455. ‘Working My Way Back to You / Forgive Me, Girl’, by The Detroit Spinners

As vital as The Jam’s polemic first #1 was, you wouldn’t want every chart-topper to be that angry… Luckily for us, here come the (Detroit) Spinners with a relentlessly positive classic.

Working My Way Back to You / Forgive Me, Girl, by The Detroit Spinners (their 1st and only #1)

2 weeks, 6th – 20th April 1980

They are far from the first well-established band to try a disco-ified take on the old vocal-group sound. In fact, they’re pretty late to the party. This record could have been a hit from any point since 1975. And you can approach this in one of two ways… Way A) rolling your eyes at the cheese, and at the drunken memories of every wedding disco you’ve ever attended, or Way B) joining in with the undeniable fun.

I’ll keep working my way back to you babe… The singer’s made a mistake, told some lies, thought he could have his cake and eat it, but now he’s feeling remorse… With a burning love inside… And I love his very deep voiced counterpart: Been prayin’ every day… It has a bit of a karaoke-backing track feel, but that’s part of the charm. It gives you no choice but join in.

When you do, you realise how much of a dick the singer has been. He played around, he loved to make her cry… That matters not. He is coming back, and we are left in no doubt as to his success. ‘Working My Way Back to You’ was (yet another) UK #1 that began life as a song by The Four Seasons, in 1966. Theirs is a very ‘sixties’ version, as good if not better than this cover.

Here, the Spinners had it spliced with a few bars from ‘Forgive Me Girl’, a composition by producer Michael Zager (nothing to do with Zager & Evans, unfortunately), giving us our 2nd recent chart-topping medley after Boney M’s last-but-one Christmas number one. You wouldn’t realise that these were two songs mixed together – ‘Forgive Me Girl’ works perfectly as the bridge – and I’m left relieved that this isn’t another double-‘A’ side (as they take twice as long to write about!)

The Spinners had been around since 1954, and had been charting in the US since the early sixties. Which means that by the time their one and only British chart-topper came around, all four members were in their early-forties. One of the original ‘man-bands’, then! They join the aforementioned Four Seasons, and The Tymes, and even The Tams, in scoring #1s beyond their eras thanks to the popularity of soul and, of course, disco. They are still an active group, too, with one founding member, Henry Fambrough, still present.

Why, though, were the plain old Spinners marketed as The Detroit Spinners, and sometimes the Motown Spinners, in the UK? Well, all thanks to a British folk group who had already laid claim to the name. A couple of decades later the Americans would repay the compliment by forcing Suede to become the considerably less cool London Suede for their US releases…

453. ‘Together We Are Beautiful’, by Fern Kinney

Let’s slow things down a bit, with this next number one. A soft, slinky beat, some strings, and a breathy vocal…

Together We Are Beautiful, by Fern Kinney (her 1st and only #1) 

1 week, 9th – 16th March 1980

Fern Kinney’s voice reminds me a bit of Anita Ward’s: high-pitched and slightly nasal. But it doesn’t grate in the same way. This record doesn’t grate like ‘Ring My Bell’ at all – for better or worse. ‘Ring…’ might have been annoying; but you remembered it. ‘Together We Are Beautiful’ isn’t annoying, really, but it does wash over you without leaving much of a lasting impression.

He walked into my life, And now he’s taking over… It’s a decent opening line, that the song fails to build upon. I’ve gone with better looking guys, He’s gone with prettier lookin’ girls… It’s a middle-aged love song – settling down with someone on a deeper level. Fern doesn’t need love affairs any more… Except the lyrics still descend into stock-standard, love song cheese: I am the rain, He is the sun, And now we’ve made a rainbow… Ick!

What saves this song from being truly cloying – and when Kinney starts wishing that the whole world could fall in love like her and her man, it comes very close – is that it’s delivered in such a fluffy, tongue-in-cheek way that you can easily treat it as a camp novelty. It does drag on a bit, though: another song that shouldn’t have come anywhere near the four-minute mark.

The disco earthquake may have passed, but there will still be aftershocks like this for some time to come. Fern Kinney had been a backing singer who had given it up to be a housewife, before having one final crack at a solo career. And it worked – for this record… She is a bona-fide one-hit wonder. ‘Together We Are Beautiful’ had been around in different versions for a few years, before Kinney had her go.

