A year of changes
Musically speaking, two things happened in 1983 that proved to be of long term significance. In March, the first compact discs went on sale. Tomorrow’s World had memorably introduced the technology to UK a couple of years earlier by focusing on its indestructible nature leading Kieran Prendiville to scratch it with a stone! However, if like me you remember him spreading jam on it, well it didn’t happen! BBC Breakfast spread honey on a CD in 1983 and around the same time Peter Powell may have spread jam on one. Website orchadoo.com goes into some depth if you’re interested – https://www.orchardoo.com/TWCompactDisc.htm
Initially, the CD was very expensive and the technology to play it on was even more expensive, so it was very much for early adopters for the first few years. Within a decade it had, however, pretty much killed off vinyl – But not for long! Eventually, vinyl would rise from its 7 & 12 inch graves and become the choice of those same music aficionados who had given away all their vinyl by the end of the decade and who ended up buying it back at hugely inflated prices!
The other, arguably just as influential, happening took place on 28 November 1983 when the first Now album was released. It is difficult to understand what a game changer it was. Other compilation albums, some excellent – Hot Wax in 1980 and Raiders of the Pop Charts in 1983 – and the rest pretty forgettable. What Now That’s What I Call Music (no numeral for the first one) did was bring together pretty much a whole year’s music on to a double LP in time for Christmas. It also made its only prediction as to a future Number 1 – Victims by Culture Club – and got that wrong, meaning that no future chart positions were predicted on the following 108 (at the time of writing) Now albums. Otherwise, it got pretty much everything else spot on. The mix of artists showed an ability to capture the pop charts of the time in all its variety and as a time capsule it’s fantastic. Without exception, I can look at the track listing and remember at least the chorus of every single one. It also helpfully gave the list of Number 1 records that year. It missed three huge records, Uptown Girl, True and Every Breath You Take. It also missed the Christmas Number 1 (which appeared on Now II – of which more later) and Billie Jean from Michael Jackson’s iconic Thriller album (which sold one million copies a week worldwide from its release to the end of 1983 – 32 million copies worldwide by the end of the year). These omissions were the result of rival record companies refusing EMI access to the tracks. It was, however, the start of a musical institution.
Politically, Margaret Thatcher’s Conservative Party was still riding the wave of public acclaim from the previous year’s Falklands War and the election called in June gave the party a 144 seat majority. For better or for worse, depending on where you stood, Maggie was in for the long haul. It was the start of a political decade that would completely change the country, perhaps permanently in some ways.
Personally, I finally left the school I had hated for 7 years, only to go into a job I turned out to be completely unsuited for! On the plus side I made a really good friend while I was there who made things much more bearable and considerably less sober! The only good thing that happened in my last year of school was that I became involved with the school cricket team as a scorer which I turned out to have a certain amount of ability at and I ended the season as the scorer for my local cricket club which proved to be an absolute boon to my social life as well as a useful source of extra pocket money before my job started!
New stars and old favourites
In the middle of January, music lovers around the country breathed a huge sigh of relief as Renee and Renato together with his dodgy jumper and their gravity defying rose (watch the video if you dare!) finally gave up the Number 1 spot. It was taken by Phil Collins with his version of the Supremes classic, You Can’t Hurry Love. It marked the start of his imperial period. (The phrase was coined by Neil Tennant to describe the time five years later when he felt that the Pet Shop Boys were at their creative and commercial peak simultaneously. In 1983 he was still the editor of Smash Hits with his and Chris Lowe’s own music career more than two years away from exploding on to the scene.) As well as being a great record in its own right, it also introduced me and many others to Diana Ross and The Supremes of whom I quickly became a huge fan.
At Number 2 behind Phil Collins was 70s heartthrob David Essex with A Winter’s Tale. Despite being forever associated with Christmas it does not actually mention Christmas anywhere in the lyrics. It was written by the genius that is Mike Batt, whose work over the years has provided me with many soundtrack songs to my life. The combination of his ear for a melancholy tune and lyrics matched with the star quality of the brilliant David Essex, whose stage career gave ample proof of his vocal excellence, to create one of the best songs not to make Number 1. Still, as a staple of Christmas albums ever since it has become one of the public’s favourite seasonal classics.
Another 70s singer was enjoying a renaissance courtesy of the irresistibly bombastic Total Eclipse of the Heart. Bonnie Tyler had had a couple of Top 10 hits in the mid seventies with Lost in France and It’s a Heartache. In 1983 she teamed up with Jim Steinmann, the producer and writer, who had sent Meatloaf into the rock stratosphere with Bat out of Hell. The often unheralded Roy Bittan, the pianist for both the E Street Band (Bruce Springsteen’s live band) and Meatloaf provided the basis for Bonnie Tyler to launch herself on the song. Her performance is a tour de force of emotion, but his brilliance is what gives the song its heart. He is one of those musicians whose appearance on a record is a guarantee of quality as artists as diverse as Dire Straits, David Bowie, Shania Twain and Celine Dion could attest to. It’s funny which musicians and singers really appeal to you, especially if they are largely in the background, but as soon as I heard the song I knew it was Steinmann, as did everyone else, and I also knew it was Roy Bittan from those first few piano notes. Do yourself a favour and investigate his musical output over the years, and you will realise that he is without doubt one of the foremost rock pianists of the last 50 years.
