7
May 09

RENEE AND RENATO – “Save Your Love”

FT + Popular66 comments • 7,117 views

#512, 18th December 1982

It goes almost without saying that this is outrageous bilge, with a stripe of cynicism as wide as Renato’s spangly lapels. Renato who, of course, was allowed to appear as himself in the video, where his Pooh-Bearish charms win the heart of a replacement Renee – a forerunner of the Beijing Olympics pretty-voice-meet-cute-girl move, though the Chinese government are mere amateurs next to the steel-hearted nabobs of British Light Entertainment.

The record’s plonking self-confident awfulness is like critic-proof armour plate. You say it’s bad? They’re aware of that, and not in a comically knowing way either: they’ve made a stinking record which will sell a lot and make some people happy and do no great harm (certainly it passed the playground test – “SAFFE YOUR LUFF MY DAHLINK!”). Maybe you fancy a clever sneer, comparing Renato to the Just One Cornetto advert. Tough luck: he IS the Just One Cornetto advert. Records like “Save Your Love” are to the British charts what a nasty pissing shower of unspectacular rain is to the British weather: you take it, wait till it sods off and enjoy a satisfying grumble afterwards.

1

Comments

  1. 1
    poohugh on 7 May 2009 #

    Excellent phonetic spelling! I don’t think it deserves 1, it’s vaguely enjoyable to listen to. You need to remove the Ron Jeremy lookalike from your mind. And ignore the line about ‘Roma’, you’ll have a pretty good time.

  2. 2
    Tom on 7 May 2009 #

    It’s a respectful 1 not an angry 1.

  3. 3
    The Lurker on 7 May 2009 #

    I agree with Poohugh – it’s clearly rubbish, but it’s not nearly in the same league of awfulness as Little Jimmy or St Winifred’s – I wouldn’t need to lunge for the off switch if this came on the radio. Worth at least a 2!

  4. 4
    rosie on 7 May 2009 #

    A very well-deserved 1 I think. Renato’s cod-Italian is far worse than Joe Dolce’s, which at least could be construed as an affection take on an Italian upbringing. This is just funny foreigner stuff, bordering on downright racism.

    From a personal point of view, this was number one for the most miserable Christmas and New Year of my life. Christmas because it was the first I’d ever spent on my own and the first I’d ever spent jobless and I didn’t then know how to cope with that so I spent most of the day in tears. Things had looked better for the New Year: I was invited up to Norfolk and a new beginning looked possible, but in the event I was stood up and ended up making my way back from Holt to Cambridge by public transport on a freezing cold January Sunday.

    This was not, however, the nadir of my life. That is still to come.

  5. 5
    Erithian on 7 May 2009 #

    I wasn’t exactly returning from another planet, but when I got back home from Brittany for Christmas I had a few nuances of British life to get used to. I’d only been away for two and a half months, but I had no idea about Channel 4, “The Young Ones”, what Watford were doing among the league title contenders and who the blue blazes was buying this record.

    You occasionally get a bit of light opera-style singing (or even proper opera in the case of old Pav) gracing the chart, which people are buying for the perceived touch of class it brings to their record collection, but “class” isn’t what comes to mind when you consider this offering. One of the very worst number ones ever.

    Jasper Carrott, before he lost his edge completely, did a good routine about Renee and Renato – “he comes from Birmingham, you know”.

    I like the bit about the steel-hearted pretty-voice-meet-cute-girl technique, Tom although they’re hardly alone – towards the end of the decade there’s a much worse example involving a soul diva, an Italian producer and a French model, which we’ll dissect in due course.

  6. 6
    Billy Smart on 7 May 2009 #

    Ahem, I always enjoy listening to this one. I think that as a song its quite effectively constructed, and I really like the slightly husky timbre of Renee’s voice.

    It would be foolish to make any greater claims for it than that – and I fully accept that its a meritricious single – but I do always enter into the spirit of the song.

    I wasn’t very impressed when I was ten, although I felt a much greater sense of bafflement than of hostility towards it.

  7. 7
    misschillydisco on 7 May 2009 #

    i think that seeing the video on TOTP may be the very first time i had to leave the room with sheer embarrassment. now i have to do it on a weekly basis, thanks to shows like the x factor. this is just awful. i don’t know how it even gets a 1!