I had a very vague memory of hearing this song years ago, in an advert that featured a guy with a miniature-sized version of Arsenal and England centre-back Tony Adams… And I am reassured to find out that I hadn’t dreamt it. It was used in a 1999 deodorant ad, which you can now enjoy in all its glory. What would we do without YouTube…?

452. ‘Atomic’, by Blondie

Getting us back on track after (yet another) country detour… Though you could argue that there’s a country twang to the main riff on this one… sort of… Anyway, where were we? Oh yes! Blondie go atomic!

Atomic, by Blondie (their 3rd of six #1s)

2 weeks, 24th February – 9th March 1980

Add this one to the list of great intros: a sort of beautiful cacophony, a remix of the way church bells go wild after a wedding, or on Christmas morning… Ding! Dang! Dong! Apparently its based upon the nursery rhyme ‘Three Blind Mice’ of all things! And then it clicks into that riff. (This intro was, for some reason, cut from the single edit… but let’s just pretend that version doesn’t exist.)

Oh-ho, Make it magnificent, Tonight… Is there a better song to listen before a night out than ‘Atomic’? Back when I was young and going to nightclubs, this was often playing as I picked out a shirt, did my hair, and prayed that the bouncer would ignore the fact that I still looked about thirteen… Oh, your hair is beautiful… Debbie Harry would sing, as if she could see me in the mirror. Oh tonight… Atomic! It’s a fine, fine song. But is it better than ‘Heart of Glass’…?

In some ways they’re very similar. Both rock with a disco beat (or disco with guitars…) and both with a synth breakdown in the middle – of the album versions, anyway. Here, actually, it’s time to quickly resurrect the single-edit that I killed off earlier, as that shortens the breakdown, cuts the bass guitar solo, and repeats the iconic, deep-voiced Atomic! line. It works better as a pop song, which I suppose was the point. ‘Heart of Glass’ was chopped up into various different mixes, too…

The biggest difference between last year’s Blondie and this year’s Blondie is Harry’s voice. On ‘Heart of Glass’ she was restrained, and sarcastic. On ‘Sunday Girl’ she was quite cute. She belts this one out, though, full-throated. A huge echo effect is put on her closing Oh-oh Atomics… adding to this record’s epic feel.

I’d go as far as describing ‘Atomic’ as life-affirming. A song that will psyche you up, pick you up, cheer you up… A song that does everything pop music should. Which is funny, because there’s a school of thought (in so far as pop songs have ‘schools of thought’…) that interprets this song as apocalyptic i.e. it’s the song you’d play just before the bomb goes off. That’s not something I subscribe to, though.

Anyway, I still have a question to answer though: is it better than ‘Heart of Glass’…? Actually, who cares? They’re both brilliant songs. Blondie were brilliant, on top of their game at this point, and will be along again soon with another classic hit. And another one that’s totally atomic!

438. ‘Ring My Bell’, by Anita Ward

There are no two ways about it… Our next number one sounds like the soundtrack to a porno. And that’s before we get to any actual bell ringing…

Ring My Bell, by Anita Ward (her 1st and only #1)

2 weeks, from 10th – 24th June 1979

It’s all chucka-chucka guitars, and a distinctive pew pew sound that sounds like a futuristic arcade shooter (apparently it’s an electronic drum giving us this tight beat). They don’t sound much like bells, though. The chimes in the chorus do: You can ring my bell… Ding-dong-ding-dong…

I’m not sure… Should we be treating this as a novelty? It is very in your face in its attempts to be catchy. Plus, Anita Ward’s voice is an acquired taste. She sounds like she’s going for cute and innocent as she welcomes her man home after a day’s work: Well lay back and relax, While I put away the dishes… But it comes off a little nasal and grating, especially as she hits the chorus’s high notes.

‘Ring My Bell’ was originally a teenybopper song about kids calling one another on the phone. Once Anita got her hands on it, the words were, well, spiced up a bit. You can ring my bell, Anytime, Anywhere, Ring it, Ring it, Ring it ring it, Aaah! What smut! Actually, it’s one basic innuendo stretched out over four minutes, or eight (!) if you go for the 12” (though I do like the tribal drums that take over towards the end of that version).

I’ve seen this record featured in some ‘Worst Chart-Toppers’ lists. Which is harsh. It’s kind of fun, and, for better or worse, catchy as Covid. File under: fine in small doses. Such is the way pop music moves though, coming hot on the heels of Blondie and Ian Dury, the disco riffs in this one already sound very last year.

