The Real Thing do everything right – pleading soul vocals, springy piano line, big-impact chorus – without ever threatening the spectacular. They’re using a blueprint – tuneful underdog disco – which Hot Chocolate would have huge success with, but without the next-level abjection and paranoia Erol Brown sometimes brought to it. So the Real Thing deliver a solid good time rather than anything more striking (or commentable). Solidity can get you a long way, though – “You To Me Are Everything” has become a wedding dance staple, and for simple welcoming catchiness it deserves that ubiquity.
Score: 6
[Logged in users can award their own score]
I think that’s about right – it’s agreeably pleasant; it’s danceable (but not too energetic in the sweaty atmosphere now digging in); it goes well too with slobbing out in the garden with a long cold drink, alcoholic or otherwise (clad in cheesecloth, there was a lot of cheesecloth about that summer), and it’s pretty well disposible. I don’t go to many (any) wedding discos but I can see how this would get people on their feet but isn’t going to excite them.
I don’t know what you’ve given it yet, Tom, but Oi’ll Give It Foive.
PS: Now I’ve posted I can see it. Six is reasonable too. I’d have been hard pressed to associate it with that summer though, or to date it within two years either way.
I have to come clean and say I love this. If ever they say that British acts couldn’t do disco/pop-soul/whatever you want to call it, this is Exhibit A for the defence – for me the best black British single of the decade. What gets me is how the lyrics roll along with the swing of the tune – it’s conversational, it’s almost prose, and never sounds the slightest bit forced. And so well performed too. A great singalong and justifiably a massive hit. (Having a blank for the time being – was this the last Op Knox number one?)
assuming this counts as their arrival at the top, the real thing (a liverpool band slogging away since the early 60s) may be the actual definite genuine last (non-rerelease) throb of merseybeat
I didn’t like this much when it came out, it being rather too insubstantial for what I would claim was my rather more mature musical taste. However, now I quite like it – it’s still pretty unsubstantial and inoffensive, but it is good pop/disco/soul, certainly better than other UK attempts at this around the same time – Tina Charles etc.
I’d probably give it a five too!
Regarding “Opportunity Knocks” number ones, we’ve still got at least one to go. (Not Su Pollard – beaten by a singing dog! – or Chubby Brown, neither of whom made No1, thankfully!) The other act which made number one had a change of name since winning for four weeks in 1973ish.
Further coincidence – a number one singer we will be discussing v. soon provided the theme song for a later revival of the show “opportunity Knocks”, don’t you know!
I’d give this a 7 or 8. It really is pretty irresistible, summery and catchy though obviously at the lite ‘Sad Sweet Dreamer’ end of things which is a nice place to be.
They were David Essex’s backing band for a little while before this, as I’m sure Marcello will be pointing out.
Black English soul groups were still a bit of novelty at this point. Hi-Tension came along next but then there was a whole flood of them: Linx, Light of The World, Junior and lots I’ve forgotten.
I much prefer (woop woop woo-hoo) “Can You Feel The Force”, but this is classy stuff that still sounds rather fine whenever T Wogan spins it of a morning, which is often.
“Can You Feel the Force” was a belter, but benefitted greatly from having an extended 12″ version, which, at the time, gave it a much needed slice of credibility.
By then the Real Thing had all but disappeared, and a new song by a bunch of has-beens, apparently cashing in on the “Star Wars” craze, could not have sounded like an attractive proposition.
The coloured vinyl, and the picture sleeve showing a naked lady’s bottom probably helped too!
Why are these men naked ? Like the hat.
Well, this one rings the faintest of bells — it must have gotten practically zero play in the States. But it’s a sweetheart of a song… up there with Tavares (as the closest sound that comes immediately to mind — who else? I heard “Kiss and Say Goodbye” at the grocery store today, maybe some Manhattans?) The “oh baby, oh baby” phrasing reminds me a little of “I’m Gonna Make You Love Me.”
I’m still somehow amazed when I hear such seamless soul from a black English band (is African-British the proper term?) — Hot Chocolate sounded somewhat “different,” even though I didn’t realize at the time they weren’t Americans — but there it is! This one just sounds like… Soul. I would never guess Liverpool, sounds more like Philadelphia to me! If I listen close I can only hear the British accent on the word “prepared,” and MAYBE on “upon.” Anyway, I think it’s a gem.
I’ve always been interested by the idea of the loved other having already got the best of the singer, so why should she not take the rest of him? I think that “the best” must be the singer’s noblest sentiments, in his love for the other (or, at the very least, his ability to pick her up each time she’s down), and “the rest” is his actual presence.
