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6 of 6 people found the following review helpful:
2.0 out of 5 stars
Nice idea poorly realised, 8 Jan 2000
By A Customer
The stories behind number one hits are often among the most fascinating in pop music. Such a coveted position often seems to be achieved purely through luck; nevertheless, an examination of the number ones of an era provide an interesting microcosm of the musical scene of that time.Sharon Davis' recent work purports to provide a "comprehensive year-by-year, month-by-month" examination of the singles that topped the hit parade during the 1980s. At first glance, the book looks thoroughly inviting. The treatment looks far more substantial than that offered by the Guinness Book of Number One Singles, and the reviews look fact-packed and entertaining. Unfortunately, deeper reading reveals a number of less pleasing aspects. Most irritatingly, Ms Davis deals only with a selection of number one hits from the eighties, and a dull selection at that. If you are a fan of Jive Bunny and the Mastermixers (and let's face it, why wouldn't you be?), you will find none of their three number one hits here. Fans of Renee and Renato, the Timelords and the Joe Dolce Music Theatre will be similarly disappointed. Instead, the book concentrates on the frequently-told stories behind the most major (and often most boring) acts, often at excessive length. The Lionel Richie "story", for example, clocks in at eight pages. Secondly, factual errors in the book betray careless research and lack of knowledge of the eighties. To take just one (albeit glaring) example, the classic Jam hit "Beat Surrender" is referred to throughout the book as "Beat Survivor". Even the most cursory glance at British Hit Singles would have revealed this error. The criticism may be niggling, but reference books need to be reliable if they are to have any credibility at all. Thirdly, the author is torn between the need to produce a solidly factual account of various artists' careers, and the desire to take a critical position. Unfortunately, this dilemma is "resolved" by an absurdly uncritical stance throughout the book. The lamentable Barbara Streisand, for example, is described thus: "She really is respected equally as a singer, an actress and a businesswoman. Her talent is awesome, her vision international. She really is a jewel among jewels." One wonders how much Ms Streisand paid the author for this glowing, if utterly misplaced, tribute. Intriguingly, the only act in the first half of the book who are damned with faint praise is German techno pioneers Kraftwerk, whose "The Model" must surely rank as one of the decade's finest moments. Whilst I respect Ms Davis' right to her own opinions, the decision to publish views so at odds with the average eighties music fan seems curious. All of which is a pity, because Ms Davis' idea is a good one, and she has researched many parts of the book thoroughly. But all in all, the reader suspects that her primary musical interests lie with earlier decades, and she has little genuine interest in the eighties. For the time being, then, stick with the Guinness Book of Number One Singles for a more satisfying approach.
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