In the UK at least, Anita Ward is a bona-fide one-hit wonder (in the US she managed one other chart hit – a #87). She faded alongside disco, and suffered a serious car crash in the ’80s. She is still performing to this day, though, and seems to have carved out a niche for herself performing ‘Ring My Bell’ at New Years Countdown events. Sometimes you gotta do what you gotta do…

435. ‘I Will Survive’, by Gloria Gaynor

Honestly, I’ve been struggling to start writing my posts on these recent number ones. Not because they’ve been poor – perish the thought! – or boring. More because they’ve been great singalongs, and I’ve been enjoying singing along…

I Will Survive, by Gloria Gaynor (her 1st and only #1)

4 weeks, from 11th March – 8th April 1979

How can you focus on the nuts and bolts of a song like ‘I Will Survive’, when all your instincts are telling you to drop a shoulder and channel your inner diva? I will try my best though. First up, that piano intro. That piano flourish. (Personally I’ve always wondered if Axl Rose intentionally winked at it in ‘November Rain’.) It’s not a tune, or a riff, but it’s instantly recognisable. And then an equally recognisable opening line: At first I was afraid, I was petrified…

Gloria Gaynor’s voice comes in quite airy and delicate, like a young girl, wide-eyed and innocent. This lasts for precisely three lines, as the piano and the sleazy guitars click into a disco rhythm, and some hard-edged sass enters her voice: And so you’re back, From outer space… She’s not been waiting all dewy-eyed for her ex. Nope. In fact, she’s pretty pissed off that he’d even think of trying it on again. Go on now go, Walk out the door, Just turn around now, Cause you’re not welcome anymore… The tables have turned, Gloria’s grown up and gotten over him. She will survive!

This is perfect disco, perhaps the pinnacle of the genre, released just as the bubble was about to burst. It feels like the five years since our first disco #1 have been building to moments like this, and not just because ‘I Will Survive’ is possibly the genre’s most famous song. But this record is about the lyrics as much as the music, which is actually quite minimal. The drums and horns keep a tight beat, yet it doesn’t swirl and soar like earlier disco hits have done.

My favourite bit is the pause before the final chorus. Oh… You think she might be doubting herself, wondering if she does actually still love him. But no. Go on now go! She comes back more resolute than ever, sends him on his way, and seals the song’s place as a feminist anthem. ‘I Will Survive’ is perhaps the very definition of a signature hit, a song that despite a near fifty year recording career covering twenty albums, Gloria’s never getting away from. She’s still very much active, and actually won a Grammy just last year for her most recent Gospel album.

It’s no secret that this is also something of a gay anthem. Although about a woman and her relationship with a man, any song called ‘I Will Survive’, serving this much attitude, was always going to be big with the LGBTQs. Can a drag queen even call herself a drag queen if she hasn’t lip-synced to this? Existential questions such as that aside, this feels like a bit of a turning point. The beginning of the end for disco? Certainly the end – for now – of this glittering run of chart-toppers we’ve been on. One half of a very famous duo is coming along pronto to slow things right down…

434. ‘Tragedy’, by The Bee Gees

Who’s up for some more disco-infused rock? Everyone? I thought as much. If you ignore Boney M’s Xmas #1, and squint very hard to hear the guitars in ‘Y.M.C.A.’ (they must be in there somewhere), then I make this five disco-rock chart-toppers in a row.

Tragedy, by The Bee Gees (their 4th of five #1s)

2 weeks, from 25th February – 11th March 1979

And who else is turning their hand to it next but The Bee Gees, those great musical chameleons. Gone are the soft chords and swirling strings of ‘Night Fever’, replaced with something much more hard-edged. Queen-like guitars, distorted synth riffs, a harpsichord (?)… The trio’s falsettos hit harder here, too. On ‘Night Fever’ they soared; here they are ragged and semi-deranged…

Tragedy! When the feeling’s gone and you can’t go on… It’s a great hook, simply shrieking the word ‘Tragedy!’ Tragedy! When you lose control and you got no soul… It is, I think, a song about of a panic attack, a midlife crisis in which you wake up in drenched in sweat wondering where the hell your life is going… Even the drums leading up to the chorus sound like a shuddering heartbeat. All the while that ominous riff plays in the back of your brain.

