever Red Nose Day in 1986 supported by a charity single from Cliff Richard & the Young Ones. To date this remains the one and only time throughout his incredibly lengthy career that Sir Cliff has shown any sign whatsoever of a sense of humour. He gamely ploughed on through his 60s hit Livin’ Doll as Neil, Rick, Vivian and Mike destroyed it around him. They sang loudly and badly, complained about all of the money going to charity, violently assaulted the musical instruments and each other, and asked, amongst other things, “does anybody know where the toilets are?” Just like the TV show itself, it was very funny, and inevitably reached number 1.
Red Nose Day became established as a biennial event, and almost every one since has been accompanied by a charity single. These have often been rushed, poor quality, straight cover versions, but the idea of comic characters causing havoc on songs by established artists has persisted, with Mel Smith, French & Saunders as Lananeeneenoonoo, Rowan Atkinson as Mr Bean, and the cast of The Kumars featuring on some of the top selling examples.
The problem is, although it worked first time in 1986, the whole format is really just one flimsy joke. What’s more, very few comedy acts are as funny or as talented as The Young Ones, so you end up with a cover version which is neither good from a musical or comedic point of view. In fact, it can be something of an atrocity.
Vanessa Jenkins and Bryn West are better known as Nessa (Ruth Jones) and Uncle Bryn (Rob Brydon) from Gavin And Stacey. It’s a sign of a great ensemble comedy that two of the characters who are not the ones mentioned in the title can carry an act on their own away from the show, but that’s where the greatness ends. This is a very bad record.
After opening with a bit of dialogue so you know who they are, (Nessa’s “What’s occurrin’?” catch phrase coming in handy), they launch into what surprisingly becomes a fairly straight cover of Dolly Parton & Kenny Rogers’ eternally popular early 80s cheese fest. You can only assume that they couldn’t think of any actual jokes, so they stuck to singing. The thing is Rob Brydon appears to actually be able to sing, and so to maintain an element of comedy and so everyone can remember this is Uncle Bryn not him, he sings it deliberately badly, warbling all over the place and consciously sounding more Welsh, as if that itself is something to laugh at. No such problems for Ruth Jones though, as she clearly can’t sing. It’s hard to know whether to admire her for having a go or pity her for being in a position where her feeble singing voice is so publicly exposed.
Just when you think it might be coming to an end, a second bit of dialogue sees the characters inexplicably come across Sir Tom Jones, who you might hope takes over, but in fact only applies his formidable pipes to massively overblown operatic backing vocals. The original didn’t have any backing vocals, the song doesn’t warrant any, and the total sum of the last 40 seconds is an astonishing mess. The relief when it finally fades is palpable.
All of which leaves just one question – why was Robin Gibb credited? He must be thrown in there somewhere too, although he doesn’t get a mention and there’s no obvious sign of him. He did, of course, co-write the song. After hearing this he must have wished he hadn’t.
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