Showing posts with label rising damp. Show all posts
Showing posts with label rising damp. Show all posts
Can’t Help Thinking About Christmas
Can’t Help Thinking About Christmas is a special stocking-filling companion to the year’s best-selling book about obscure radio shows and films nobody remembers Can’t Help Thinking About Me, and includes the following seasonal trimmings:
– A collection of reviews of some of the worst sitcom Christmas Specials ever made (and a couple of good ones too!)
– A Christmas Party Medley of nonsense about carol services, BBC Records And Tapes, mind-hurtingly strange Christmas Films, and when some Brookdale kids tried to steal ‘the disco’ in Grange Hill
– The story behind BBC Schools programme Music Time‘s adaptation of Lieutenant Kije
– Features on Saint Etienne Presents Songs For A London Winter and Santa Claus Is On The Dole by Spitting Image
– The ultimate guide to Denys Fisher’s TV tie-in board games
– And a brand new feature on the little-seen Rising Damp Christmas Special!
All of the previously-seen pieces are updated with new footnotes, introductions and extra detail – yes, we finally know who wrote the theme to George And The Dragon! – and there are a couple of extra Yuletide surprises too. It’s probably only going to be available during December, so grab your copy now!
Can’t Help Thinking About Christmas is available in paperback here or from the Kindle store here.
And if you still haven't got it, Can't Help Thinking About Me is available in paperback here or from the Kindle store here.
ITV 59 - All Your ITV Favourites (And Which Way To The War?) Part Four: Even More Idents
PEOPLES OF THE UNVIERSR PLEASE ATETNTD CAREFULLY
IT AHS COME TO OUTR ATTNETION THAT THERE HAVE BEEN TOO MANY IDENATS ON THIS BLOG LATELY
ATTENTION
THISD IS NOT AN ACCEPTBALE SDTATE OF AFFAIRS AND IF IT IS ALLWOED TO CONTINUE TOO FAR WE WILL END UP WHITH THE ELEUIDVEN O'CLOCK SHOW BACK
NO MORE IDENTSF
NO
NELE
THE HANDBAGJD AND THE GLADRAGS THAT BECAME JOHN HANNAS FAVOURITE SUPPER TIME
Well, we apologise for that short break in transmission, during which you probably had to sit through that Butterfly Ball thing again, and let's just see if we can't now return you to our regular programming. Hello, one and all, and welcome to the third and final (TAHT IS NOT SOON ENOGUH SOON) instalment of our series-within-a-series look at the various variations on regional insignias of ITV franchise holders passim, before they all got bought up by Disney and thrown in a burning bin to impress Reece Shearsmith, and indeed before the entirety of ITV itself was subsumed by the unstoppable Chewits-endangering region-scoffing rise of Carlton Television, a phenomenon which as any self-respecting MP knows is a prime example of BBC 'Bias'. Just imagine if it had been SelecTV instead, and in place of Celebrity Juice we'd have all those wall-to-wall repeats of Hadleigh. Anyway, the final leg of our tour of the regions starts by stopping off here...
Where ast tha bin since ah saw thee? In the Yorkshire TV region! Yes, it's the plain-speaking flat-capped cobble-streeted home of the makers of such televisual landmarks as Rising Damp, Emmerdale Farm, Follyfoot, Topper's Tales, Tarby's Frame Game and Matthew Corbett And Sooty "In Search Of Gulliver", which were invariably introduced by the so-called 'chevron', though many observers have noted that it actually bore a far closer resemblance to a 'bird' as seen in a chortle-free newspaper cartoon about Thatcher/Major teetering on the 'economic' edge of Beachy Head, and a five-note brass harrumph through something that sounds nothing at all even remotely like On Ilkla Moor Baht 'at. And, what with being all no-nonsense and common sense and dripping sandwiches and all that, they rarely ever messed around with said 'chevron', and while Twitter may regularly reverberate with endless live tweeting of when it twatted Dusty Bin at the start of 3-2-1, this was very much an isolated incident and you never exactly saw it, say, turning into a 'flying v' guitar at the behest of Animal Kwackers, or being called a 'barstard' by Alan B'Stard. Below are two very rare examples of promotion-orientated jiggerypokery, firstly a standard issue 'one pill makes you larger' mind expansion gambit from the late sixties, and secondly a salutation to any passing aliens that might have been looking in (so, Vrillon of Ashtar Galactic Command, then) with a somewhat overblown boast about reaching a very small percentage of the viewing audience. Meanwhile, improbably, a bewildering amount of people claim to have been somehow frightened by the 'chevron'. What did they think it was going to do?! Fly out of the TV and 'yellow' at them?