I have a theory why I find this to be a really good record, but not quite a great one. When I’m in love – or think that I am – and I listen to this, I enter into the spirit of the thing and apply the lyrics to my own feelings. But when I’m not, it evokes no feeling stronger than “This is jolly. I’ve always liked this one”. Whereas the greatest love songs go deep every time that you hear them.
You To Me Are Everything I think has a few killer sucker punches of lyrics, none greater than the “best of me rest of me” riddle (which can be extremely dirty if sung in a ‘special ‘ voice like the one I have). Problem is it sounds that little bit too smooth. There are no caveats in its absolute declaration of love, which in itself makes it a touch subversive. A wedding classic, because the lyrics are a picture of the idea of wedded bliss (best of me – REST OF MY LIFE).
Terrific record, always love to hear it. Though wedding DJ’s be warned, it starts fading about thirty seconds before it finishes.
Ah, now this I liked enormously and wasn’t at all put off by Noel Edmonds practically fingering himself whenever he played or discussed it – far more so than Peely a little later with “Teenage Kicks”, which was magnificent, let’s face it. Unlike the wonderful Undertones, though, The Real Thing hovered dangerously close to the entrance to the fromagerie. They were saved, for me, by this excellent production, which I felt purred along just nicely. A pleasant melody, verse and chorus, with a nicely constructed lyric to back it up. Their follow-up, another reasonable effort, just fell short of the top, although this didn’t stop Noel always referring to The Real Thing’s “two number ones”, so much was he smitten with this Op Knox outfit of Mickey Mousers, who then churned out “Can You Feel The Force?”, which was also excellent work but certainly out of kilter from those first two.
Erithian!! – Eastbourne Borough have cracked it! I’m so bloody happy. Promotion to within one step of the Football League, astonishing for an outfit built around a small sports club. To anticipate playing the likes of Torquay, Halifax, Wrexham and Mansfield next time is really quite wonderful. It’s a super boost for the town too.
Eddie Amoo’s voice nails this song.
Ah, this is much, much better than pitchforks and taking out the garbage. One reason why Opportunity Knocks could occasionally be a good thing, The Real Thing had a history going right back into Merseybeat (Eddie Amoo was singer with a band called the Chants in the sixties) but they blossomed splendidly in the mid-seventies with Hughie’s help. I have the feeling that “You To Me Are Everything” may be the first UK number one single by a black British group (the Equals were a mix of black and white musicians, hence the name) and a fine one it is too; owing more than a little to “Love’s Theme,” admittedly, but its dignified desperation is admirable – desperation? “To you I guess I’m just a clown who picks you up each time you’re down – oh baby” they shake their heads sadly, but he loves her anyway despite his doormat status and is going to win her over no matter how much or how long it takes.
This was also the harbinger of many excellent records the group released throughout the second half of the seventies, including “Can’t Get By Without You,” “Children Of The Ghetto” (not released as a single, but the centrepiece of their amazing 1977 concept album about Toxteth 4 From 8), “Can You Feel The Force?” and “Half Price Sale At Godfrey Davis.” A most refreshing glass of sparkling Lambrusco after the pineapple Cresta of the last couple of chart toppers.
And indeed they provided backing vocals for David Essex, most notably on his never-revived 1975 top five hit “Rollin’ Stone” which in some ways goes even further out than “Rock On.”
Good to hear that Waldo, congratulations! Maybe a topic for a conversation off this forum, but how do the other Eastbourne clubs feel about it?! Also good news is AFC Wimbledon going up, one step closer to the league place that was stolen from them.
“Liverpool 8” sounds like half of a football score, but in fact it’s the provisional title of a Real Thing album, the postcode referring to Toxteth, where the band were based and where Eddie Amoo still lives. I just came across a feature on them by Dave Haslam at http://www.davehaslam.com/control.php?_command=/DISPLAY/16/13//3000/0
– interesting to see, corroborating what P^nk Lord says upthread, that Amoo was in a band that toured with the Beatles in 1962-63.
vinylscot – for a second there I thought you were saying Su Pollard was beaten to number one by a singing dog… what a chart that would have been.
I can’t remember whether all of Sweet Sensation were black, admittedly, but if they were then I’m correcting myself.
I think that Sweet Sensation count as the first black British number one group, though The Real Thing are certainly much better remembered.
Number Two Watch and I think a unique Liverpool talent show double since in second place behind the Real Thing were literal boy band Our Kid, straight from New Faces, with their heartrending “You Just Might See Me Cry.”
