461. ‘Xanadu’, by Olivia Newton-John & Electric Light Orchestra

Finally. One of the seventies’ best groups top the charts, a few months too late. ELO and ONJ are taking us off to a mythical land…

Xanadu, by Olivia Newton-John (her 3rd and final #1) & Electric Light Orchestra (their 1st and only #1) 

2 weeks, 6th – 20th July 1980

To be honest, this has never been my favourite Electric Light Orchestra song – is it anyone’s? – but it’s still a good slice of Jeff Lynne glam-pop. The wall-of-sound production and the beefy drums take us back to the height of glam, while the tempo and the strings are very disco. It’s a throwback, already, given the spiky, new-wave chart-toppers that we’ve already heard this year.

It’s also nice to hear Olivia Newton-John warbling away on another #1, after her two ‘Grease’ mega-hits in 1978. It’s a song that requires her to sing in a pretty high pitch, but she carries it off. Her Xanad-ooh-ooh… in the chorus, twinned with the piano riff, is an effective hook, while the Now we are here… backing vocals are pure ELO.

Amazingly, this is already the second #1 single to reference ‘Xanadu’ in the title, the lost city in northern China, seat of the Mongol Khans, ‘found’ by Marco Polo… It has now been named twice as many times as any other place. A place… as Olivia tells it, Where nobody dared to go, The love that we came to know, They called it Xanadu…

All very mystical. Except, in the movie that this record soundtracks, ‘Xanadu’ is a nightclub. A roller-disco. (I, to be fair, knew several nightclubs in my youth best described as ‘places nobody should dare to go’, not without a fair amount of alcohol inside them…) I have never seen the movie: it was awarded a Golden Raspberry but has since been reclaimed as a camp classic. Both ELO and ONJ scored further hits from the soundtrack, including the brilliant ‘All Over the World’.

The one thing I can’t get behind with this record is the ending. The soaring, distorted high-note. It reminds me – and this might just be because both involve Olivia Newton-John – of the stupid ending in ‘Grease’, with the flying car. A simple fade-out would have done much more nicely. But what do I know? Jeff Lynne apparently rates this as his best song.

I started this post with the word ‘finally’, and it really did take a while for Electric Light Orchestra to score a UK #1. ‘Xanadu’ was their 14th Top 10 hit, in a run stretching back to 1972. They would only have one further Top 10, before the hits dried up. (To do them justice, I’ll have to do a ‘Best of the Rest’ at some point.) Olivia Newton-John faces a similar chart trajectory – a few more hits before a mid-eighties drought. Meanwhile, Xanadu itself is still waiting for someone to score another #1 with its name, to complete the hat-trick.

459. ‘Theme from M*A*S*H (Suicide Is Painless)’, by The Mash

This next #1 sounds like a blast from the past… Originally released in 1970, the theme from ‘M*A*S*H’ took a full decade to make the top of the charts…

Theme from M*A*S*H (Suicide is Painless), by The Mash (their 1st and only #1)

3 weeks, 25th May – 15th June 1980

The why and wherefore of that we’ll get to in a bit. To the song first, though. It’s a simple enough, folksy ditty. It’s got a very late-sixties, post-Woodstock comedown feel to it. It’s also very melancholy. A song titled ‘Suicide Is Painless’ was always going to be a bit depressing…

Through early morning fog I see, Visions of the things to be, The pains that are withheld for me, I realise and I can see… The main thrust being that life is shit, and that suicide is always an option. By verse three, the ‘sword of time’ is piercing our skin, and everyone’s feeling thoroughly miserable. The singers, meanwhile, harmonise on the choruses like creepy Beach Boys.

I’m going to stick my neck out and say that this would never have been a hit had it not been associated with a huge film and TV franchise. It was the theme to the movie first, in 1970, and then the spin-off TV series between 1972 and ’83. I guess demand had built up over the years thanks to the show’s success, and this re-release sent it crashing up to the top of the charts.

The record is credited to ‘The Mash’, but in reality it was performed by some uncredited session singers who probably never received a belated dollar for their huge hit. One person who did make some money from it was Michael Altman, the fourteen-year-old son of the film’s director Robert. His dad allegedly requested ‘the stupidest lyric ever’, and the kid obliged in five minutes flat.