The first three months of 1983 saw a whole slew of artists release career defining records that either set them on the path for greatness or proved to be a single highpoint. In the former category you had the Eurythmics with the once in a generation voice of Annie Lennox. Her voice was seductive, smooth and above all dangerous. Even before seeing the iconic video, you knew that this was a woman who had a personality to match. I loved Sweet Dreams and pretty much everything else the Eurythmics did after that. The combination of her voice and Dave Stewart’s music was a match made in heaven that owed an awful lot to their combined devilment! Nearly four decades on, the thing you notice most about Sweet Dreams is how fresh and up to date it still seems.
Somewhere in the middle, Fun Boy Three, an offshoot of The Specials, had great success with the sublime Tunnel of Love, a smart, sarcastic song that married some of the great pop lyrics of the time to a fantastic, instantly recognisable tune. My favourite line sums up its bleakness perfectly as the marvellous Terry Hall sardonically intones the ‘inevitable’ end to the Tunnel of Love.
But the trial separation worked
And ended up in a divorce case
You gave up your friends for a new way of life
And both ended up as ex-husband and wife
There were 22 catches when you struck your matches
And threw away your life in the tunnel of love
It wasn’t their biggest hit, and it wasn’t their final hit, but if you wanted to sum up the appeal of Fun Boy Three this song is the epitome of their style. Terry Hall’s ability to put across a song has always been unquestioned and all these years later he is still adding his quality to The Specials.
A group who had one big hit and then disappeared were the Scottish band Orange Juice. What a hit though! Rip it Up is an all time classic of the era that just oozes class and positivity. It’s the type of track that puts a smile on your face the instant you hear it and which stands the test of time as well as any of the more famous songs of the era. It was also groundbreaking in that it was the first Top 40 hit to use the Roland TB-303 synthesiser.
March saw my 18th birthday in 1983, and a certain young lady bought a certain album for me. Whilst that young lady was never crazy about me in the way I was about her at the time, we are still very much in touch and the album Deep Sea Skiving by Banarama is still one of my treasured LPs all these years later!
An all time classic and some breakthrough tracks
In the next three months, there were three tracks at Number 1, David Bowie with Lets Dance, Spandau Ballet with True and Every Breath You Take by The Police. Interestingly, despite its ubiquity on radio playlists, Every Breath You Take was outsold comfortably by the other two, appearing 4th, 6th and 16th respectively on the bestselling singles list. At the time, like most other people, I thought that Every Breath You Take was a song about love, but of course the truth was very different! I think that really epitomises the genius of The Police. They had already sent songs about prostitution, suicide, an infatuated teacher lusting after a student, and the troubles in Ireland into the Top 10, sometimes with the record buyers being unaware of the lyrical content! Their ability to marry up a fantastic tune with multi-layered lyrics was what set them apart from everybody else in a 5 year burst of songs with few parallels at the time or since. They were the first group whose poster adorned my bedroom wall, and the intervening years have not reduced my affection for them at all. So thank you Sting, Stuart Copeland and Andy Summers for making my mid-teens that much more bearable.
Outside of those blockbusters there were some tracks that instantly take me back to my 18 year old self. The French singer F.R. David was almost a one hit wonder in the UK charts, but after Words which got to Number 2, he released Music which got to Number 71. The track featured a vocal performance that had elements of Roy Orbison in its phrasing, and unfashionable though it was to like it, it became a favourite of mine in April and May. Another record that caught my imagination at this time was the brilliant We Are Detective by Thompson Twins, a British trio whose name came from the detectives in Tin Tin. It was a song full of atmosphere that combined an instantly recognisable tune with clever lyrics. It was a sign of things to come for a group who would become used to the top end of the charts in the next year or so.
The Summer of Freedom
There’s something instantly different about the summer just after you leave school for the final time, especially if like me, and I suspect most other people, you absolutely hated the school you were at. The sense of relief, the feeling of freedom and that interlude between school and work or higher education is a time when you consciously relax and prepare yourself for the rest of your life. As someone whose life has been largely defined by music I would have been irritated, in retrospect, by a nondescript summer Number 1 for that defining summer. Luckily for me, KC and the Sunshine Band came to my rescue with the catchy, memorable, and altogether brilliant Give It Up. As soon as that instantly recognisable synth track kicks in I remember being 18 and by the time the sing along chorus arrives the years have just melted away. It’s not a song that regularly gets talked about when great summer hits are the subject, but musically it’s a superb track and in terms of the memories it brings back it is a time capsule like few others.