At least for one week, since the Real Thing also managed to hold off Candi Staton’s endlessly-revived, no-seventies-compilation-complete-without-it “Young Hearts Run Free.”
historical importance aside, i think six is about right. it’s a nice record with some great touches (the best/rest, clown/ down bits others have mentioned) and it’s always nice to hear it on the radio or having it going on in your head as i have now, but it somehow never entirely escapes the humdrum; i can’t really imagine this being anybody’s favourite ever song – apart from noel edmunds’ apparently.
Ah yes, how we sang; “You to me are everything, hum hum hmmmhum hum humhum hing, oh baby”. It’s a wee classic really, 6 or 7.
Comment removed by poster – on reflection, just too twattish!
I really like this, and would have given it an easy 7, maybe an 8. It’s a shame it kept ‘Young Hearts Run Free’ off the top, as that would be a guaranteed ’10 and I wish I could go higher’ from me.
Erithian – Thanks. Agree that we should convene elsewhere to discuss footy. Final word: I don’t know of any problem between Borough, Town and United, the latter two so far down the pecking order. Town play at Saffrons,which is where Sussex CCC (not MY county, of course) used to have a yearly four day festival but do no longer. AFC Wimbledon are the lineal side of the old Plough Lane Dons, where I spent many happy times when I couldn’t (or wouldn’t) get to see Chelsea. I’m pleased for their success. Ironic that their interlopers, the MC Dons, have also done so well this season on higher ground.
Plough Lane was also where I saw the league trophy in United hands for the first time in 26 years, back in 1993, and got THAT close to Eric Cantona as the players took the trophy back to the coach. Wimbledon weren’t pretty to watch, and I still remember when Bryan Robson came on as sub to a chorus from home fans of “You’re going off on a stretcher” – but their story was one you wish could still happen now. MK Dons on the other hand are the spawn of Satan (dump them, Incey).
Hmm yes – back to the music, kind of. Our Kid were four very well scrubbed Scouse kids in immaculate stage suits. You just knew that on Saturdays they’d be prowling the streets around Stanley Park going “Mind yer car mister?”
Candi Staton – can’t quite go along with Martin on a mark going up to 11, but yes it is pretty ace.
Can I just say “Come on you Blues!” in anticipation of this Sunday.
I’ve always assumed the reason there was such a flood of Black English soul acts in the late 70s/early 80s (I forgot Loose Ends before) is they were all the children of the West Indian immigrants that came to the country in the 50s.
From my Sunday anticipation perspective:
GO GET ‘EM COTTAGERS! PULL OFF THE GREAT ESCAPE!! Redknapp’s been doing too much KNAPPing of late it should be a DODDLE!!!
Thank you for listening to this message.
I think (as world-class ports) Liverpool and Bristol both had extant (though not large) black communities before the 50s
And from Greenwich
“That wasn’t much of a season, then.
Back to mid-table in the second tier. Perhaps that’s our natural level.
I wish that we hadn’t sold Andy Reid.
Pardew may be gone by the winter, I think.
Sighs…”
I hope Fulham stay up too, always had a soft spot for The Cottagers (as long as they didn’t threaten Chelsea of course).
There wasn’t much choice in which team to support when I was kid though, Chelsea had Raquel Welch as a celebrity fan and Fulham had Diddy David Hamilton.
Yes, Miss Welch in full Blues kit… Luscious!
That REALLY got Ossie going, God bless his heart!
Billy – Charlton’s season really fell apart when Chris Dickson knackered his knee in a bizarre hotel reception accident. He’d just broken into the first team and got the goal that took the West Brom cup-tie to extra time. (The fact that he was top scorer for Erith & Belvedere two seasons running means I’m biased.) Dicko is the only footballer I’m aware of who went to the BRIT School in Croydon!
Hotel reception accident? I’m intreeged! What the heck happened? And wasn’t he at Dulwich Hamlet too or am I getting confused?
The Chants records stand up really well: tough – but not obviously black – Merseybeat. One of them was on Sounds Of The Sixties this morning (does anyone else wake up at 8 on a saturday to listen? I’m new round here). Which probably makes them closer to a genuine “UK soul” sound than this and Can’t Get By Without You, both obvious Philly knockoffs.
My Saturday morning getting up routine would be unthinkable without the mellow tones of the venerable Mr Matthew.
Definitely a six, this.
What inspired the 1986 top 10 remix/rerelease (apart from the tenuous ‘Decade Remix’ idea)? Was it a soundtrack to Chris Amoo’s sterling exploits on the show dog circuit?