I think ‘stupidest lyric ever’ is a bit harsh, but the second you realise it was written by a moody teenager then lines like: The game of life is hard to play, I’m gonna lose it anyway… suddenly make complete sense. I think the dumbest bit of the whole song is actually the chorus: Suicide is painless, It brings on many changes… One of pop music’s great understatements there.

I wonder if there was any controversy at the time, either in 1970 or ten years later, around the theme of suicide in a #1 single, or TV theme, and the idea that it might be ‘painless’? It’d raise a few eyebrows nowadays for sure. Either way, it’s a song that’s been covered many a time. In the UK, the most notable has been The Manic Street Preachers’ version, which returned the tune to the Top 10 in 1992. It’s quite a haunting take on the song, too, given the Manics’ guitarist Richey Edwards’ still-unexplained disappearance a couple of years later.

456. ‘Call Me’, by Blondie

In which Blondie return after only six weeks away – that’s a very short time between chart-toppers, really – with another disco-rock stomper.

Call Me, by Blondie (their 4th of six #1s)

1 week, 20th – 27th April 1980

About a year ago, when records like ‘Tragedy’ and ‘I Will Survive’ were monopolising the chart’s top-spot, I killed disco off. It had peaked, I said. New-wave, post-punk, electronica were about to take over. But it’s not been that simple… Acts keep sticking a disco beat on their songs and scoring hits: Pink Floyd, Fern Kinney, Dr. Hook… And the masters of it, Blondie.

As with ‘Atomic’, there’s another whip-snapping intro, a drum-roll, and a beat that grabs you along for the ride. And what a ride. Colour me your colour baby, Colour me your car… Not sure what that’s all about, to be honest, but this isn’t the sort of song where you stop to think about the lyrics.

Again, as she did in the band’s previous #1, Debbie Harry is letting loose compared to the ‘Parallel Lines’ hits. Call me! she hollers at the top of her voice… On the line, Call me call me any anytime… It’s pretty clear what kind of call she’s talking about (think Donna Summer in ‘Hot Stuff’…) Anytime, anyplace, anywhere, any day, any way…

‘Call Me’ didn’t feature on any Blondie album – it was recorded for the soundtrack of ‘American Gigolo’, starring Richard Gere, which perhaps explains the unrepentant lyrics and why it followed so hot on ‘Atomic’s heels. The soundtrack version is a full eight minutes long, with beefier synths, and a verse about being taken out and shown off, as all the best gigolos want to be. The producer behind the soundtrack was none other than Giorgio Moroder, which means he’s now been involved in three UK chart-toppers with three different acts, and this won’t be his last…

Few bands have the sort of golden runs that Blondie were having in 1979-80. In just over a year they have had four chart-toppers, all of which I’d say were at least eights out of ten. (If you insist: ‘Heart of Glass’ 9.5, ‘Sunday Girl’ 8, ‘Atomic’ 9, ‘Call Me 8.5) Their one release that didn’t top the charts in amongst all this was ‘Dreaming’, a #2 and another stone-cold classic, much more post-punk than disco (and another 8.5, since you ask.)

Sadly, they have but one chart-topper to come, and – without wanting to give too much away – one that isn’t quite in the same league. And of course they’ll have a huge comeback almost twenty years later, but as great as that #1 is I would count it as something separate. Anyway. Let’s leave Blondie here, at the peak of their powers, and their chart success. A band that sound great anywhere, anytime, any day…

436. ‘Bright Eyes’, by Art Garfunkel

So, we hit the bump in the road. The record that ends the gloriously up-tempo run of disco-slash-rock that we’ve been on.

Bright Eyes, by Art Garfunkel (his 2nd and final #1)

6 weeks, from 8th April – 20th May 1979

It starts off quite flutey. I’m not 100% sure that they are flutes. But it’s woodwind of some sort, and it give us a lush, pastoral sort of feel. Which is appropriate, because this is a song with a lot of references to nature. Tides, hills, winds in the trees, rivers of death… Art Garfunkel’s voice comes from afar, a voice that was always quite delicate made even more ethereal when drenched in echo.

It’s still a great voice, one of pop music’s most recognisable, but I’m waiting for the hook. Bright eyes, Burning like fire… The closest we come, the catchiest bit of the song, comes next: How can the light that burns so brightly, Suddenly burn so pale… But it is fleeting. It’s a whisp of a song, without much to grab a hold of.