Looking at some of the other songs around at the time, the ethereal strains of Moonlight Shadow by Mike Oldfield and Maggie Reilly seemed to come from nowhere, but it made a lasting impact on many music fans and reminded us of the talents of Mike Oldfield, who for most of us was at best vaguely remembered for the album Tubular Bells. Good though the tune was, it was Maggie Reilly who turned it into a hit with her fantastic vocals. The lyrics were mysterious and open to a number of interpretations, including it being a reference to the killing of John Lennon. There was something about a song that had an almost wintry feel appearing in July that made it even more effective.
I could pick a huge number of tracks from that summer and have memories attached to each of them. There was a glut of quality tracks that year which could easily have been bigger hits in a year that was less blessed with quality. Looking at the records from the time that instantly conjure up a time or place you have, I’m Still Standing by Elton John, Club Tropicana by Wham, Come Live with Me by Heaven 17, Gold by Spandau Ballet and Flashdance by Irene Cara. It was also the start of Paul Young’s solo success with his Number 1 track Wherever I Lay my Hat.
There was a massive Number 1 with an instantly recognisable beginning, a harmonica solo and a chorus that just demanded to be sung along to. With 6 weeks at the top, the biggest selling single of the year was Karma Chameleon by Culture Club. Culture Club had released a couple of well received singles following their breakthrough the previous year with Do You Really Want to Hurt Me, with Church of the Poisoned Mind being particularly memorable thanks to Helen Terry’s fantastic gospel style chorus. Karma Chameleon was a worldwide smash, giving Culture Club their first US Number 1 and paving the way for Boy George to become a breakout star on MTV with a rather brilliant Deep South style video featuring a paddle steamer and a watery end for a would be swindler.
The return of some more old favourites and a memorable Christmas Number 1
Taking over from Karma Chameleon at Number 1 in 1983 was the classic 60s style, Four Seasons influenced sing along from an artist who had been ignored by the bulk of the British buying public despite being massive in the US. Everything changed for the fantastic Billy Joel, one of my music idols, with the release of Uptown Girl from the Innocent Man album. With its instantly memorable video featuring tongue in cheek choreography at a garage, and the supermodel Christie Brinkley, Uptown Girl was an instant smash and stayed at Number 1 for 5 weeks, becoming an 80s classic that is still instantly recognisable to music lovers who weren’t even born when it came out.
Once again, the brilliant tracks that filled those three months from October to December would become staples of the 80s radio stations to this day. Tracey Ullman got to Number 2 in the charts with the gorgeous They Don’t Know, a song that demonstrated the quality of her voice and the ability to use her comedy background to give us some hilarious videos. Blue Monday by New Order became the first 12” only release to hit the Top 10. The Love Cats proved that The Cure had a sense of fun buried beneath their goth exteriors. Men Without Hats taught us the importance of the Safety Dance in one of the catchiest songs of the year. Hold Me Now gave The Thompson Twins another Top 10 hit as they really got into their stride. Any of those songs could have made it to Number 1 in a less competitive year, and I genuinely think that if you look at the list of Top 10 tracks during 1983 that there is a clear argument for it being the strongest year for music that I have ever seen.
Finally, we reach the battle for the Christmas Number 1. In one corner were 70s legends Slade who had found the key to unlock the charts once again with their anthemic My Oh My. It was very different to their 70s heyday, but it proved once again that Noddy Holder and Jim Lea had few peers when it came to writing memorable rock songs. The success of My Oh My even led to Merry Christmas Everybody getting back into the Top 20 in the days when you actually had to sell physical records! In any other year, Slade would have had their 7th chart topper, but not in 1983. Their competition in the other corner were a group of socialist rabble rousers singing an acapella version of Yazoo’s Only You which had been a hit the year before. The Flying Pickets, named after union members who would go to any strike to help man the barricades took the record buying public by surprise and found themselves with one of the most unlikely Christmas Number 1 singles ever. What was its secret? If I knew I would be sitting in the lap of luxury now counting my money having cracked that age old question of how to manufacture a hit! If I had to guess though, it would be the sheer unlikeliness of this track, the fact that Christmas charts are always a law unto themselves and that the track itself is one of the most beautiful and haunting arrangements of the human voice imaginable.
Next time
It’s 1984 and the hits keep coming!
The South Atlantic
From April onwards, the year, and indeed the rest of the decade as it turned out, could only be viewed through the prism of the Falklands War. Now obviously, at the time, we had no idea what the long term effects would be. We only knew that the task force had to be sent. I say ‘we’ because in Kent in 1982, and indeed throughout most of the country, there was not much in the way of vocal opposition. At school, or indeed anywhere else, such ‘disloyalty’ was completely anathema, but of course there were all shades of opinion in the country. It was just that anyone against the war learned very quickly to be quiet. Looked at from a distance of nearly 40 years the events seem to be easily traceable and fairly predictable. That wasn’t how it appeared at the time. First of all, it wasn’t clear if there was going to be a war. Nowadays, people consider that Margaret Thatcher and the Conservative Party were always going to send a task force. In fact, that was very far from certain at the time. Sending your entire Navy 8,000 miles to fight a conventional analogue based war was a massive undertaking. Any communication from the combatants to the commanders was difficult and could be useful to the enemy, while the reporters were heavily censored in a way that would be impossible now. It was that completely justifiable censorship that led to the most famous report of the War. The marvellous Brian Hanrahan was able to tell worried families whose pilots were based on Hermes that everything was OK without giving away secret information using the following masterful turn of phrase:
I’m not allowed to say how many planes joined the raid, but I counted them all out, and I counted them all back.