It was a DJ called Froggy who as I recall was very popular on Radio 1 at the time.
wichitalineman (#33) – yes, I’m impressed you knew that, Dicko had a season at Dulwich Hamlet in between E&B and Charlton. He left due to a bit of a personality clash with our then manager, but being at Dulwich helped him catch Charlton’s eye. The hotel reception incident – as far as I can gather he was performing a song, did a spin then fell over something or other. He’s got a sweet soul voice as developed by the Brit School, and used to entertain us on away trips, but that particular routine cost him nearly half the season.
A bit curious that this should be a wedding disco favourite, when you think about it, ‘cos it’s about a one-way love. It’s a similar theme to Billy Fury’s “Halfway to paradise” – “I want to be your lover / but your friend is all I stay / I’m only halfway to paradise / so near yet so far away”. He’s a good friend to her but is head over heels for her as well – she’ll no doubt say he’s worth more to her as a friend, but that’s not much help when he’s yearning for more than that. Not the appropriate thing for the newly-married couple. (They’d probably cut a rug to “Every Breath You Take” as well though.)
Dulwich Hamlet! The Isthmian League! My father used to take me to see them in the late 50s – probably when Palace in the Third Division South were just too routinely depressing.
A few years ago I mentioned the Hamlet to my cousin, who said that my father and my uncle used to take him there, and that one day in the late 40s somebody in the crowd exposed himself to the little lad. He told his dad and mine, and my father turned round and knocked the bloke down. Hearing by chance that your father was an action hero to other people is a wonderful thing; I wish I’d had the chance to tell him so.
The fab 4 of the 70’s – The Real Thing’s YTMAE is a spendid example of early Brit-Soul/Funk albeit with more of a disco tinge than it’s later cousins (Heatwave et al). Great piano riff, slabs of wah wah and topped by Amoo’s throaty, soulful vox. Easily one of the better number ones of the year.
Can You Feel The Force is excellent and I can remember making a fool of myself on the dancefloor to it many times (esp. early 80s when going whoo! whoo! often was a pre-requisite at any disco).
Re. 36: There’s a tribute to the recently deceased Froggy from Pete Tong in yesterday’s Observer Music Monthly. James Hamilton took him to see Larry Levan at the Paradise Garage circa 1977, which pretty much marks the moment when beat-mixing crossed the Atlantic.
As regards “You To Me Are Everything”, it’s a solid 8 for me. This pretty much epitomises all that was good about the charts during the Phew Worra Scorcha Long Hot Summer Of 76 – and in my opinion, there was a lot of good stuff around, particularly towards the mellow/soulful/romantic end of the spectrum, all of which suited the sultry stickiness of the times. (Misty Blue! Kiss And Say Goodbye! Young Hearts Run Free! Silly Love Songs!) And, yes: “Now you’ve got the best of me, come on and take the rest of me” is one of the sharpest and wryest lines in all of pop (even if its composers and singers weren’t necessarily aware of the fact!)
I really like this (and Can’t Get By Without You too) – not least after the dross at number one in preceding weeks, but had absolutely no idea they were British. Something learned from Popular! Thanks.
I guess with all the footie talk and with the home city of the band in question in mind I should nail my own colours to the mast and out myself as a Liverpool supporter just in time to be mercifully mocked about how the mighty have fallen.
Shan’t do that Brendan (not THAT Brendan surely with the Liverpool connection?) but a timely moment for me as a United supporter to express the hope that all goes well with this Sunday’s encounter. Enough United fans have respect for Liverpool to ensure due tribute is paid to the 96, but I fear it could go either way.
Thank you Erithian. I’ve never personally let things as relatively trivial as allegiances (whether it be football, music or anything else) prevent me from getting on with people and I’m happy to be on board with all the regulars who I’ve enjoyed reading as I’ve been going through the years since late 1952. I finally made it to 1977 so I’m almost at the point where I have genuine recollections rather than knowing the songs from hearing them played on the radio so hopefully I can add some of my own insights to the songs of that era as well as those yet to come which, even if the song itself isn’t good, at least may spark some memories for me. Oh, and no, I’m not THAT Brendan – lol.
So farewell then Eddy Amoo. 74 which isn’t such a bad age. I see that I voted this jolly tune a 7, which seems fair enough for something so delightfully pleased.
http://www.bbc.co.uk/news/entertainment-arts-43175743
a much needed break from the mediocrity that had preceded it, this glides along with a rich, syncopated interplay of rhythms and strings supporting a vocal that balances sincerity and craft
I would agree with Flahr (#46) and would give the Real Thing a 7/10 here.
Quite a few comments upthread describe this song as “jolly” or similar. It actually has a subtly melancholy undertow, both lyrically and melodically, which is what really lifts it from the “good” category into the realm of the “very good indeed”. I’d give this an 8.