It’s about death, so that perhaps explains and excuses the funereal air. More specifically, it’s about dead… rabbits? It’s from the 1978 animation of Richard Adams’s novel ‘Watership Down’. It plays as the lead rabbit lies dying from a gunshot wound. (I’ve never seen the movie, but it’s famously traumatising. Disney it is not.) Adams himself apparently hated the song.

I have to admit that, while this record is far from being instant, the chorus has ear-wormed into me after a few listens. Perhaps there is something there. There has to be, to explain its six week stay at the top and the fact that it was the biggest-selling single of 1979. Yep, not ‘Heart of Glass’, nor ‘I Will Survive’, nor any of the other classics still to come in this year. ‘Bright Eyes’, by Art Garfunkel. Has anyone played this recently…?

It’s interesting that this is Art’s 2nd solo chart-topper, two more than his sometime partner. Simon has been the bigger solo star over the decades, but never managed a UK number one. Garfunkel bookends the decade with two monster hits: from ‘Bridge Over Troubled Water’, to this. You’d have to be very generous not to admit to the drop-off in quality. Meanwhile, as this song meanders on, I find myself wondering if the band Bright Eyes have ever covered it… They might do quite a nice version… Alas, there is no record of them ever having done so.

427. ‘Summer Nights’, by John Travolta & Olivia Newton-John

Fresh from dominating the singles charts in the summer, the ‘Grease’ soundtrack returns to dominate the autumn too…

Summer Nights, by John Travolta (his 2nd of two #1s) & Olivia Newton-John (her 2nd of three #1s) & Cast

7 weeks, from 24th September – 12th November 1978

I really like this song. I like it more than ‘You’re the One That I Want’. But there are a couple of issues that need mentioning before I start gushing. First, and unlike the earlier hit, ‘Summer Nights’ doesn’t work as well away from the film. Who are all these people singing? Why are all these people singing? Second, the backing track sounds a little bit ‘cheap karaoke’ (though that may be due to me hearing this song performed way too many times at way too many cheap karaoke nights…)

OK. On to the good bits. ‘Summer Nights’ comes right at the start of the film, on the first day back at school after summer. Sandy’s still a good little virgin; Danny’s a horny stud muffin. At least, that’s what they want their friends to think… He got friendly, Holding my hand… trills Sandy… She got friendly, Down in the sa-a-and… leers Danny. He was sweet, Just turned eighteen… She was good, You know what I mean…  Who’s telling the truth? You suspect neither of them.

As a kid, I loved the fact that ‘Grease’ is far filthier than many seem to notice. I couldn’t believe my mum – a churchgoer who once tried to stop me watching ‘Sabrina the Teenage Witch’ – was letting me watch a film with references to ‘hookers’ and ‘pussy wagons’. (And I just noticed, genuinely for the first time, Travolta’s ‘fingering technique’ on the took her bowling line.) How this has become a high school musical standard amazes me. Meanwhile, looking back now, I love how they really nail the teenage boys versus teenage girls dynamic: Tell me more, tell me more… Did you get very far? ask the boys. Tell me more, tell me more… Like does he have a car? reply the girls.

One reason I like this more than ‘You’re the One…’ is that it’s an ensemble number. All the cast get a look in. Marty gets the ‘car’ line. Kenickie gets the song’s most dubious line: Did she put up a fight?! While Rizzo steals the show with her bored… Cos he sounds like a drag… I like the final couplet the best, as they deal purely in practicalities: How much dough did he spend? and Could she get me a friend?

The very end, though, is reserved for our two lovebirds. Then we made our true love vow… Wonder what she’s doin’ now… (Well I got news for you, Danny…) And then comes the iconic ending, where the fun fifties throwback flips to a Jim Steinman rock opera. Summer dreams, Ripped at the seams… followed by Travolta’s strangely camp Ohhh… and a dog-whistle high end note. Drums cascade and the backing singers rise to the occasion.

Here then ends John Travolta’s short but spectacular chart-topping career. Olivia Newton-John will be back, with another duet. I wonder if her three #1s with three duets is some kind of record? Anyway. Both stars also got a #2 solo hit from this soundtrack: ‘Hopelessly Devoted to You’ for Newton-John and ‘Sandy’ for Travolta. ‘Greased Lightnin’ was also released, only making it to #11 as ‘Grease’ fever abated. And I can’t end without mentioning the ‘Grease Megamix’, a mash-up of ‘You’re the One…’, ‘Summer Nights’ and ‘Greased Lightnin’, that made #3 in 1991, and that must have soundtracked every single primary school disco for the rest of that decade. Those were the days…

424. ‘You’re the One That I Want’, by John Travolta & Olivia Newton-John

Picture the scene… It’s the last day of high school. A carnival has pitched up on the football pitch, as carnivals do. Rydell High bad-boy Danny Zuko, having ditched his leathers for a Letterman, turns to see his good girl gone bad… “Sandy!?” he exclaims.