The green glowing I AM ALIEN FROM PLANET MARS-esque variant noted above would doubtless have been of great interest to the galactic emissary who allowed himself to be used as a logo for original Midlands ITV-profferer ABC.
But soon enough he headed off back into space, to warn his home planet of the Earth people and their Pathfinders To Venus, and consequently the regional franchise for the Midlands was handed over to Lord Grade's ATV and their none-more-ITV ident, featuring as it did that infamous speaker-rattling double-whammy fanfare with added binging and bonging, and 'colour'-denoting representation of what appears to be Mickey Mouse turned upside down and subjected to a chemical leakage from developing fluid, self-animatedly giving way to the emblematic Zippy/Al Jardine/Graham Taylor-head-shaped logo. And this celebratedly bombastic in-your-face bit of televisual arrestingness almost always found itself attached to equally arresting programming, from The Strange World Of Gurney Slade to Sapphire & Steel to Pipkins, and woe betide anyone who witters over a stretched still of it while pretending to introduce some woeful long-forgotten daytime talk show where the real original continuity announcers probably just shouted "PISS 2" and hoped for the best anyway.
Yikes - head for the hills, everyone! ATV handed over the Midland reins to Central in 1982, inadvertently letting slip the dogs of war and unleashing Hardwicke House on a traumatised public who are still recovering to this day. Not far behind in the viewer-spooking stakes came hard-hitting swindle exposure courtesy of The Cook Report, MURDERS PUPPETS extravaganzas Pullover and Fox Tales (and, according to some, Spitting Image when not moving), chillingly post-Cold War tug-of-rights-stricken The Little Green Man, the sweary-graffiti-shouty-theme-song end credits of Murphy's Mob, endless spooktacular contributions to Dramarama, and the general horror of those song-and-dance prone kids in Emu's Pink Windmill Show, with the result that many viewers can now no longer see their original solarized Christmas Tree bauble and corresponding synth hum without hiding behind the 'sofa' that nobody ever actually hid behind. Later in the eighties this would evolve into a paint-splattering computerised approximation of the original 'globe' - apparently referred to in official parlance as the 'cake', though anyone who has ever eaten any cake that looked even marginally like that requires immediate help - and a more assured synth fanfare that bore an uncanny resemblance to The Robinsons' doorbell on Neighbours. Also included for sheer amusement is the ludicrous 'Central Into The 90's' turn-of-the-decade variant, doubtless intended to signpost a brave new world of Press Gang and, erm, Press Gang, but these days calling to mind little other than Inspector Morse donning a hooded top and buying an Inspiral Carpets 12".
Being prominent denizens of so-called (by planks writing pretentious thinkpieces about not very much in particular) 'Granadaland', Inspiral Carpets themselves would have been otherwise engaged charting the evolution of the Anthony H. Wilson-pointing-out 'G', from its early appearances as a lone 'G'-deficent arrow (to denote 'North', of course), through a brief misguided excursion into just rendering the company's name in the same font they used for the signage on their Service Station/TV Rental Shop sideline, and into the classic Bob Greaves-era A Handful Of Songs-prefacing 'grinning face' Coronation Street-bookender and its later bevelled and Silver Plated 25th Anniversary upgrades, the latter of which is particularly noteworthy for having introduced Show They Can Never Repeat Now par excellence How To Be Cool. And what's more, it used to turn into a fucking HOUSE at the start of Hickory House. Stitch that, 'Chevron'!