As in any war, there were times when the whole conflict appeared to be in the balance. When the Sir Tristram and the Sir Galahad were attacked in Bluff Cove and 56 servicemen were killed later in the war, it still looked as though the Argentinians might gain the upper hand, but the advance by the land forces on Port Stanley, the Falkland Islands capital led to the surrender of the Argentine forces. 255 British servicemen were killed, along with 649 Argentinians. In the immediate aftermath there was celebration and relief, but also a sense of the grievous loss of so many young men. War is never simple to analyse even with hindsight. All I can say is that at the time there was little triumphalism. What I saw was pride mixed with sorrow as people of my age reflected on the first real conflict of their lifetime, and hoped it would be the last in the days when the spectre of nuclear war still haunted our imagination and our entertainment.
Bucks Fizz to Meatloaf
1982 started off with Don’t You Want Me by the Human League at Number 1. It was replaced by Bucks Fizz with their second chart topper ‘The Land of Make Believe’ which, on the face of it, was a cute little nursery rhyme song and definitely not a song to improve their chances of being taken seriously. However, the tune itself is just so strong that the lyrics almost become lost in it. It has various allegorical references that apparently criticise Thatcherism (!) but listened to again after all this time it is the music that leaves the lasting impression. It ended up being Bucks Fizz’s biggest selling song and contemporaries OMD and Bob Geldof were both really impressed with the quality woven into the record.
As Bucks Fizz got to Number 1 another record was released that opened up another genre to me, in the same way Adam and the Ants had the previous year. The genre was Heavy Rock, and the track was Dead Ringer for Love by Meatloaf. When I first heard it I was completely blown away by it and within three months I had bought the Dead Ringer album and then the classic Bat Out of Hell album and my conversion was complete. A couple of months later Run to the Hills by Iron Maiden continued the process as my musical tastes became still more diverse.
One of the groups who had hung around on the edge of my musical consciousness for a year or so were Depeche Mode but none of their early singles really made me stop in my tracks. Then, along came the frankly gorgeous See You. The story of a boy wanting to reconnect with a former girlfriend just captivated me from the first time I heard it and sent me straight down to the record shop on Saturday morning to add it to my collection. I know that Depeche Mode’s huge successes lay in the later 80s, but to me See You will always be my favourite single of theirs.
Chas and Dave to Yazoo
Strange as it may seem, one of my favourite ballads of the 80s came from the masters of Rockney and music hall standards. Despite being best known for Rabbit and Margate at the time, Chas and Dave could turn their hand to pretty much any kind of music and they had a huge hit with Ain’t No Pleasing You, written and sung by Chas Hodges. It had been two years since the musical arrangement came to Hodges and he was inspired to write the words when he heard an argument between his cousin and his cousin’s wife which ended up with a more profane version of the final lyric! Just before the track was released Hodges added a string arrangement of 8 violins and 2 cellos which turned out to be the magic ingredient. The quality of the words and the music, together with Hodges’ rougher delivery which gave it an earthy authenticity, made it a romantic favourite and gave the duo their biggest hit, reaching Number 2 in the charts behind Bucks Fizz who snatched their third chart topper from under Chas and Dave’s noses with My Camera Never Lies.
In April Status Quo released their final track with original drummer John Coghlan, appropriately called Dear John. It was the start of their chart renaissance as hit followed hit for the next couple of years. In many ways it is Quo as everyone remembers them with the crunching guitars, pounding beat and the singing of both Francis Rossi and Rick Parfitt, whose superb rock voices gave it extra depth. It is still perhaps my favourite Quo song and it sent me diving into their back catalogue which introduced me to more classics from their prog days onwards.
Yazoo were the brainchild of Vince Clark who had recently left Depeche Mode. His ability to write a synth based song was already well known, but he found some of his greatest success by teaming up with arguably the greatest female voice of the 80s in Alison Moyet. Her majestic, powerful, emotional delivery gave extra power to the song and sent the group into the charts with their first release Only You. It was only kept off of Number 1 by the odd combination of Nicole, whose Eurovision song contest winner A Little Peace, held Only You at Number 2 to be followed by Madness with their only chart topper House of Fun. Yazoo only stayed together for two albums, but in that time produced more quality tracks than many groups with 10 albums to their names. Both Clark and Moyet were destined to go on to bigger things, but their chemistry made Yazoo a seminal synthpop group that influenced many others in the years that followed.