For there she stands, head to shoulders in tight, tight black. Hair permed, ciggie dangling from her mouth. Sandra Dee is dead. The Pink Ladies gasp, the T-Birds wolf-whistle… “Tell me about it… Stud!”

You’re the One That I Want, by John Travolta (his 1st of two #1s) & Olivia Newton-John (her 1st of three #1s)

9 weeks, from 11th June – 13th August 1978

This record hit #1 a full seven and a bit years before I was born, but very few of the #1s we have met, or will meet, hit the ‘childhood memories’ button quite like this. ‘Grease’ was my favourite movie as a kid (I would sometimes pull a sickie from school just because I fancied watching it), and I still love it as an adult. I can quote from it like no other movie. “A hickey from Kenickie is like a Hallmark card…”, “They’re amoebas on fleas on rats…” “Maraschino… Like the cherry…”

What’s instantly clear is that this record, unlike some earlier soundtrack chart-toppers, works just fine out of context. The lyrics are stock-standard pop, the music a disco-ish reimagining of fifties rock ‘n’ roll: I got chills, squeals John Travolta in the iconic opening line, They’re multiplyin’!

You better shape up, Cos I need a man, Who can keep me satisfied… I guess you could read this as a feminist statement: little, shy, pushed around Sandy is finally in charge. Except she’s had to change her clothes, her hairdo, and her moral standards to get there. To my heart I must be true… she sings. Really, Sandy? Meanwhile, Danny slings the straight-laced Letterman jumper off before the first chorus hits.

Actually, I love the ending to ‘Grease’. I love that Sandy goes sexy. Good guys (and girls) do finish last! I also love the way John Travolta dances as if he’s been whacked over the head, almost slithering after Olivia Newton-John onto the fairground ride. This is the second #1 of the year to have featured in one of his movies, although he didn’t have any singing duties on ‘Night Fever’. One thing this record is missing, sadly, is his ‘Waaaaah!’ after the Feel your way… line. It’s the little things…

‘You’re the One That I Want’ is not my favourite song from ‘Grease’ – it’s not got the bite of ‘There Are Worse Things I Can Do’, the chorus of ‘Hopelessly Devoted to You’, or the laughs of ‘Beauty School Drop-out’, but I can understand why it was the giant hit, the (almost) closing number released as the movie topped the box-office charts. I can also understand why some people think ‘Grease’ is a terrible film (objectively, it may well be). But to ten-year-old me, fake coughing on the sofa, wishing I were Kenickie (or Rizzo), it will always remain a stone-cold classic.

As with Boney M last time, and Wings not so long before, this is one of the best-selling singles of all time in Britain. The 5th best, to be precise. John Travolta has one of the best singles chart records of all time: he’s featured four times, and two of those songs are million sellers. The second of which, from the very same movie, will be coming along in a tick…

422. ‘Night Fever’, by The Bee Gees

Some songs from the mid-to-late seventies have a whiff of disco about them: subtle grooves, funky guitars, a nod to the disco-ball… While some songs of the time are drowning in the stuff, as the genre comes close to imploding in a cloud of glitter. Can you guess which camp this next #1 falls into?

Night Fever, by The Bee Gees (their 3rd of five #1s)

2 weeks, from 23rd April – 7th May 1978

The Bee Gees are back, and they’ve gone for a pure and utter disco approach. The guitars go chucka-chucka, the strings swirl, things go ‘ting’… And then there’s the falsettos. Night fever, night fe-ver… By now these voices have gone beyond parody, but here in the moment it really hits you. We know how to show it… (Not that this was a comeback single for the band – they’d been ‘disco’ since ‘Jive Talkin’ came out in 1975.)

Nothing about this song, though, hints at the band who scored their first couple of #1s in the late sixties. In a blind listening test, I doubt anybody would think this was the band that recorded ‘Massachusetts’. And here’s the thing… I thought I’d be finding this song really annoying. This, along with ‘Stayin’ Alive’, ‘Tragedy’ et al are engraved in popular culture: well-loved, but cliched, and very high-pitched. Songs I know but rarely choose to listen to. Yet this is fun – a catchy slice of peak-era disco.