  8. 8
    Martin Skidmore on 7 May 2009 #

    #7: 1 is the lowest mark available. I gave it 2 – it’s terrible, but as The Lurker points out, there are a number of more offensively appalling #1s.

  9. 9
    Dan R on 7 May 2009 #

    You can’t fault the generosity of the regulars on here but this is absolutely a 1. It’s not a spitefully bad song, or a callously lowest-common-denominator song; it’s not incompetent or bandwagon-jumping. It is just a very very bland song, sung in a novelty Italian accent, in some misguided idea that this is ‘romantic’. The lyrics have what Henry James referred to as ‘weak specificity’; there’s nothing in there, not a single phrase that catches any sense of the particular, that this is an actual relationship between two particular people; there’s no tang of reality and this, lyrically, is what divides emotion from sentimentality.

    The absurd operette styling of Renato’s voice is laughable. Not, of course, as laughable as the ridiculous video (which I seem to recall was even considered absurd at the time), with the revealed Renato in his white-suited, pudgy, mustachioed horror, hammily pawing at the empty pillow, the soft focus, the comically bad cut on the thrown rose, etc. The arrangement, with the inevitable key change, the yucky strings, the air of Mantovani shimmer, the stars/moon/rose/Roma sciocchezze (as real Italians might say), all suggests the profound romance of a waiter saying ‘and a glass of champagne for the lovely lady?’. It’s not retrievable; it’s entirely without merit; I don’t imagine it was bought for much more than sentimental and kitsch reasons.

    It’s also one of those songs that is all about how they’re about to sing their song (‘A serenade I long to sing you’ ‘Darling, sing for me our lovers’ song’). Which only makes me think: yes sing the song that means something to you, not this crap.

    Sleeve oddly mismatches the song, I think.

  10. 10
    a tanned rested and unlogged lørd sükråt wötsît on 7 May 2009 #

    i am enjoying the idea that henry james was specifically discussing this song when he used the term “weak specificity”

  11. 11
    vinylscot on 7 May 2009 #

    From wiki:

    “Renato is a keen fan of Aston Villa F.C. and during the early 90s was asked by manager Ron Atkinson to sing Nessun Dorma at half time following a particularly poor first half performance by the team. On completion of his performance Atkinson told the players ‘Now that is passion! Go and show me some of that in the second half!'”

  12. 12
    Laura Brown on 7 May 2009 #

    I might raise the rating to 2, purely because Linda Smith singing the lyrics of “Psycho Killer” to the tune of this song was one of the most hilarious things ever to happen on “I’m Sorry I Haven’t a Clue”.

  13. 13
    Andrew F on 7 May 2009 #

    It’s no Barcelona, that much is clear.

  14. 14
    AndyPandy on 7 May 2009 #

    How can it be racist/cod italian when Renato was an Italian born in Rome?

    Like probably somewhere around 50% of the number 1’s I’d give it a 3 ie not annoying, just goes over my head and generally makes no impression either way on me.
    To me 2’s and 1’s are for the genuinely offensive/appalling – the latter quite rare…

  15. 15
    lonepilgrim on 7 May 2009 #

    When detached from the ridiculous video I find myself more positively disposed to this than I would have guessed – so I give it 1.

  16. 16
    Conrad on 7 May 2009 #

    “It’s also one of those songs that is all about how they’re about to sing their song”

    – Dan R yes absolutely.

    “Gonna write a classic
    Gonna write it an attic”

    Oh yeah? Go on then, off you sodding well go to your attic but spare us this claptrap.

    This isn’t taking itself as seriously as Gurvitz but it’s still terrible mind.

    A resounding Uno

  17. 17
    DV on 7 May 2009 #

    I can’t remember whether I liked this back then, but I definitely like it now. Without wanting to listen to it or anything like that.

  18. 18
    LondonLee on 7 May 2009 #

    Can we stop now so this record doesn’t get more comments than Beat Surrender?

  19. 19
    Mark G on 7 May 2009 #

    Well, I’m here to say:

    At the time, I thought “It could be worse, it could have been an operatic woman singing and a bloke with a fair/middling voice”

    Cue “Barcelona”, Mercury/Cavaille. Guess I was wrong.