A Summer of Big Tunes
There were some blockbusters between July and September 1982. In the space of 11 weeks, three songs that are still instantly recognisable four decades later hit the Number 1 spot. Fame by Irene Cara, from the film of the same name spent 3 weeks at the top before giving way to the iconic Come on Eileen by Dexy’s Midnight Runners who were themselves replaced by the theme from Rocky III, Eye of the Tiger by Survivor. It really epitomised the start of two to three years of music where the top spot seemed to be dominated by songs that stood the test of time. I liked all three when they first came out, but it was Kevin Rowland’s song about his teenage girlfriend that became the tune of the summer and one of the most recognisable records of the whole decade. From the Irish style opening with the fiddles of the Emerald Express, not a note is wasted as it becomes an assault on your senses, especially when you listen to it at a disco where the tune makes it impossible to stay sitting down. I stopped dancing years ago, but I reckon it would still get me up on my feet even now! Kevin Rowland never sounded better, even on Geno, and it still sends the hair on the back of my neck standing up and sends shivers of anticipation and recognition right through me.
The other songs that I remember most clearly from that summer were both huge hits – or so I thought. The Boystown Gang were an American group whose only major hit was a Hi NRG version of the Andy Williams hit Can’t Take My Eyes Off You. It is a sublime remake that disproves the old adage that the original is always the best version of any song. It is definitely on a par with the original because it manages to update it seamlessly and becomes a classic in its own right. Now that track definitely was a huge hit, getting to Number 4 in the charts, and only missing out from going higher due to two of the monster hits mentioned above and What by Soft Cell, who followed up their two earlier Top 3 hits in 1982, Torch and Say Hello, Wave Goodbye with their final big hit.
The song that I thought was a big hit and actually wasn’t, was the sublime Hurry Home by Wavelength, one of the great one hit wonder songs of the decade that peaked at Number 17! I have spent all these years believing that it was Top 5 probably because it deserved to be. If you have never listened to it, do yourself a favour and pop on to my YouTube list https://www.youtube.com/playlist?list=PLYNHCBtlxb8-rLS9ny5FgtWCTXYtRq9MH
The rest of the year
1982 didn’t let up with the quality, although Renee and Renato getting the Christmas Number 1 with Save Your Love was a quite unforgivable lapse of taste on the part of the record buying public! It was about as bad as St Winifred’s School Choir two years earlier and Mr Blobby in the 90s and only slightly better than any Christmas Number 1 referencing sausage rolls!
Other than that, consider the Top 10 hits from September, All of my Heart by ABC, a group that I hadn’t really rated until then and The Message by Grandmaster Flash and the Furious Five, the record that introduced me to hip hop and rap. It is a song that has a social conscience mixed with huge amounts of anger at the way that young kids in the ghettos are trapped there by a system that doesn’t want to see them better themselves. A powerful, uncompromising and brilliant track that had an authentic story to tell using the authentic sound of the area they came from. It was a song that was rated the Number 1 record of the year by NME, best hip hop song in the Rolling Stone Top 500 and one whose reputation has not been diminished by time. In 2002, the US National Recording Registry made it one of the first 50 culturally significant songs to be preserved for posterity. It is quite simply brilliant.
October saw the first UK hit for soft rock legends Chicago in the 1980s was the classic ballad Hard to Say I’m Sorry. It also saw the first appearance of Culture Club on Top of the Pops with their massive debut hit, Do You Really Want to Hurt Me. My Dad, no doubt in common with every other Dad in the country, took one look at the screen as Boy George appeared in his finery and said, ‘What the hell is THAT?’!! As soon as I saw that reaction I knew that Boy George and Culture Club were something special! Synth pop continued to produce quality with the marvellously offbeat Living on the Ceiling by Blancmange which sounded unlike anything else around at the time with its style both musically and vocally. Finally, in December, Modern Romance started moving up the charts with a song that would give my mixtapes from that period their title with their irresistible party song Best Years of our Lives.
Next Time
1983 lays claim to being one of the best years of Number One records ever!
The Story
In essence, the story is The Trojan Horse. In reality, it is a psychedelic combination of ideas that makes as much sense as the average Gong’s Flying Teapot album! Admittedly, that album was released a couple of years after this story was aired, but its outlandish approach has a lot in common with this somewhat confusing (!!) storyline.
The original script had a spaceship in the form of a giant skull landing in the middle of Hyde Park, which became an organic spaceship landing in Dungeness in Kent! The original script called for the destruction of Battersea Power Station which was scaled back to a small scale explosion at the Dungeness Power Plant. The Master had to be added to the script and, although he is his usual urbane self, he has something of an Indiana Jones role in proceedings, in that his actions have absolutely no impact on the way the story plays out. Authors Bob Baker and Dave Martin were asked to reduce their original script from 6 episodes to 4 as well as adding in scenes for the Master. The impact is a headlong rush of a story that sees the Axons land on Earth in gold and white leotards before changing into proto-Krynoids (the plant based monster in The Seeds of Doom) crossed with Zygons, as their true intentions become known. Why? Who knows! Their organic ship has various tentacles and claws to hold prisoners and the Axons themselves are part of the ship, or it is part of them.