The drama is upped for the solo, which is preceded by an ear-splitting howl, and the final choruses, which are preceded by explosions. It’s ridiculous, really; very OTT. Apparently the sound-effect was made by the mouth of Barry Gibb, which is impressive as it really does sound like a thunderclap. The song fades out, all squeals and explosions and riffing guitars. A mental breakdown never sounded so catchy…

This is The Bee Gees’ 4th number one, and my favourite so far. Their sixties hits were fine, but paled against the musical behemoths surrounding them. ‘Night Fever’ was better than I expected, but still for me lacked a true killer hook. ‘Tragedy’ has that hook, and then some. It’s a ‘go big or go home’ moment – the band perhaps looking to move beyond ‘Saturday Night Fever’ with a statement piece.

However, I will show my age and admit that I knew this song first and foremost as a kid thanks to, yes, Steps’ million-selling cover version from the late-nineties. It will be featuring on this countdown in due course, so I’ll say no more save for the fact that I cannot now hear the word ‘Tragedy!’ without fighting the impulse to throw my hands up parallel to my face. Ah well…

The Bee Gees will be back eventually, after another near-decade long hiatus from the top of the singles charts, with another musical reinvention (and probably my favourite of their five number ones). In the more immediate future, though, we are going to crack on with this wonderful run of chart-toppers we’re in the midst of.

433. ‘Heart of Glass’, by Blondie

Picking up where Ian Dury and the Blockheads left off, Blondie enter the scene with another tight groove. Disco and rock are colliding here, in the early weeks of 1979, and the results are magnificent.

Heart of Glass, by Blondie (their 1st of six #1s)

4 weeks, from 28th January – 25th February 1979

When we come to monster hits like ‘Heart of Glass’, part of me is happy (it’s a great song) and part of me is frustrated (everything that needs to be said about it has been said before.) See also ‘Dancing Queen’, ‘Bohemian Rhapsody’, ‘Get It On’… Sometimes this job’d be easier if every #1 was rank-rotten! But we will persevere. Nobody will be sad about giving this classic yet another spin…

The melody is great, for a start. The disco beat paired up with churning, writhing synths. Our 3rd ‘New Wave’ chart-topper finally sounds like what I think New Wave should sound like. When the organs come into the mix, and then the wall-of-sound drums, you’re in finger kissing perfection territory. The breathy, husky backing vocals – dum da dum, dadadada dum da – are wonderful too.

But the real star of the show – the star of this uber cool NYC gang – is the lead singer. Many are the tales of the sexual awakenings wrought upon Britain’s teenage boys by Debbie Harry in the late-seventies (and the sexual re-awakenings of their fathers, pretending not to watch the TV). Her vocals are stunning here. High-pitched, and ice cold: Once had a love, And it was a gas… Soon found out, Had a heart of glass…

She doesn’t bother singing in full sentences, and sprinkles fun Americanisms – mucho mistrust… and we coulda made it cruisin’… around the place. Best of all, she sings about heartbreak, about her glass-hearted lover, as if the loss is all his. She knows she’s hot, and that she won’t be single for long. Half of the time you can’t understand what she’s saying – in researching the lyrics for this post I realise that I’ve been singing the wrong lyrics for years. Riding high, I’m lost to the good life… is actually Riding high, On love’s true bluish light… for example.

I know I’ve moaned a lot about recent chart-toppers going on for too long, but when it comes to this record then the longer the better. Mainly because the 12” version has the drum-machine intro missing from the 7”, and the song’s sassiest line: Soon turned out, To be a pain in the ass… In actual fact, there are so many edits of this song that there’s a version for everyone: intro, no intro, third verse, no third verse, extended disco breakdown…

Originally, when Blondie first recorded the demos for this song, several years before it was a hit, they called it ‘The Disco Song’. And you can see why. They were already a chart force, with guitar driven post-punk hits like ‘Denis’ and ‘Hangin’ on the Telephone’ before this took them stratospheric (and caused an inevitable, ‘Disco Sucks’ backlash.) They’ll be the biggest band in the land for the next couple of years, with one of the strongest ever runs of #1 singles, starting right here. Don’t go anywhere!