  20. 20
    Snif on 7 May 2009 #

    “I like the bit about the steel-hearted pretty-voice-meet-cute-girl technique, Tom although they’re hardly alone – towards the end of the decade there’s a much worse example…”

    Wasn’t there one happening at around this time with The Maisonettes, singing “Heartache Avenue” with a couple of ring-ins for the backing singers?

    “It’s also one of those songs that is all about how they’re about to sing their song”

    The best example was Peter Cook and Dudley Moore’s “Alan-a-Dale”

  21. 21
    rosie on 8 May 2009 #

    Anybody who thinks Renato has an ‘operatic’ voice hasn’t heard much opera. He’d be lucky to escape La Scala with his bollocks intact.

  22. 22
    Mark G on 8 May 2009 #

    I didn’t say he was, just that I’d had that thought back then.

    And also to clarify, “Barcelona” is not worse than this.

    OK, carry on.

  23. 23
    wildheartedoutsider on 8 May 2009 #

    Is there REALLY all that much difference between the ‘awful fascination of the very bad’ novelty factor of this song and the current popularity of Susan Boyle?!!

    And I’m not talking about the physical similarities of the two singers.

  24. 24
    wichitalineman on 8 May 2009 #

    So, does anyone know why “Renee” is always partly hidden in the video? Bit of an odd thing to do if you’ve forked out for a model; she was cross-eyed or had a boxer’s nose, or both, according to Terry Wogan (who played it quite a lot). Either way, it feels like a song and a video that needs a punchline. It’s entirely baffling and therefore hard to hate. But even Cara Mia has more class (production-wise, certainly) which condemns this scientifically as a 1.

    I assumed it was a rotten Italian ballad at the time but, again like Cara Mia, it was British, written (according to Wiki) by Johnny Edward, the creator of Metal Mickey. The vocodered voice of Mickey was preferable to Renato’s, and his reggae shuffle Sillycon Chipp would have been a much more enjoyable Xmas no.1.

  25. 25
    Dan R on 8 May 2009 #

    According to Wikipedia, this song had a considerable afterlife in Scandinavia. Which goes to show that excellent welfare provision and a fine tradition of deliberative democracy do not correlate with good taste in music.

  26. 26
    Davey on 8 May 2009 #

    Execrable song! But damn it if I don’t have a wretched case of earworm just from reading this post! Maybe I need a good dose of Metal Mickey.

  27. 27
    Rob K on 8 May 2009 #

    Smash Hits did a pretty good version of this that’s stuck with me for some weird reason.

    Darling I am wider than I’m tall
    My mouth is big, my piggy eyes are small
    About my clothes I don’t have cares, just wear my jumper and my flares,
    In fact I don’t have any dress sense at all.

  28. 28
    Erithian on 8 May 2009 #

    Weird – that “Darling I am wider than I’m tall” line has stuck with me for all these years too!

    Speaking of weird, maybe we could riff on the theme of peculiar songwriters for a minute. I learned that the creator of Metal Mickey wrote this song while I was still reeling from discovering that the early-70s crooner Malcolm Roberts wrote Edwin Starr’s “Contact”. Then there’s Charlie Chaplin writing “This Is My Song”, Trevor (Vicar of Dibley) Peacock with Herman’s Hermits’ “Mrs Brown You’ve Got A Lovely Daughter” and Charles Dawes, a former Vice President of the United States, penning “It’s All In The Game”. I’m sure you all can come up with a few more?

  29. 29
    Alan on 8 May 2009 #

    i recall a spoof (probably on 3-of-a-kind) that had the couplet

    i’ve got a boyfriend home in Pinner
    Better looking, and much thinner

  30. 30
    Steve Mannion on 8 May 2009 #

    I’m still unable to recall for sure whether or not I hated Tight Fit, Captain Sensible and even poor Eddy Grant so this is officially the first #1 single I DEFINITELY did not like at all. Any irony or dubiousness conceptually was lost on me, the overbearing slush seemed to deter me on it’s own. I haven’t actually heard it since the time and don’t intend to so it’s either slightly better or a whole lot worse than I remember, which just isn’t enough of an incentive to check for sure. Next!