And finally, it's time for Tyne Tees, and its legendary Yer Programme's On blippery synth clarion call for 'Gog' from The Paper Lads, and the root cause of a million juvenile misconceptions that 'Tees' was somehow 'North East' for telly. And with tha- oh. It's exploded. Oh well, join us again next time when we'll be taking a look at - wait for it - Oracle...!
If you've enjoyed this article, you can find lots more about stuff you just don't see on television any more in Not On Your Telly, which is available in paperback here or from the Kindle Store here.
IT AHS COME TO OUTR ATTNETION THAT THERE HAVE BEEN TOO MANY IDENATS ON THIS BLOG LATELY
ATTENTION
THISD IS NOT AN ACCEPTBALE SDTATE OF AFFAIRS AND IF IT IS ALLWOED TO CONTINUE TOO FAR WE WILL END UP WHITH THE ELEUIDVEN O'CLOCK SHOW BACK
NO MORE IDENTSF
NO
NELE
THE HANDBAGJD AND THE GLADRAGS THAT BECAME JOHN HANNAS FAVOURITE SUPPER TIME
Well, we apologise for that short break in transmission, during which you probably had to sit through that Butterfly Ball thing again, and let's just see if we can't now return you to our regular programming. Hello, one and all, and welcome to the third and final (TAHT IS NOT SOON ENOGUH SOON) instalment of our series-within-a-series look at the various variations on regional insignias of ITV franchise holders passim, before they all got bought up by Disney and thrown in a burning bin to impress Reece Shearsmith, and indeed before the entirety of ITV itself was subsumed by the unstoppable Chewits-endangering region-scoffing rise of Carlton Television, a phenomenon which as any self-respecting MP knows is a prime example of BBC 'Bias'. Just imagine if it had been SelecTV instead, and in place of Celebrity Juice we'd have all those wall-to-wall repeats of Hadleigh. Anyway, the final leg of our tour of the regions starts by stopping off here...
Where ast tha bin since ah saw thee? In the Yorkshire TV region! Yes, it's the plain-speaking flat-capped cobble-streeted home of the makers of such televisual landmarks as Rising Damp, Emmerdale Farm, Follyfoot, Topper's Tales, Tarby's Frame Game and Matthew Corbett And Sooty "In Search Of Gulliver", which were invariably introduced by the so-called 'chevron', though many observers have noted that it actually bore a far closer resemblance to a 'bird' as seen in a chortle-free newspaper cartoon about Thatcher/Major teetering on the 'economic' edge of Beachy Head, and a five-note brass harrumph through something that sounds nothing at all even remotely like On Ilkla Moor Baht 'at. And, what with being all no-nonsense and common sense and dripping sandwiches and all that, they rarely ever messed around with said 'chevron', and while Twitter may regularly reverberate with endless live tweeting of when it twatted Dusty Bin at the start of 3-2-1, this was very much an isolated incident and you never exactly saw it, say, turning into a 'flying v' guitar at the behest of Animal Kwackers, or being called a 'barstard' by Alan B'Stard. Below are two very rare examples of promotion-orientated jiggerypokery, firstly a standard issue 'one pill makes you larger' mind expansion gambit from the late sixties, and secondly a salutation to any passing aliens that might have been looking in (so, Vrillon of Ashtar Galactic Command, then) with a somewhat overblown boast about reaching a very small percentage of the viewing audience. Meanwhile, improbably, a bewildering amount of people claim to have been somehow frightened by the 'chevron'. What did they think it was going to do?! Fly out of the TV and 'yellow' at them?
The green glowing I AM ALIEN FROM PLANET MARS-esque variant noted above would doubtless have been of great interest to the galactic emissary who allowed himself to be used as a logo for original Midlands ITV-profferer ABC.