Suffice it to say, this is the kind of Doctor Who story to avoid showing a non-fan as the baffling plot combines with costumes and special effects that never work. Whovians can watch it with amusement but anyone else would probably be put off for life!
The guest stars do their best to carry the material with Donald Hewlett, a member of the Croft and Perry stable who became most famous as Colonel Reynolds in It Ain’t Half Hot Mum, giving a good performance as a scientist. Peter Bathurst has great fun with the officious Chinn, the man from the ministry. Paul Grist played an American who becomes a captive of the Axons then spends the rest of the story helping Jo and The Doctor. He is very good value and gives the story a real lift whenever he appears.
Favourite Moments
A number of the scenes had me laughing, but that’s not really the same thing! Katy Manning’s reminiscences on the Blu-ray are brilliant, from comparing the opening of the Axon spaceship to a certain part of the anatomy, to being grabbed in various areas – specifically the chest – by the claws on the spaceship, and having great fun at the expense of Bernard Holley who played the lead Axon whose walk could have something to do with trying to avoid unsightly bulges in the leotard!! She was absolutely hilarious as ever and definitely the best part of both the story and the behind the scenes.
Final thoughts
Whilst it has its moments, this is one of the worst stories of the Third Doctor’s time at the controls of the TARDIS. With today’s special effects they might have been able to pull it off, but with 70s era special effects it was way too ambitious. File under ‘Never watch again’!
The Story
The second story of Season 8 is a 6 part story that features two strands. The first features the Doctor and Jo at Stangmoor Prison where they are observers for a completely new type of rehabilitation approach for violent prisoners. The Keller Machine, named after its creator, removes the evil impulses from the minds of criminals leaving them with no memory of their past and no risk of reoffending. It also leaves them with significantly reduced intelligence, but this is considered a price worth paying by the prison governor. However, when the machine is used it makes the other prisoners even more violent than usual. The Doctor realises that something is wrong and decides to investigate further, leading himself and Jo into significant danger.
The second strand features UNIT at a world peace conference that sees escalating tensions between the Chinese and the Americans. Chin Lee, the second in command of the Chinese delegation, seems determined to stop the peace conference from succeeding. It becomes clear that she is working for someone who has a vested interest in World War III taking place and will stop at nothing to ensure that that happens. The Brigadier finds himself having to play peacemaker as things threaten to get out of hand.
What is the connection between the two events? Well, I’m not giving much away to say that it is The Master! However, the biggest issue with the story is that the connection between the two is, to say the least, contrived, so you effectively end up with a four part story set in a prison and a two part story set at a conference. Thankfully, the prison story is far the strongest part so you can sit through the other part as you wait for it to continue. In common with a number of the longer stories of the time there is the feeling of a fair amount of padding. There is even the frankly bizarre plotline of the Keller Machine being able to move between rooms by some form of apparition and kill people on the run, as it were!
There are a number of faults with the story that could have been solved by making it a four parter focused entirely on the prison, but the quality and enthusiasm of the cast carry the day. Special mentions go to three of the supporting cast in particular. Michael Sheard, the legendary Mr. Bronson of Grange Hill, in a rare heroic role as Dr Summers. He is a calm, assured character who is cerebral in approach but who is prepared to endanger himself by taking action to try to escape. Sheard added quality to everything he did and this was the second of half a dozen guest appearances in the programme, most famously as the villainous Scarman in Pyramids of Mars.
William Marlowe plays Mailer, leader of the prisoners and the Master’s second in command when he takes over Stangmoor. He is a genuinely nasty piece of work who will kill, beat up and threaten anyone who gets in his way or who could be useful as a hostage. His most famous role was on the other side of the law as Maggie Forbes’ boss, DCI Bill Russell. He also appeared in another Doctor Who serial, Revenge of the Cybermen with Tom Baker’s Fourth Doctor. His final Doctor Who connection was that he was married to Roger Delgado’s widow, Kismet, for the 20 years before his death in 2003.
Finally, Neil McCarthy was absolutely superb as the hardened criminal Barnham, who was turned into a childlike innocent by the Keller Machine. He turned in a performance of real subtlety and you ended up caring about Barnham just as much as Jo did when she took him under her wing. What he did very well was to completely convince the viewers that he was now no danger to anyone, but that Barnham’s punishment was in many ways as cruel and unnecessary as those he dished out to his victims. In a sense, he was a symbol of the negative effects of prison and the unintended consequences state punishment in a system that brutalised rather than reformed prisoners. McCarthy’s was a familiar face on TV and film during the 1970s in particular, but he died at the tragically early age of 52 after developing Motor Neurone Disease.
Favourite Moments
The relationship between Jo and The Doctor becomes a much closer one as a result of this story. It is Jo who often takes the initiative, showing bravery and imagination in her attempts to escape. When the Doctor needs her she is there and by the end of the story you can tell that he is starting to see her as more than just another companion.