  31. 31
    wichitalineman on 8 May 2009 #

    Re 28: Malcolm Roberts wrote Contact??? Kenny Pickett of art-mod legends The Creation wrote Clive Dunn’s Grandad (I’m sure we’ve mentioned that before). Barry White wrote We’re The Banana Splits and other songs in the tv series (but sadly not the Tra La La Song).

    I’m rather mindblown to discover that Clint thingy from Pop Will Eat Itself is now a highly respective soundtrack composer. He did The Wrestler? Nuts!

  32. 32
    wildheartedoutsider on 8 May 2009 #

    OK – I just forced myself to have a listen to this again – just for research purposes, you understand (I like to think of it as “taking one for the team”!) A number of observations occurred:

    In some ways this is another example of a musical style from a bygone era having an unlikely resurgance many decades later. As a piece of song-writing it’s not dissimilar in style to the type of light operatic popular music made fashionable in the first decade of the Twentieth Century by singers like Henry Burr and Harry MacDonough. Equally the instrumentation and arrangement of the recording are virtually inseparable from any number of other slushy ballads recorded over the previous couple of decades.

    The only thing which really makes this anything other than just another bland romantic ballad (of which there are of course very many) is Renato’s accent. As I listened to it I tried to imagine the same lines sung by Elvis Presley – and it was surprisingly easy to do so – and I wonder if it would inspire the same contempt as a song if it had been sung in a mid-Atlantic accent by an established artist.

    It has often intrigued me, the different attitudes towards songs sung with different accents. It strikes me that when singers choose to sing in Cockney accents (such as the Sex Pistols) or Northern English (eg Arctic Monkeys) it is generally viewed as being somehow more honest and “earthy” than singing with an American twang… and yet if the accent is Scottish (ie The Proclaimers) or, in this case, Italian it tends to be seen as a source of amusement and mockery. Perhaps this says more about our attitude towards other cultures and accents than it does about popular music?

    I’m just speculating here, you understand!

  33. 33
    wildheartedoutsider on 8 May 2009 #

    As far as unlikely song-writers are concerned, Scottish singer Jesse Rae having written Odyssey’s “Inside Out” was one which always seemed a little bizarre to me.

  34. 34
    Tom on 8 May 2009 #

    #18 “Beat Surrender” well overtaken, sorry. The Man triumphs once again over The Kids, I fear.

  35. 35
    wildheartedoutsider on 8 May 2009 #

    …and another ‘unlikely’ song-writer I’ve always wanted to prove the identity of one way or the other is the ‘Steve Torch’ who co-wrote Cher’s “Believe”. I am 90% convinced that it IS the same ‘Steve Torch’ who was part of 80’s duo White & Torch (and who also co-wrote a couple of Dexys songs) but I’ve never been able to prove it. They certainly seem to indicate that it’s the same chap on the ‘discogs’ site, but since that’s written by people from the internet you can never be quite sure! Anyone here able to clarify?!

  36. 36
    wichitalineman on 8 May 2009 #

    Definitely him. But I didn’t know he co-wrote Dexys songs.

  37. 37
    wildheartedoutsider on 8 May 2009 #

    Ah, thanks for that. Yes, he co-wrote “Liars A To E” and got a belated co-writing credit for “The Waltz” when they re-released “Don’t Stand Me Down” a few years back.

  38. 38
    wildheartedoutsider on 8 May 2009 #

    RE: #18 (…and #34) It makes sense to me that a song such as this should generate more debate than something like “Beat Surrender”. The reasons why a song released by The Jam at the height of their popularity got to Number One are pretty obvious – they had a large enough fan-base to ensure it regardless of whether the song appealed to the broader tastes of the record-buying masses. Renee & Renato’s achievement seems to pose far more questions about what makes a particular song popular – even when logic and good taste indicate otherwise!

  39. 39
    AndyPandy on 8 May 2009 #

    32: And its even more “intriguing” when in the case of the Arctic Monkeys*, Lily Allen, Kate Nash** (the Sex Pistols slightly ruin my point here by probably being genuine but anyway)the accents are completely fake so really the diametrical opposite of “earthy and honest”.