But soon enough he headed off back into space, to warn his home planet of the Earth people and their Pathfinders To Venus, and consequently the regional franchise for the Midlands was handed over to Lord Grade's ATV and their none-more-ITV ident, featuring as it did that infamous speaker-rattling double-whammy fanfare with added binging and bonging, and 'colour'-denoting representation of what appears to be Mickey Mouse turned upside down and subjected to a chemical leakage from developing fluid, self-animatedly giving way to the emblematic Zippy/Al Jardine/Graham Taylor-head-shaped logo. And this celebratedly bombastic in-your-face bit of televisual arrestingness almost always found itself attached to equally arresting programming, from The Strange World Of Gurney Slade to Sapphire & Steel to Pipkins, and woe betide anyone who witters over a stretched still of it while pretending to introduce some woeful long-forgotten daytime talk show where the real original continuity announcers probably just shouted "PISS 2" and hoped for the best anyway.
Yikes - head for the hills, everyone! ATV handed over the Midland reins to Central in 1982, inadvertently letting slip the dogs of war and unleashing Hardwicke House on a traumatised public who are still recovering to this day. Not far behind in the viewer-spooking stakes came hard-hitting swindle exposure courtesy of The Cook Report, MURDERS PUPPETS extravaganzas Pullover and Fox Tales (and, according to some, Spitting Image when not moving), chillingly post-Cold War tug-of-rights-stricken The Little Green Man, the sweary-graffiti-shouty-theme-song end credits of Murphy's Mob, endless spooktacular contributions to Dramarama, and the general horror of those song-and-dance prone kids in Emu's Pink Windmill Show, with the result that many viewers can now no longer see their original solarized Christmas Tree bauble and corresponding synth hum without hiding behind the 'sofa' that nobody ever actually hid behind. Later in the eighties this would evolve into a paint-splattering computerised approximation of the original 'globe' - apparently referred to in official parlance as the 'cake', though anyone who has ever eaten any cake that looked even marginally like that requires immediate help - and a more assured synth fanfare that bore an uncanny resemblance to The Robinsons' doorbell on Neighbours. Also included for sheer amusement is the ludicrous 'Central Into The 90's' turn-of-the-decade variant, doubtless intended to signpost a brave new world of Press Gang and, erm, Press Gang, but these days calling to mind little other than Inspector Morse donning a hooded top and buying an Inspiral Carpets 12".
Being prominent denizens of so-called (by planks writing pretentious thinkpieces about not very much in particular) 'Granadaland', Inspiral Carpets themselves would have been otherwise engaged charting the evolution of the Anthony H. Wilson-pointing-out 'G', from its early appearances as a lone 'G'-deficent arrow (to denote 'North', of course), through a brief misguided excursion into just rendering the company's name in the same font they used for the signage on their Service Station/TV Rental Shop sideline, and into the classic Bob Greaves-era A Handful Of Songs-prefacing 'grinning face' Coronation Street-bookender and its later bevelled and Silver Plated 25th Anniversary upgrades, the latter of which is particularly noteworthy for having introduced Show They Can Never Repeat Now par excellence How To Be Cool. And what's more, it used to turn into a fucking HOUSE at the start of Hickory House. Stitch that, 'Chevron'!
And finally, it's time for Tyne Tees, and its legendary Yer Programme's On blippery synth clarion call for 'Gog' from The Paper Lads, and the root cause of a million juvenile misconceptions that 'Tees' was somehow 'North East' for telly. And with tha- oh. It's exploded. Oh well, join us again next time when we'll be taking a look at - wait for it - Oracle...!
If you've enjoyed this article, you can find lots more about stuff you just don't see on television any more in Not On Your Telly, which is available in paperback here or from the Kindle Store here.
The Memorex Years - 35 Summers 'Really Down'
This bit of indie nostalgia wasn't originally an actual The Memorex Years post, but a guest post for music blog Sweeping The Nation, as part of their 'Songs To Learn And Sing' series. To be honest it was a bit limiting to have to write about one track in the established style, and it doesn't really fit with the other Memorex-skewed pieces, but it was directly because of The Memorex Years that I was invited to write a guest post in the first place, so it later went on the blog along with the rest....
