TV Cream

100 Greatest Singles Ever

100 Greatest Singles Ever: 10-1

10) Bucks Fizz – My Camera Never Lies

A pleasant surprise given it was once at risk of being the great forgotten number one of the 1980s (sorry, Boris Gardiner and Robin Beck), ver Fizz cram all they knew about harmonic pop, New Pop and whatever the producer had lying around into one shiny song. Eventually the lead vocal just stops and lets everything else play itself out. Just imagine what Trevor Horn might have done with it too.

9) Madness – Baggy Trousers

Lee ‘Kix’ Thompson on wires outdoors is an indelible image, but for a song rooted in memories of tough schools it sucked kids in completely with jauntiness and immediacy of the ska rhythm, beginning a long and prosperous career of their being banned from Top Of The Pops.

8) M – Pop Muzik

Our highest placed one-hit wonder – Robin Scott was art college friends with Malcolm McLaren and had been around in various forms for a decade, all of which feeds into his presentation as an “organisation” (look at the international junta chic of the outfits in that TOTP performance) and it being a song about modern pop that’s too slow for disco, lacks a synthpop hook and still sounds great despite only being held together by single syllable vocal hooks.

7) Frankie Goes To Hollywood – Two Tribes

Just admire that Pops performance, from the dictatorial staging, white suits and walkabout to Holly retaliating to a Sun piece about the band with the aid of a copy the front page lead of which appears to read ‘STREET STAR VERA FACES SACK’, and sure enough Liz Dawn only stayed on Corrie for another twenty-four years. The rest you know- apocalypse as Wagnerian steroid disco filtered through Paul Morley’s big notebook, sex and horror as the new gods and all that.

6) David Bowie – Ashes To Ashes

Dame David mostly falls somewhere between too famous for this list and too arty for pop wonder, but Ashes To Ashes gets misleadingly playful in its self-conscious spectral revisiting and demeaning of a previous hit in paranoid, cryptic fashion. That he spent the rest of the Eighties trying to shape up and fit in to mixed effect seems fitting when he was accidentally kickstarting scenes in the decade’s first big video.

5) The Human League – Love Action (I Believe In Love)

Something from Dare had to win out here, that spark of modern sounds meeting earnest lyrics referencing heroes – the old man Phil believes is apparently Lou Reed – and when Jo and Suzanne were still kind of going along with it rather than wanting to become equal partners. Phil’s talking, of course, but competing with Martin Rushent’s mewling pulses and more hooks than the melody knows what to do with.

4) Abba – Take A Chance On Me

“Takea-takea-chan-chance…” The highest placed number one single on our list, and a song we suspect resonates in the memories of many for the acapella roundel opening. The previous single was The Name Of The Game, maybe their most adult and sophisticated single to date, so this is pretty much them sitting back and showing that they could still knock one of these instantly memorable radio hits out with the minimum of fuss. Abba are now a weird kind of Beatles for hen party karaoke and RAK collector alike, but that’s not to denigrate how they got there.

3) ABC – The Look Of Love

We’re spoilt for choice for the accompanying clip, either the Henley Regatta Temptations setup on TOTP or the seaside visual humour and gloriously shoehorned in Paul Morley cameo of <a href=””>the video</A>. Both versions achieve Martin Fry’s aim of soul-pop in dayglo quotation marks, of the type that leave one to be photographed in a trademark gold lame jacket blowing fire out of a saxophone on the cover of Smash Hits.

2) Electric Light Orchestra – Mr Blue Sky

Jeff Lynne made a career out of regret that he wasn’t a Beatle and here is where he threw everything he had into picking up where A Day In The Life left off – layers of synths, disco strings, that Sparky’s Magic Piano vocoder. Lynne never met a mixing board track he didn’t want to fill to capacity, big sawing cellos and a classic MOR guitar solo the decoration around which everything else dug in.

1) Cliff Richard – Wired For Sound

And so your number one Cream-era pop song is a song purely about the love of music, co-written by BA Robertson and given Alan Tarmey’s sharp, gleaming production that gives a good name to the concept of adult contemporary. A song with lyrics about the connection to pop radio that sounds absolutely made for it, and as its position her proves that’s all that’s needed sometimes. Among its supporters, many thanks to Claire Whitfield for a beautifully evocative nomination as “it really reminds me of getting ready to go to school when I was about six and hearing it on the radio… and eating Readybrek on dark winter mornings with steamed up windows in the kitchen. I recall having Rise and Shine (the vile powdered orange juice) but I think this must be false memory as it was only for special occasions in our house. In a similar vein, Baker Street by Gerry Rafferty reminds me of being a similar age and being driven through the outskirts of Coventry in the back of my granddad’s car in the rain, probably to the bakery to get an apple pie for tea.” And isn’t that correlation to place and time what memorable pop is ultimately about?