The prison siege is a genuinely unsettling event with Marlowe’s unpleasant, uncompromising, and ruthless leadership making sure that absolutely no character, regular or guest, is safe. It shows that 1970s Doctor Who could be as hard hitting as any mainstream drama.
The Keller Machine becomes a real danger when you realise what it feeds on and how it works. The idea is no doubt taken from Room 101 in George Orwell’s 1984, but it very much works on its own terms in this story.
Both the Master and the Brigadier get a chance to don disguises in this story and they are clearly both having a great time! The Brigadier in particular has a twinkle in his eye throughout his time dressing up as a workman in order to get his soldiers into the prison.
Finally, the missile in this story is a proper military missile called the Bloodhound which was on loan from the RAF. It adds a reality to the scenes that transcend the plot and is genuinely impressive on the screen.
Final Thoughts
The cliffhanger of Episode 3 is the first scene of Doctor Who that I genuinely remember, but it freaked me out so much that I was not allowed to watch it for a few weeks! All these years later it is still an effective set piece.
The Master is always good value and always effective, but his reappearance in this episode is not quite as impactful as his first appearance given the convoluted nature of the plot. You would think that a genius like the Master would have been able to see where problems might arise, but he seems to be too busy trying to prove how clever he is to notice the obvious flaws. This makes him somewhat less of a Moriarty figure in this one. I also wonder whether the fear that the Keller Machine unearths really does the character any good.
The Reviews
Welcome to the first in an ongoing series of reviews of old Doctor Who adventures. A while ago I got the Blu-ray version of Series 8 of the original series, starring Jon Pertwee with what became known as the UNIT family. That is where the reviews will start. I will then move on to other stories from other eras. What I will not be doing is commenting on the quality or otherwise of the special effects, or the improvement in picture and sound due to the Blu-ray. I will be concentrating entirely on the story and the characters. For those of you who want to enjoy the stories yourself I promise a minimum of spoilers, as I hate spoilers myself! With those parameters set up, off we go!
Time for a change
The start of Series 8 of the original run of Doctor Who was a game changer for the programme. Jon Pertwee was starting his second series as the Timelord and had settled in nicely. The previous run had got good reviews and reasonable ratings, not that those things really made a huge difference in those days. Despite this, the production team felt that things needed shaking up so out went the Doctor’s near equal Liz Shaw, to be replaced by a more traditional companion in Jo Grant. UNIT went up to a permanent complement of three with Captain Yates joining Brigadier Lethbridge Stewart and Sergeant Benton.
Finally, the Doctor was to get his own ‘Moriarty’ in the form of another Timelord as brilliant as he was, but entirely evil. This new character was the Master. It was an idea that gave the writing team the basis for a whole series where the Master would appear in every story. Was that overkill? We shall see!
Fantastic plastic?
The Autons were already well known to viewers as a result of their introduction in Jon Pertwee’s first story, Spearhead from Space, so the title itself lets you know what to expect. We know that the Autons can utilise any plastic material, in whatever form it appears, to help them in their attempt to take over the Earth. The hands dropping away to reveal guns were a familiar device to viewers, but writer Robert Holmes and director Barry Letts wanted to increase the danger posed by the Nestene Consciousness who controlled the Autons. To this end they utilised chairs, dolls, phone wires and even daffodils to attack anyone who stood in their way. Some of the scenes were so shocking at the time that questions were raised in the House of Lords as to whether it was suitable teatime viewing on a Saturday. Mary Whitehouse, the self-appointed moral guardian of the country used her pulpit to denounce the programme, but precious few people, even in those more devout days, saw her as anything other than a crank or a busybody, so all that did was raise the programme’s profile. The Autons were definitely a more evil and frightening monster this time around because Holmes had based their attacks on items that could be found in many homes. To this day, the concept of killer plastic can give children and adults alike fresh nightmares!
The UNIT Family
Jo Grant definitely makes an impression on the viewers as well as the Doctor on her first outing. The gorgeous Katy Manning immediately gives Jo an appeal based on her bubbly and fun-loving nature. Throughout their first few interactions, the Doctor treats Jo as something of an imbecile. He mistakes her for a tea lady and assures her that he doesn’t need anything. When he appears to accidentally set fire to a piece of equipment he has been working on he looks on in horror as she grabs the fire extinguisher to put the blaze out. Instead of thanking her he calls her a ‘ham-fisted bun vendor’! When he finds out she has been dispatched to UNIT headquarters to take over as the Doctor’s new assistant he tells the Brigadier he wants her gone. The Brigadier says he has to sack her himself, but when the Doctor looks into her eyes he can’t bring himself to do it, much to the Brigadier’s amusement! Later on in the story Jo will prove herself to be a very resourceful companion.