"Inflicting boredom, just to try and pass the time"
1991 was not a good time to be in a British indie band. With the music press turning on the 'indie-dance' sound as Last Year's Thing and realigning their attentions towards the more unwashed and less interesting sounds drifting over from across the Atlantic, it was hard enough for the likes of Happy Mondays and The Charlatans to get by, let alone such second division acts as Airhead, The Dylans, The Milltown Brothers and Paris Angels, who generally found themselves either ridiculed or ignored by the NME and Melody Maker and ultimately by the general indie-orientated record-buying public. Candyland, Candy Flip, The Candyskins and any other bands with 'candy' in their name were not going to be ascending to megastardom, no matter how hard their record companies may have pushed them. Needless to say it was the snobby and elitist fashion-conscious music 'fans' who were missing out on this occasion, something that is reflected by the dizzying second-hand prices such bands command nowadays.
35 Summers were even more unfortunate than most, as they were one of a small group of bands who had the misfortune to be saddled with the ungainly monicker 'Scallydelic'. All of the bands that found this label slapped upon them - which included the The Real People, Rain, Top, The Tambourines, Pele, The Stairs and River City People - had only three vague factors in common; a closer geographical proximity to Liverpool than to Manchester, a mild passing interest in a certain sport involving two teams of eleven players, and a tendency towards dance-tinged jangly guitar pop that fell somewhere between the brilliance of The La's and the uneven-ness of The Farm.
Judging from their meagre recorded output, 35 Summers - vocalist Dave Pichilingi, guitarists Ian Greenwood and Duncan Lomax, bassist Robby Fay, keyboard player Jamie Southern and drummer Alan Curry - were definitely leaning towards the La's end of the scale, and although nobody deserves to be bundled in with such a shabby, ill-concieved and non-existent (not to mention ridiculously named) pretend genre as 'Scallydelic', at the end of the day they really only had themselves to blame by making their footballing craziness explicit with a top-selling t-shirt bearing the image of famed Liverpool FC manager Bill Shankly. In an age when many indie bands were reputed to be shifting more t-shirts than actual records, this highly popular item of long-sleeved fashionwear did much to build 35 Summers' profile, but also ended up slightly obscuring the fact that they also made rather good music. All the same, this particular t-shirt had the unsual distinction of being inadvertently captured for posterity on film on two seperate occasions - Peter Hooton is seen wearing one in the Harry Cross Out Of Brookside-equipped video for The Farm's Groovy Train, while from a slightly more enduringly watchable perspective, John Peel also sports the accidentally iconic garment while lurking backstage at the 1991 Reading Festival during Blur's fascinating tour film Starshaped.
35 Summers' first release, on a small independent label, was a suitably spaced-out reworking of The Beatles' Come Together (think along the same lines as The Soupdragons' I'm Free, The Farm's (I'm Not Your) Stepping Stone and Candy Flip's Strawberry Fields Forever, along with any of the several hundred other sixties covers done by any of several hundred other indie-dance bands, and you're probably halfway there already), bolstered by spoken word samples from the bizarre but self-explanatory long-player Shankly Speaks. On the strength of this they managed to secure a deal with RCA, for whom they would record and release two singles in 1991 - I Won't Try and Really Down.
Unveiled as part of a Peel session in August 1991, Really Down begins with the singer stating that "self-indulgence, it's a favourite past-time of mine". If it really honestly genuinely was, then you wouldn't know it from this song as the lyrics are an economical, heartfelt and utterly non-self-indulgent evocation of, well, feeling a little bit down in the dumps for no obvious reason, with the chorus complaining - with a possible hint of exaggeration - that "I must be the most unhappy man in the world". There's also a spot of rumination on inarticulacy, or to be more accurate the inarticulacy of others, complaining of how "no-one else seems to take the time to write the lines to express how I really feel". It's a bit of a puzzling complaint given that the lyrics seem to achieve this aim perfectly well by themselves, but not as puzzling as the fact that this lyrical theme seemed to be so common to so many indie-dance bands, and to The Mock Turtles in particular. Did they all think that someone else should be writing their lyrics for them?!?