The high-point – in more ways than one! – comes with the bridge. Here I am, Prayin’ for this moment to last… Everything soars: voices, strings and synths… Borne on the wind, Making it mine… It’s a great pop moment, and really conjures up a mood of walking along the street, thinking of the clubs, the cocktails, and the dancing that lies ahead. The only problem is that the vocals go so high that it’s bloody hard to sing along!

‘Night Fever’ was of course from the soundtrack to ‘Saturday Night Fever’ (a film I’ve never actually seen), along with ‘Stayin’ Alive’, ‘How Deep Is Your Love’, and ‘More Than a Woman’ – disco giants the lot of them. The soundtrack was ginormous in the US, with three Bee Gees songs in the Top 10 as ‘Night Fever’ spent eight weeks at the top. It wasn’t quite as big in the UK – we opted to go wild for singles from another movie soundtrack (more on that very soon) – though the soundtrack topped the album chart for months on end.

This record hits #1 just under a decade after the Bee Gees previous chart-topper, ‘I’ve Gotta Get a Message to You’. It’s a long gap, but not the longest so far. That honour goes to Frank Sinatra, and the twelve years between ‘Three Coins in the Fountain’ and ‘Strangers in the Night’. What is impressive is that the Brothers Gibb will take not one, but two, decade-long hiatuses from the number one spot. Few acts have ever matched their longevity…

400. ‘Don’t Cry for Me Argentina’, by Julie Covington

Time for a proper show tune! The first, unless I am mistaken, since Shirley Bassey way back in 1961?

Don’t Cry For Me Argentina, by Julie Covington (her 1st and only #1)

1 week, from 6th – 13th February 1977

It’s a long one, too. Five and a half minutes, with nearly a whole minute of portentous introing before Julie Covington actually sings. It won’t be easy, You’ll think it strange… Gosh she sings it proper. When I try to explain how I feel… Musical theatre really stands out against pop songs, belted out as they are with cut-glass diction, aiming for the back row.

We’re approaching two and a half minutes, and still no appearance of the chorus. I have never seen ‘Evita’, neither on stage nor on screen, but I can sing this chorus. (I’ll show my age by saying I’m more familiar with Madonna’s version, which made #3 in 1996.) Come on Julie, love… Don’t cry for me Argentina, The truth is I never left you… It’s a love song, with all the usual trimmings, but about a country!

Show tunes also sound a bit strange divorced from their play, plonked into the singles chart. Who is she, and why is she singing about Argentina? Amazingly, this record was released well before ‘Evita’ debuted on the West End. Nobody had seen the show… and yet there was enough interest in this record to get it to the top of the charts!

To be honest, that first chorus was a bit underwhelming. I’m waiting for her to go around again, to really belt it out for the finale. While we wait – cause this is a record that isn’t afraid to take its time – a little bit of history. ‘Evita’, the musical by Andrew Lloyd-Webber, tells the story of Eva Perón, First Lady of Argentina between 1946 and ’52 and, since her death, official ‘Spiritual Leader of the Argentine Nation’ (with a fair few allegations of fascism thrown in from those who were against her).

Finally, a full four minutes in, and were back at the chorus. I’m ready for Ms. Covington’s big finale. But it never materialises… The orchestra does the soaring, we could be back in the charts of 1954, and I’m left a little bored. What a strange #1 hit… Bring back Dame Shirley. She’d have belted the life out of this.

Julie Covington never actually played Eva Perón on stage – she turned the role down – and when the show finally opened Elaine Paige took the part. Covington was a fixture on the West End stage throughout the seventies and eighties, but doesn’t seem to have done much in recent decades. Andrew Lloyd-Webber’s show tunes will be back, though – off the top of my head I can think of at least two more chart-toppers penned by him.

As this is the 400th (!) number one, I had planned to take stock, to see where we stood in the musical landscape. Except, this is a completely random one-week wonder that has no bearing on the real sound of the mid-seventies. In an ideal world, we could tell the story of British popular music tastes through every hundredth chart-topper. Number 100 would have been Elvis… (It wasn’t, it was Anthony Newley’s clipped and clicky ‘Do You Mind’), 200 would have been The Beatles… (It was! ‘Help’.) 300 would have been something glam… (Instead it was Tony Orlando’s sex-pest anthem ‘Knock Three Times’.) And 400 would have been a disco classic… Instead we aren’t crying for Argentina. Funny old things aren’t they, music charts…?

