IF WOODSTOCK was a defining moment of the 60s, Montreux had a similar impact on the 80s, but for entirely different reasons. Every April, NOEL EDMONDS, MIKE SMITH, GARY DAVIES et al would ship out to Switzerland to report and present on this pan-continental synthfest from the town that frequently awarded “Best Programme Ever” awards to the Hale and Pace Christmas Special, backed by BBC and its European counterparts, who all got a namecheck, Jeux Sans Frontiere-style, in zooming-over the sea towards Switzerland titles. Chart-throbbing line-up featured usual suspects: DURAN DURAN, CULTURE CLUB, SPANDAU BALLET, A-HA, GO WEST, even one-hit HOLLYWOOD BEYOND got a look in, as did some hapless German freakshow – usually OPUS “Live Is Life, Na-na-na-na-na” or THE ART COMPANY “Susanna” – because they had to. Following roll call of items appeared in seemingly reckless abundance: Roland keyboards, those hexagonal syn-drum things (see ROCK SCHOOL), those over-the-shoulder guitar-keyboard things, rolled-up jacket sleeves, three female backing singers (black one in the middle) and PETER POWELL interviewing ANDREW RIDGELEY by the harbour. And just when you’d managed to forget the horror, they’d repeat it all at Christmas.