Musically, Really Down is anything but down in the dumps. Dominated by a bright chord progression, ringing guitars, sparkling harmonies and what sounds like an accordian hiding away in the background somewhere, it's a catchy and upbeat pop song and its only flaw is that the sturdy rhythm section isn't really pushed to the fore, only really coming into its own in a section where the arrangement momentarily strips down to vocals and drums. The standard single edit of the song was joined on its various formats by an 'Extended Version', surely one of the last relics of the days when a 12" Mix simply meant doubling the length of the instrumental bits, and a 'Club Remix' by long-forgotten DJ team The Sound Foundation. The latter should theoretically have put right the minor problems of the original mix, but unfortunately it ends up suffering from exactly the opposite problems - while the remixers make the most of the rhythm section, they also jettison much of the structure and charm of the song itself.
Really Down had all the makings of a summery pop hit, particularly in the indie-friendly summer of 1991, but like all of 35 Summers' releases it didn't make much of an impression on the charts. Not even a reasonable amount of radio support and tours with the fairly highly profiled Northside and the extremely highly profiled EMF seemed to be enough to propel their releases into the lower reaches of the top forty, although the failure of Really Down is perhaps slightly more comprehensible than that of I Won't Try; the song's title is hardly prominent in the lyrics, which almost always seems to impede chart progress for some reason, and whereas the earlier singles had boasted a vaguely pyschedelic pastel-stroke-citrus hued design, the sleeve bears a semi-religious, semi-militaristic and wholly pretentious 'weeping statue' image that hardly suggests that catchy upbeat pop music might be lurking inside.
Sadly, both the lyrics and the off-puttingly maudlin sleeve of Really Down proved to be depressingly propetic for 35 Summers. To accompany the release of the single, they had attempted to replicate the success of the earlier Shankly t-shirts by producing a similar one featuring Leonard Rossiter in full-on Rigsby from Rising Damp mode. Yorkshire Television objected to what was essentially unauthorised use of their copyrighted image for commercial purposes, and the usual legal sabre-rattling resulted in a settlement that, perhaps predictably, was hardly exactly in the band's favour. Following this, their relationship with RCA worsened, and after their lone album Sketch was shelved, 35 Summers called it a day. Needless to say, the original single is now worth a relative absolute fortune, but unless you're particularly desperate to own the Club Mix and Extended Version, Really Down can be easily obtained on a belated Japanese issue of Sketch, and on the fourth volume of Twee.Net's (cough) 'semi-official' compilation series The Sound Of Leamington Spa.
"Inflicting boredom, just to try and pass the time"
1991 was not a good time to be in a British indie band. With the music press turning on the 'indie-dance' sound as Last Year's Thing and realigning their attentions towards the more unwashed and less interesting sounds drifting over from across the Atlantic, it was hard enough for the likes of Happy Mondays and The Charlatans to get by, let alone such second division acts as Airhead, The Dylans, The Milltown Brothers and Paris Angels, who generally found themselves either ridiculed or ignored by the NME and Melody Maker and ultimately by the general indie-orientated record-buying public. Candyland, Candy Flip, The Candyskins and any other bands with 'candy' in their name were not going to be ascending to megastardom, no matter how hard their record companies may have pushed them. Needless to say it was the snobby and elitist fashion-conscious music 'fans' who were missing out on this occasion, something that is reflected by the dizzying second-hand prices such bands command nowadays.
35 Summers were even more unfortunate than most, as they were one of a small group of bands who had the misfortune to be saddled with the ungainly monicker 'Scallydelic'. All of the bands that found this label slapped upon them - which included the The Real People, Rain, Top, The Tambourines, Pele, The Stairs and River City People - had only three vague factors in common; a closer geographical proximity to Liverpool than to Manchester, a mild passing interest in a certain sport involving two teams of eleven players, and a tendency towards dance-tinged jangly guitar pop that fell somewhere between the brilliance of The La's and the uneven-ness of The Farm.