432. ‘Hit Me With Your Rhythm Stick’, by Ian Dury & The Blockheads

Officially into 1979, then. The end of the decade is in sight. Meanwhile, a funky groove slinks in…

Hit Me With Your Rhythm Stick, by Ian Dury & The Blockheads (their 1st and only #1)

1 week, from 21st – 28th January 1979

We start mid-riff, and it feels like the doors to a club have just opened wide, filling the night with possibilities. And yes, this is definitely a song you can dance to. But it is so much more than that. For starters, we’re off on a trip around the world…

In the deserts of Sudan, And the gardens of Japan… we see Milan, then Yucatan. Every woman, Every man… Taking up where the Village People left off, there’s more innuendo ahoy: Hit me with your rhythm stick, Hit me slowly, Hit me quick! Is it about dancing? Is it about sex? Or is it about both? After about thirty seconds, does anybody care?

There’s a lot to love here. The whiplash sound effects after each Hit me! The frenzied piano that comes in midway through. The angry saxophone solo, which includes a note so jarring that it would ruin many a lesser song. But the main highlight is Ian Dury’s vocal performance. He sings, he croons in cockney, he squeals, he rolls certain sounds around in his mouth as if they were a fine brandy.

Contrast the way he caresses Borneo with the way he barks, in German: Das ist gut, Ich liebe dich! And the way every Me! is different. Mu-eeeh! Meeeeaaah! May! And my personal favourite, the one where he dog-whistles as if his bollocks are in a clamp. We’re four hundred and thirty two #1s in, and there can’t have been any with a lead singer so energetic, so enthusiastic, so borderline unhinged. Ian Dury had been a singer for many a year before forming The Blockheads in 1977. A bout of polio as a child had left him with a withered left arm and leg, but he was an enigmatic performer. In his very own words, from this very same single: It’s nice to be a lunatic!

It must be hard to write a song so strikingly inventive, and yet so dumbly catchy. It works on all levels. It is New Wave, I’d say, but sounds so different from our first New Wave chart-topper, ‘Rat Trap’, proving just how hard a genre this is to pin down. By the end, as the choppy guitars come in, and we clunk to an abrupt ending, as Dury howls his HIT ME!!s over the maelstrom, things have suddenly gotten very punk. We may never have had a real ‘punk’ #1, but the movement did at least pull aside the drain covers, allowing wonderful weirdos like Ian and his Blockheads to emerge.

They weren’t around for long, but The Blockheads did manage one further Top 10 single, ‘Reasons to Be Cheerful, Pt. 3’, on which Dury performs what must be one of the British chart’s first raps. He passed away in 2000, from cancer, but his legacy lives on. There’s ‘Spasticus Autisticus’, for example: a provocative riposte to what Dury saw as the patronising ‘International Year of Disabled Persons’, there’s ‘Sex and Drugs and Rock ‘n’ Roll’, and his acting. But above all, there’s this crazy little one-week wonder, perhaps the ultimate ‘January #1’. Go on then … Hit me, one more time! (No wait, wrong song…)

431. ‘Y.M.C.A.’, by Village People

Hitting #1 on the very last day of 1978… And what better soundtrack for your NYE party?

Y.M.C.A., by Village People (their 1st and only #1)

3 weeks, from 31st December 1978 – 21st January 1979

It’s an intro that pricks your ears right up. Disco drums, and an ominous foghorn. Once, twice, thrice… Just enough time to steamroller your way from the bar to the dancefloor. Then it explodes. Some songs build to a climax; this is four and bit minutes of pure climax. Exuberant – that’s the word I’d use. The horn blasts, the lead singers’ full throated vocals, the chorus. Nobody ever came away from listening to ‘Y.M.C.A.’ feeling sadder than before it started.

Young man! There’s no need to feel down… A small-town boy steps off the Greyhound bus in downtown NYC. The Big Apple. He looks up at the skyscrapers and gulps. Where should he go first…? Luckily for him he meets a kindly cowboy, policeman, builder, biker, soldier and, um, native American who offer to show him the ropes. It’s fun to stay at the YMCA, they tell him… They have everything for young men to enjoy, You can hang out with all the boys…

The one bit of trivia that everyone knows about the Village People is that only the cowboy was gay. Or was it the cop? Or the construction worker…? OK. Everyone knows that only one of the six was gay. (Actually, almost every source I checked says something different. They were all gay. Half of them were gay. The cop was the only straight one…) Either way, ‘Y.M.C.A’ is a pretty gay song. There is very little coding going on. I assume that people in 1978 knew perfectly well what these muscular, moustachioed men were hinting at… (I wasn’t around, so would welcome input from those who were…)