    *surely only the most sheltered media inhabitant of Hampstead thinks theres anything “real” about the Arctic Monkeys’ accents – as someone who worked in the “community” in Sheffield for around 5 years no-one from Parson Cross or the Manor (ie 2 of the most deprived estates in Sheffield) speaks in an accent remotely resembling the “earthy” Arctic Monkeys – so why does Alex Turner the middle class son of university educated teachers from the leafy suburbs…?

    **…and even the north London chattering classes know Allen and Nash are ridiculous

    I might have made this point before but its one of my pet hates “posh” pop stars going for the prole vote when the only people they’ll impress (if anyone) are probably other members of the middle class

    and why I’m talking about class isn’t our bewilderment at this geting to Number One at least partly due to the fact that (I’d guess) the vast majority of us are now middle class/have professional jobs (irrespective of whatever “class” some of us originate from)and feel utter dumbfoundment at the record buying habits of people of “lower” down the social scale – ie I’d reckon the vast majority of buyers of this record were working class women of 25+ and with so little intersection socio-economically with those who bought “Beat Surrender” as to be virtually living in a parallel universe.

  40. 40
    wildheartedoutsider on 8 May 2009 #

    I think it’s a fair assumption that there was little cross-over between the customers who bought this and those who had bought the previous Number One! I suspect you are also right in suggesting that the average age-range of customer for this product was probably higher than that for the previous entry. I’m less convinced about the majority being “working class women” though – what is that theory based on?

  41. 41
    JonnyB on 9 May 2009 #

    Golly – was it just me, or was it all threatening to kick off a bit there? That’s the thing with Rene and Renato – the passion amongst the fans can sometimes cross the line into violence. Banned from several venues, I understand.

    Following AndyPandy #14 – yes – he was Italian. Hence the Italian voice. He did loads of light ent when the hit dried up and was on a couple of chatshows – I’m sure he hammed it up a bit, but came across basically exactly how you’d expect: a fairly uncomplicated, jovial, Italian restauranteur who’d have been rejected from a bit part in a drama about jovial Italian restauranteurs as being ‘too stereotypical’. A chance fell into his lap to make a record and – well, who wouldn’t?

    So I agree with many of the commenters here. It’s a naff one, but a score of 1 means that it can’t be any worse. And it can, oh God it can.

    Even though I don’t like the song, I can think of so many things more to say about it than Efficient-Jam-By-Numbers. Thinking about it hard, perhaps I’m defending it because I do mourn the inclusivity of the charts. It’s a cliche to say ‘there used to be something for everyone’, but I don’t begrudge the mums and grans their occasional number one (ahem – that might be a truly outrageously sexist remark – I apologise. I’m really talking about MY mum and my gran).

    After R&R, what was there for them, Cliff Richard aside? And although not having this sort of thing on my radio improves the quality of my life no end, the idea of generic ‘chart’ music depresses me. The fact that everything musically different was filed under ‘novelty’ – no room for light cod-opera such as this, but also no room for folk, or metal, or any number of other genres that didn’t fit.

    Perhaps I am wrong and look back on this with the opposite of rose-tinted glasses, whatever they may be. Shit-tinted glasses. Perhaps I should not look to R&R to champion this thesis.

    Agree lots with #32.

  42. 42
    Billy Smart on 9 May 2009 #

    #2 Watch: Two weeks of Shakin’ Stevens interpretation of ‘Blue Christmas’.

  43. 43
    fivelongdays on 9 May 2009 #

    @32 – Growing up in West Oxfordshire, I, and most of the people I hung round with the 90s, had a trace of what could, euphemistically, be termed a ‘burr’.

    The only band I can remember who sung anywhere near the way we talked were Reef, who (for all their faults) were unfairly pilloried for having West Country accents when they came from, erm, Somerset.

    A bit random, I know…

  44. 44
    wildheartedoutsider on 9 May 2009 #

    Yeah, I think the Wurzels had a similar problem being taken seriously with their West Country accents!

    I suppose that’s a major part of the problem with accents in songs – there is obviously a tradition of them being used for comedy purposes in novelty songs: “Goodness Gracious Me”, “Shaddap You Face”, “Donald Where’s Your Troosers”, etc.