Judging from their meagre recorded output, 35 Summers - vocalist Dave Pichilingi, guitarists Ian Greenwood and Duncan Lomax, bassist Robby Fay, keyboard player Jamie Southern and drummer Alan Curry - were definitely leaning towards the La's end of the scale, and although nobody deserves to be bundled in with such a shabby, ill-concieved and non-existent (not to mention ridiculously named) pretend genre as 'Scallydelic', at the end of the day they really only had themselves to blame by making their footballing craziness explicit with a top-selling t-shirt bearing the image of famed Liverpool FC manager Bill Shankly. In an age when many indie bands were reputed to be shifting more t-shirts than actual records, this highly popular item of long-sleeved fashionwear did much to build 35 Summers' profile, but also ended up slightly obscuring the fact that they also made rather good music. All the same, this particular t-shirt had the unsual distinction of being inadvertently captured for posterity on film on two seperate occasions - Peter Hooton is seen wearing one in the Harry Cross Out Of Brookside-equipped video for The Farm's Groovy Train, while from a slightly more enduringly watchable perspective, John Peel also sports the accidentally iconic garment while lurking backstage at the 1991 Reading Festival during Blur's fascinating tour film Starshaped.
35 Summers' first release, on a small independent label, was a suitably spaced-out reworking of The Beatles' Come Together (think along the same lines as The Soupdragons' I'm Free, The Farm's (I'm Not Your) Stepping Stone and Candy Flip's Strawberry Fields Forever, along with any of the several hundred other sixties covers done by any of several hundred other indie-dance bands, and you're probably halfway there already), bolstered by spoken word samples from the bizarre but self-explanatory long-player Shankly Speaks. On the strength of this they managed to secure a deal with RCA, for whom they would record and release two singles in 1991 - I Won't Try and Really Down.
Unveiled as part of a Peel session in August 1991, Really Down begins with the singer stating that "self-indulgence, it's a favourite past-time of mine". If it really honestly genuinely was, then you wouldn't know it from this song as the lyrics are an economical, heartfelt and utterly non-self-indulgent evocation of, well, feeling a little bit down in the dumps for no obvious reason, with the chorus complaining - with a possible hint of exaggeration - that "I must be the most unhappy man in the world". There's also a spot of rumination on inarticulacy, or to be more accurate the inarticulacy of others, complaining of how "no-one else seems to take the time to write the lines to express how I really feel". It's a bit of a puzzling complaint given that the lyrics seem to achieve this aim perfectly well by themselves, but not as puzzling as the fact that this lyrical theme seemed to be so common to so many indie-dance bands, and to The Mock Turtles in particular. Did they all think that someone else should be writing their lyrics for them?!?
Musically, Really Down is anything but down in the dumps. Dominated by a bright chord progression, ringing guitars, sparkling harmonies and what sounds like an accordian hiding away in the background somewhere, it's a catchy and upbeat pop song and its only flaw is that the sturdy rhythm section isn't really pushed to the fore, only really coming into its own in a section where the arrangement momentarily strips down to vocals and drums. The standard single edit of the song was joined on its various formats by an 'Extended Version', surely one of the last relics of the days when a 12" Mix simply meant doubling the length of the instrumental bits, and a 'Club Remix' by long-forgotten DJ team The Sound Foundation. The latter should theoretically have put right the minor problems of the original mix, but unfortunately it ends up suffering from exactly the opposite problems - while the remixers make the most of the rhythm section, they also jettison much of the structure and charm of the song itself.