The UNIT trio of the Brigadier, Sergeant Benton and Captain Yates have varying amounts of work to do during this story. Benton, played as a solid and dependable professional soldier by the excellent John Levene, is peripheral to the story but his familiarity to the viewers means that we are content to see him working alongside the Brigadier just doing his job. The Brigadier himself played by the marvellous Nicholas Courtney comes across as the archetypal career officer with little imagination, but he is more than prepared to make it clear to the Doctor that UNIT is his kingdom, and he will rule it as he sees fit. His bravery is never called into question even by the Doctor in his prickliest moods, and on a number of occasions in this story alone he puts his life on the line for his friends and colleagues. Finally, Captain Yates is the new member of the team played by Richard Franklin. Young and ambitious, he plays a similar role to Jo in that he is there for the Brigadier, and occasionally the Doctor, to explain things to. As with Jo, however, his character deepens throughout his time in UNIT and goes off in some very unexpected directions.
The Master
The Master is a rogue Timelord, like the Doctor, but his aim is not to protect Earth. Instead he wants to work with any alien race that will help him to enslave it. Roger Delgado gives the Master a suave and, in many ways, appealing character that makes the audience well disposed to him even when he is being evil. As with the Doctor there is a sense of purpose, a sense of honour and a sense of humour underlying everything he does. He sees the Doctor as ‘almost’ his equal, and he sees their battles in a chivalrous way. He would never stab the Doctor in the back because that would be dishonourable. He would only kill the Doctor face to face because that would give him a chance to say goodbye properly. Roger Delgado was a long term friend of Jon Pertwee’s and that gave the relationship between the two protagonists an underlying affection that shone through in every scene they did together. Every incarnation of the Master since has owed something to Delgado’s template for the character but none of them have matched the ability that he had for showing sheer closeness of the bond between the two Timelords. He was the first and unquestionably the best Master.
The Story
This is an incredibly fast paced story, apparently giving a lie to the widespread perception that stories were built up much more slowly in those days. It could prove to be an outlier, but I’ll get back to you on that one! The first appearance of the Master completely wrongfoots the audience, as you hear the sound of the TARDIS before it appears as a horsebox in a circus. The Master himself is this very impressive self-contained character who sees little need to shout which, as all good villains know, makes him much more menacing. His ability to hypnotise people is shown straight away, and that becomes very important throughout the story. When he walks in and takes over the plastics factory run by Rex Farrell, the son of its founder, he realises straight away that the other manager, McDermott, will be something of a problem, so he invites him to try out a plastic chair for size! Farrell’s father doesn’t like Colonel Masters and proves to be immune to hypnosis so other means will have to be found to remove his opposition. The menace of the Autons allied to the intelligence and ruthlessness of the Master makes this high stakes from the start. As UNIT investigates further they realise that anything or anyone can be used as a weapon to stop them thwarting the plans of the Master and the Nestene. The problem is that they don’t know where the next attack will come from, and they have no idea where the Master is working from. It’s time for the Doctor to really rack his brain to come up with ideas before it’s too late.
Favourite Moments
I love the way that children’s television in the 70s saw no need to talk down to their viewers. In the aftermath of one episode of hypnosis, the Doctor explains that the subject was suffering from ‘schizoid disassociation’ as a result of being made to do something that was completely out of character.
Usually, the Doctor’s new assistants take a couple of stories to get into their stride. Katy Manning IS the Doctor’s assistant from the time she walks through the door in her first scene. She has an air of sweetness and vulnerability, but her instant reaction to the workbench fire shows that she has a real instinct to help and protect the Doctor wherever possible. The instant rapport with Jon Pertwee is magical in its instinctiveness and is the reason why 50 years later she is still my favourite companion.
My favourite line in the story comes from Jo Grant. She tells the Doctor that she did an A Level in Science when she is trying to persuade him that she can be useful to him. Later on he describes the Nestene as being like a cephalopod in appearance, and she asks him what a cephalopod is. He explains it is a type of octopus, then looks at her quizzically.
‘I thought you did an A Level in Science?’
‘I didn’t say I passed did I?!’
The appearance of a Timelord in Episode 1 to warn the Doctor about the Master’s appearance on Earth is very amusing. It is a stroke of genius to have the Timelord appear in front of the Doctor in a bowler hat, three piece suit and carrying an umbrella. It places the rest of his race in the role of universal bureaucrats who look at the rest of the races in the galaxy in a bloodless and dispassionate way, in clear contrast to the meddling duo themselves.
The beautifully drawn relationship between Farrell senior and his wife takes place over two scenes. In the hands of experienced character actors, Stephen Jack and Barbara Leake, you see a whole lifetime of affection in their brief interactions despite them only sharing a couple of minutes of screen time together. In the second scene, where Mrs Farrell is speaking about her husband the depth of feeling is clear in the faraway look in her eyes, as she gives the Doctor the clue he needs to find out where the Master is hiding. The quality of the supporting cast, epitomised by these two characters, really shines through in this episode.
Final thoughts
This story is effectively the second reboot of the new era of Doctor Who and it works pretty much perfectly. The close knit relationship between the main cast members would become ever more apparent over the next few years, but as a starting point this can’t be beaten.
David Pearce - Popular Culture and Personal Passions 