  45. 45
    wichitalineman on 9 May 2009 #

    Re 43:

    “I hate the guts of Shakin’ Stevens for what he has done
    The massacre of Blue Christmas
    On him I’d like to land one on”

    Presumably Mark E Smith, if no one else, was pleased to see Renee & Renato keep the top spot at Christmas.

    Re 43: The Troggs from Andover weren’t taken too seriously by their manager – unless Larry Page was 100% serious in renaming two members Presley and Bond. I wonder if the Troggs Tapes would be less funny if they had any other accent?

  46. 46
    peter goodlaws on 10 May 2009 #

    Let’s face it, this was a piece of crap. I don’t agree at all that “the vast majority of the buyers of this record were working class women of 25+”. I would suggest that a good number of older working class men of 40+ were attracted to it as well – huge, uncultered, old white van type blokes, who smoke roll-ups, drink light and bitter and have wives who make Susan Boyle look like Helen of Troy’s tastier younger sister.

    Rosie – You’ve nearly had Waldo in tears with your sorry tale of your Mud-style Xmas with more tales of woe to come. He says he can’t believe anyone who seems to smile all the time could ever be miserable. Waldo’s always happy too, as you know, but that’s because the fat bastard’s always shot to fuck.

  47. 47
    wichitalineman on 10 May 2009 #

    Unlikely songwriter no.27: “Micky” by Toni Basil was written by Racey singer Richard Gower, originally as “Kitty”. Racey’s Smash And Grab album is about to come out on cd for the first time on the 7Ts label through Cherry Red. Nolans and Dooleys later in the year. I’m quite excited.

  48. 48
    wildheartedoutsider on 10 May 2009 #

    That seems MORE than unlikely to me… I think you’ll find it was written by Chinn & Chapman… who having also written “My Sharona” I would have thought were about the LEAST unlikely people to have written such a similar sounding song!

  49. 49
    katstevens on 11 May 2009 #

    I gave this a 2 because I managed to sit through the video right until the end.

  50. 50
    wichitalineman on 11 May 2009 #

    Oops. I shouldn’t go trusting Racey press releases, should I? Berton Averre and Doug Fieger of the Knack wrote My Sharona, tho.

    Kat, I’d still give the song 1 but I think the video is worth a 5. Somewhere between Mind Your Language and Mulholland Drive – what the hell is that creepy bedroom scene about, with Renee’s dissolving head?

  51. 51
    AndyPandy on 12 May 2009 #

    32,43 etc:

    the ‘burr’ (ie the rolling of the r’s etc) is common to what are known as “rhotic” accents was once common down the whole Western side of England (as little as 70 years ago).

    Now however it is confined to only the West Country and various parts of Lancashire (Burnley/Blackburn etc).

    So I wonder if pop music as we know it had existed say 90 years ago if we’d have been subjected to a whole lot of ‘burrs’ in the charts…

    46: Yes you’re probably right certain older working class men + many women of similar backgrounds of 25 or maybe 30+ (remember we’re talking people who’d now be well past 50). But they’re still people who wouldn’t generally have a clue about the Jam or any concept of what the music media thinks is “good” or “bad” music…

  52. 52
    AndyPandy on 12 May 2009 #

    Further to my comment related to 43: I can think of a couple of other appearances of a West Country accent in modernish-pop Beth Gibbons certainly shows signs of it on the last Portishead album and I seem to remember XTC occasionally showing traces of it

  53. 53
    wildheartedoutsider on 12 May 2009 #

    Oops from me too! Well, that tops my list of surprising non-writers then! I guess the similarities must be down to their distinctive production style!

  54. 54
    AndyPandy on 12 May 2009 #

    No 40: no great theory on working-class women buying this but can you really imagine any middle class or even aspirational working class women buying this. Back then even DLT and the most clueless Radio 1 djs were treating this record as a joke. The “working-class women over 25” bit was not to disparage them- far from it (I’m a person who’d never use the word “chav” for instance)but as a person who spent most of his life up until around 30 working etc with the kind of people who contained amongst their number people who’d buy stuff like this and didn’t give a toss about what even the Sun pop column had to say on the merits of various records.As I remember it they tended to be unreconstructedr working-class, female and agewise not as young as me those who were my age would have all been buying Evelyn King, Sharon Redd and the Funkmasters…