Really Down had all the makings of a summery pop hit, particularly in the indie-friendly summer of 1991, but like all of 35 Summers' releases it didn't make much of an impression on the charts. Not even a reasonable amount of radio support and tours with the fairly highly profiled Northside and the extremely highly profiled EMF seemed to be enough to propel their releases into the lower reaches of the top forty, although the failure of Really Down is perhaps slightly more comprehensible than that of I Won't Try; the song's title is hardly prominent in the lyrics, which almost always seems to impede chart progress for some reason, and whereas the earlier singles had boasted a vaguely pyschedelic pastel-stroke-citrus hued design, the sleeve bears a semi-religious, semi-militaristic and wholly pretentious 'weeping statue' image that hardly suggests that catchy upbeat pop music might be lurking inside.
Sadly, both the lyrics and the off-puttingly maudlin sleeve of Really Down proved to be depressingly propetic for 35 Summers. To accompany the release of the single, they had attempted to replicate the success of the earlier Shankly t-shirts by producing a similar one featuring Leonard Rossiter in full-on Rigsby from Rising Damp mode. Yorkshire Television objected to what was essentially unauthorised use of their copyrighted image for commercial purposes, and the usual legal sabre-rattling resulted in a settlement that, perhaps predictably, was hardly exactly in the band's favour. Following this, their relationship with RCA worsened, and after their lone album Sketch was shelved, 35 Summers called it a day. Needless to say, the original single is now worth a relative absolute fortune, but unless you're particularly desperate to own the Club Mix and Extended Version, Really Down can be easily obtained on a belated Japanese issue of Sketch, and on the fourth volume of Twee.Net's (cough) 'semi-official' compilation series The Sound Of Leamington Spa.
The Characters That Time Forgot
For every long-running TV show, there's a character that didn't quite work out. Whether the writers found them difficult to write for, the star got the huff and walked, or the audience simply didn't take to them, look hard enough and you'll find an intended main character that faded into the background and was eventually forgotten about.
Sceptical? Then just try watching series one of The Wire again. Here are ten of the best, who you'll find all over certain episodes of their parent shows, but who can't even muster a single Wikipedia entry between them...
Frank Weisel From Yes, Minister

Chief architect of Jim Hacker's rise to MP-dom, cheerfully withstanding repeated attempts to keep him in the dark on account of his knowing far too much about politics for Sir Humphrey's liking. Weisel came to the department's rescue on many occasions, and was once such a key character that he appeared in the original titles, but tricky fourth wheel script status led to his eventual departure for a cushy Butter Mountain-circumnavigating number in Europe, as head of a Quango reporting on Quangos.
Paul, Basil And Rosalie From The Magic Roundabout

Nikki Fernandez From Lost

Brenda From Rising Damp

Knocker-heavy proto-ladette artist's model and the most prominent - she was on the front of the tie-in novel and everything - of Rigsby's infrequently-glimpsed 'other' tenants. Usually to be found threatening (and succeeding) to drink Alan and Philip under the table, or giving off distinct 'look but don't touch' vibes to her lecherous landlord. Mainly only seen in episodes where Frances De La Tour was unavailable, but still there for many classic storylines including the 'Grey Lady' hoax and the Christmas Special.
Mandy Hampton From The West Wing

Catastrophe Kate From Rentaghost

Mr. Dagenham From Camberwick Green

Hana Gitelman From Heroes

The Doctor From Pipkins

Clacky-mouthed lab coat-sporting Anthony Perkins-resembling ventriloquist dummy type who looked after the healthcare side of things at Pipkins. Humanlike appearance may go some way towards explaining why he is less well remembered than Hartley Hare, Topov the Monkey, Octavia the Ostrich, Tortoise the Tortoise and Pig the, erm, Pig. Clearly intended to make youngsters less afraid of their visits to the physician, and presumably in comparison to his grotesque co-stars less afraid of the programme itself.
Kenny From The Tomorrow People

You can hear me talking about The Magic Roundabout on Radio 4, and lots of other subjects and stations besides, here.
You'll find plenty about Mr. Dagenham, and all of the other overlooked characters from Camberwick Green, Trumpton and Chigley in The Camberwick Green Procrastination Society, available in paperback here, from the Kindle Store here, or as a full-colour eBook here.
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