Which means that – despite the song having morphed into a kids party, wedding disco, nudge nudge wink wink bit of pantomime – this is a pretty significant moment in pop music history. Gay culture rammed down the throats – so to speak – of granny and grandad as they sat through Top of the Pops. However, one of the song’s writers, Henry Willis, claimed that it was simply a straight-faced run through of the wholesome activities on offer at your nearest Young Man’s Christian Association. Which is certainly one way to read it…

Anyway, back to the song. My favourite bit is one that your average wedding DJ cuts off, on the 12” version, when the horns take over and we sashay to a glorious finish. There’s a hint of melancholy about the ending. Our young man, freshly scrubbed and fed, still has to make his way in the big city. Maybe he’s been chucked out of his home? How will he survive? Also, knowing now that AIDS was but a couple of years away when this hit #1 adds even further poignancy.

Apparently, a few years ago Village People claimed they would sue anyone who referred to ‘Y.M.C.A.’ as a ‘gay anthem’. Which feels like a pretty late attempt to rewrite history. Any band that names itself after New York’s gay district, dresses one of its members up as a leather daddy, and releases songs like ‘Y.M.C.A’, ‘Macho Man’, and ‘In the Navy’ (can’t you see we need a hand…) will struggle to pass that argument off in court.

Still, subtexts aside, this is a song that everyone can enjoy, and that everyone still does enjoy. A song that, for me, will never really be ruined through over-exposure. A song that perhaps doesn’t get the recognition it deserves as high-quality pop. And, even though it hit the top on Hogmanay ’78, I’m counting it as Part I of early 1979’s run of classic chart-toppers. More of which are coming up very, very soon.

PS. Interestingly, the famous spell-out-the-letters-with-your-arms-above your-head dance doesn’t feature in this original video. Not sure when that became regulation…

430. ‘Mary’s Boy Child / Oh My Lord’, by Boney M

One of this blog’s main drawbacks rears its head once again: Christmas songs in July. Oh well… Boney M’s 2nd discalypso hymn of the year. Ready?

Mary’s Boy Child / Oh My Lord, by Boney M (their 2nd of two #1s)

4 weeks, from 3rd – 31st December 1978

It’s a wonder why more acts don’t do this: rush out a Christmas single while at the peak of their popularity. Maybe, just maybe, it’s because the results might sound a bit like this… The steel drums are back, the insistent, steady pace of ‘Rivers of Babylon’ remains. It could be the same, karaoke-ish backing track.

But we do get off to a positive start when I realise that ‘Mary’s Boy Child’ / ‘Oh My Lord’ is not the double ‘A’-side I’d first feared; but a medley. Our first (official) chart-topping medley! (*Edit* Since Winnie Atwell.) And thank goodness because, for my money, the ‘Oh My Lord’ section – newly written by Boney M’s founder Frank Farian – is the best thing about this song. Oh my Lord, When in the crib they found him, Oh my Lord, A golden halo around him… as a backing singer harmonises. It’s nice.

We’ve heard the main bit of song atop the charts before, of course, way back in 1957. Harry Belafonte’s treatment of it was a bit more hushed and reverential. Not that Boney M sound sacrilegious or anything – they do sound genuinely Christian – but it’s hard to sound too pious with that rinky-dink Eurodisco backing. One thing that does work is the way that the band’s Caribbean accents add a slight gospel flavour to the vocals.

One thing that seems to be a very late-seventies phenomenon is the length of our chart-topping singles. This must be the era of the longest average #1. The 7” of this ditty runs to close on six minutes, while the 12” keeps things running for another minute or so. Why, oh why? Pop songs rarely need to run over 3.5 minutes, I’d say, yet disco seemed to encourage indulgence.

Again, as the song plods on and the minutes pass, my mind turns to wondering why this, and ‘Rivers of Babylon’, gave Boney M their pair of chart-toppers, and not ‘Rasputin’, ‘Daddy Cool’, ‘Sunny’, even ‘Ma Baker’… Rare is it, I suppose, for an artist to be properly represented by their chart positions. Anyway, this was the fourth festive themed Christmas #1 of the 1970s – after Slade, Mud and Johnny Mathis – making it officially the Christmassiest decade ever. It’ll be six years until the next one. But, on the plus side, we are about to enter 1979, and are on the cusp of some all-time great chart-topping singles. Bring it on!