  55. 55
    wichitalineman on 26 May 2009 #

    K-Tel watch: the closing track (it had to be I suppose) on side one of Street Scene. The very “street” line-up went:

    1. Heartbreaker – Dionne Warwick
    2. I Wanna Do It With You – Barry Manilow
    3. Knock Me Out – Gary’s Gang
    4. Changes – Imagination
    5. Back On The Chain Gang – The Pretenders
    6. Jack & Diane – John Cougar
    7. Don’t Pay The Ferryman – Chris De Burgh
    8. I Don’t Want To Be The One – The Searchers (!)
    9. Danger Games – The Pinkees
    10. Give Me Your Heart Tonight – Shakin’ Stevens
    11. Save Your Love – Renee & Renato

  56. 56
    MikeMCSG on 15 Jul 2009 #

    For a long time this was the last no 1 to feature the drumming of former Tornados man Clem Cattini who famously played on more number 1’s than any other musician. That was until Tony Christie’s resurrection of “Amarillo” in the noughties.

  57. 57
    Daryl McGarry on 30 Jul 2009 #

    Oi. Quit bashing this sing! Renee and Renato are one of the best one-hit-wonders ever and is alot better that some of this modern rap r’n’b crap. And before you suggest it, i am not 45, i am 21. Just because i’m young, doent mean i cant appreciate good music. “Save your love my darling”, “just one cornetto” and his restaurant called “Renato’s” are lovely. Anybody know who the model was in the music video?

  58. 58
    Daryl McGarry on 30 Jul 2009 #

    I meant song^^

  59. 59
    rosie on 5 Aug 2009 #

    So it’s farewell Renato

  60. 60
    lonepilgrim on 5 Aug 2009 #

    am making mental note of surroundings so I can remember where I was when I heard the big R had died.

  61. 61
    Conrad on 31 Mar 2011 #

    28, in reverse, Erithian – Geoff Deane, original lead singer of Modern Romance, ended up writing for sitcoms like Birds of a Feather

    Anyway, I popped back back in here to remark that having had cause to listen to this the other day, it seems a very obvious attempt at replicating the success of Julio Iglesias the previous Christmas. And in that context doesn’t really appear as that surprising a release (It’s nowhere as good, mind)

  62. 62
    Edward on 17 Jun 2012 #

    Sadly Renato is no longer with us having succumbed to a brain tumour in July 2009 aged 69, however, notwithstanding the mickey taking and criticism, he was the proud possessor of a magnificent tenor voice. Three years before ‘Save your love’ was released I was at a function where he was a guest and brought the house down with a rendition of ‘Nessun Dorma’; he could also be heard during half time entertaining the crowds at Aston Villa FC during the early 90s. To top it all he was a lovely man too.

  63. 63
    Auntie Beryl on 15 Feb 2013 #

    Dividing line: the next number one I remember in full on Technicolor, this one I associate with childhood. And why not; it’s shite. Embarrassing nonsense that probably put me off pop music for the years six to eight. One out of ten.

  64. 64
    Romancehater2013 on 19 Jun 2013 #

    thus track used to have me in tears when I was when I was 11. I am now 40, and each time I see tears in Renee’s eyes as she tearfully farewells Renato, I say quietly “it ain’t no use! you won’t have me in tears any more!” or ” it won’t work now you filthy bitch!

  65. 65
    Romancehater2013 on 19 Jun 2013 #

    LOVELY MAN?! LOVELY MAN!? THAT FAT WOG WAS AN ARROGANT WOMANIZING SONOFABITCH WHO HAD FUCK ALL RESPECT FOR OTHERS’ FEELINGS, NAMELY MINE!!
    AS FAR AS i AM CONCERNED, EDWARD YOU STUCK-UP PIECE OF SHIT, YOU CAN KISS MY FAT, BLUBBERY ARSE!!

  66. 66
    Romancehater2013 on 19 Jun 2013 #

    this track used to have me in tears when I was when I was 11. I am now 40, and each time I see tears in Renee’s eyes as she tearfully farewells Renato, I say quietly “it ain’t no use! you won’t have me in tears any more!” or ” it won’t work now you filthy bitch!”

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