  1. RM

    March 16, 2017 at 7:46 pm

    Where the hell is Wah! – Story of the Blues?

  2. Glenn A

    March 18, 2017 at 12:02 pm

    I quite liked Cliff Richard in his trendy phase at the end of the seventies, and it became slightly fashionable( well you still had to be quiet about it) to like him if you were under 35. Fair play to TV Cream for not choosing the most obvious songs and groups and choosing a wide mix of songs for the Top 100. Also nice to see the ELO right up there, a band who sold shedloads of records in the late seventies but have never been a critics favourite.

  3. Richard16378

    March 19, 2017 at 12:45 am

    Wired For Sound was a rare hit for him in the USA, thanks to Wired For Sound coming out about the same time MTV started & finding it was British acts who wee more savvy at making videos.

    ELO have gone from near Status Quo levels of “Dad rock” labelling to becoming a lot more accepted in the last 15 or so years.

    • Glenn A

      March 19, 2017 at 1:38 pm

      The ELO, I don’t think, have ever been as totally unhip as Status Quo and did reinvent themselves at times, they moved away from the orchestral rock sound to a successful stab at disco on the Discovery album and then flirted with synth pop on the Time album in 1981. Also in common with many other rock bands, they brought out a concept album in 1974 called Eldorado. However, most people will associate them with tracks like Mr Blue Sky and Telephone Line.
      Interestingly enough, and punks hate being reminded of this, the ELO scored their biggest hits in the punk era. Funny how acts like the ELO, Abba, Queen and Donna Summer totally outsold most punk acts, more proof most people in the late seventies weren’t interested in spitting, tuneless idiots.

  4. Norman

    December 21, 2020 at 8:24 pm

    Everyone knows We Don’t Talk Any More is Cliff’s masterpiece.

    And no Chicago, with the mighty If You Leave Me Now?

  5. Glenn Aylett

    November 8, 2022 at 10:11 pm

    We Don’t Talk Any More was number one when I started secondary school and was a great pop song, so Cliff must have done something right. I wonder now 43 years later, how many people would safely admit to buying this single as Cliff was even more unfashionable than Status Quo, another act critics seemed to crucify on a regular basis, yet always got into the top ten.

  6. Richardpd

    November 8, 2022 at 10:30 pm

    Like Cliff Richard, Status Quo seemed to drift in & out of popularity over the years.

    I remember them having a run of decent singles in the late 1980s & into the early 90s, though some purists weren’t happy with Francis & Rick changing the line up a few years earlier.

    My Dad used to often used to counterpoint music buffs overstating the impact of punk by mentioning how mainstream disco was at the same time.

  7. Sidney Balmoral James

    November 9, 2022 at 11:38 pm

    We Don’t Talk Anymore of course written by Alan Tarney, who was a major factor behind the success of A-ha (bridging quite a gap in popular music taste). See also Rod Temperton, who – incredibly – wrote Boogie Nights, Thriller, Rock with You, Give Me the Night, and Yah Mo B There, and again, there’s a quite a gap between Heatwave, and George Benson.

  8. Adrian

    November 10, 2022 at 2:31 pm

    Status Quo seemed to get a second wind when their single ‘In The Army Now’ was released in 1986.

    • Richardpd

      November 10, 2022 at 4:04 pm

      The album In The Army Now also has the hidden gems Red Sky & Dreaming.

  9. Glenn Aylett

    November 15, 2023 at 2:59 pm

    Rather like Slade, there is far more to The Human League than their best known single. Love Action is a far better song than Don’t You Want Me and has that weird but compelling video featuring Suzanne at a wedding, Jo throwing vases around in a run down council flat, and Phil and Suzanne watching a film together. Also Being Boiled must rate as one of the oddest singles ever: a re release from the band’s non commercial era which concerns the exploitation of silk worms.

  10. Richardpd

    November 15, 2023 at 10:29 pm

    The Human League had quite a mixed back catalogue of singles, like the quirky Keep Feeling Fascination, the very mid 1980s geo-political commentary of The Lebanon, and Human bring a surprise American Number One after the troubled Crash sessions in Minneapolis.

    Tell Me When was a return to form after nearly a decade in the musical doldrums.

  11. Glenn Aylett

    November 17, 2023 at 2:53 pm

    The Human League never really recaptured the glory days of 1981-83, where everything they released went into the Top 10. The Hysteria album that came out in 1984 was a real let down: The Lebanon was a woeful attempt to sound like U2, and Louise and Life On Your Own were real dirges that missed the Top 10. I actually quite liked Crash and the single Human, which was like a return to form, but it was clear British audiences were moving on from what was considered an early eighties synth band and it wasn’t until 1995 The Human League returned in style. I’m sure the band went bankrupt in 1990 when a comeback totally failed.

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