352. ‘She’, by Charles Aznavour

Un chanson, en anglais…

She, by Charles Aznavour (his 1st and only #1)

4 weeks, from 23rd June – 21st July 1974

It’s a simple ballad – a piano, a voice, not much else to start with – about an unnamed woman. She. A bit of a femme fatale, it sounds like. She may be the beauty or the beast, May be the famine or the feast… Not the most flattering lyrics for a love song, you might argue.

The words are crammed into each line, running on slightly, spilling over onto the next, in that way that French chansons do, a la Jacques Brel and Edith Piaf. She who always seems so happy in a crowd, Whose eyes can be so private and so proud… Meanwhile, when the drums come in, it starts to sound like a late Beatles ballad, a ‘Something’, or a ‘Long and Winding Road’.

Charles Aznavour was French-Armenian, and he sings this in heavily-accented English. I’m not sure it would work so well were it sung in straight-forward British or American tones. The Frenchness of it adds glamour, mystery, and romance – all the things that we pasty, repressed Anglo-Saxons associate, rightly or wrongly, with the other side of the channel. I knew this song through Elvis Costello’s late-nineties version and, looking back, it’s not as good simply because he isn’t French.

Not only was Aznavour French, he was also pretty old – he’d just turned fifty when ‘She’ hit the top of the charts, making him… I think… the second oldest male chart-topper, so far, behind Louis Armstrong. He sounds older, even, when he sings, and again this adds to the mystique, to the idea that his life has been plagued-slash-brightened by this alluring lady. It was recorded as the theme to a TV series: ‘Seven Faces of a Woman’ (which can’t have been very memorable, as it doesn’t have a Wiki page) and soared to the top of the charts as a result. Amazingly, this was Aznavour’s second and final chart hit in the UK. Mais, en France…

I would need another article to do his biography justice. A seventy year career taking in 1,200 songs… France’s Sinatra… ‘Entertainer of the Century’ ahead of Elvis… Seller of 200 million records… Performing until a few weeks before his death aged ninety-four! And that’s before you get to the non-musical portion of his life: he sheltered Jews during WWII, he was a National Hero of Armenia, as well as Armenian ambassador to Switzerland, an opposer of far-right politicians, a supporter of LGBT rights before that was the done thing… He sounds like quite the guy. And it just goes to show how insular our Anglo-centric world can be, given that I knew nothing of his life before writing this post!

Follow along with my playlist:

338. ‘Eye Level’, by The Simon Park Orchestra

And now, in a change to the scheduled programming, something slightly different. Don’t adjust your sets.

Eye Level, by The Simon Park Orchestra (their 1st and only #1)

4 weeks, from 23rd September – 21st October 1973

Well, it wouldn’t be the early 1970s if there wasn’t a random instrumental just around the corner, waiting to spend a month on top of the charts… From the Royal Scots Dragoon Guard, to Lieutenant Pigeon, to this. I mean, it’s pleasant enough. It’s very grand, almost Baroque… When it gets into its full sway I feel like I’ve just been announced at the court of Louis XIV.

There must be a story behind this getting to #1 – it’s not your everyday kind of chart-topper. In fact, the game is given away by the song’s sub-title: ‘Original Theme From ‘Van Der Valk’’. ‘Van Der Valk’ being a popular detective drama set in the Netherlands, which ran for five series over twenty years. In fact, it just got remade for ITV this spring! How have I never heard of this show until today? (Apparently there was *outrage* among fans of the original when the 2020 remake changed the theme tune…)

I quite like this, to be honest. It’s very lush, dense, and proper. It makes you stand up straight while you listen to it. It doesn’t sound much like the theme to a detective show should, but hey ho. My biggest disappointment is that it ends with a whimper, when it feels like it should have built to something much bigger, and more elegant.

Simon Park and his orchestra seem to have appeared from nowhere after being chosen to perform ‘Eye Level’. It had been released the year before to little fanfare, before a re-release following the TV programme’s success sent it flying to the top. It is an official million-selling single, and there aren’t too many of those around. Credit where it’s due. The orchestra went on to release a few more singles, and soundtracked a few more movies and shows.

One of those little diversions, then, that come along every so often on our journey through the charts. Nice enough; if a little out of place. Moving on…

Follow along, TV theme tunes and all, with my playlist…