What is a hit tune? The producer of "Top of the Pops", a keen student of such things, reckons that, to be a hit, a tune must arouse a desire to possess. Ever since Man, having outlived the Sabre-toothed tiger, found time to whistle, there have been hit tunes. Most of these have their day and go their way; but every now and then one comes along which for some reason is different. It ENDURES. Take "Greensleeves", for example. Old Henry VIII, to whom it is generally attributed, admittedly was in a marvellous position in his day to influence the plugging; and might well have made it a hit by unfair trading. But, without its sheer quality, it could never have survived the centuries. The Hallmark "Top of the Pops" series was first released in June 1968, with the top session musicians and singers coming together to record the hits of the day. Fourteen years, 92 albums and millions of sales later, the series came to an end, although copies of the originals continue to turn up at charity shops the country over! Indeed, the original "Top of the Pops" series has developed a kitsch market all of it own. But back on the late 60s (and in all the subsequent years) those records accomplished their purposes. I think that everyone older than 55 has danced at least a couple of times to the sound of the "Pops", in those kid's afternoon garage's parties. And which one of you hasn't one copy or two of those albums? So, to remember those old and candid dancing parties (something that don't exist anymore for a long long time), Rato Records has assembled 32 outstanding tracks of the "Top of the Tops" series (from 1969 to 1971, because those are Rato's party years) and brought them together in two CD's. And if, in a few hundred years' time, your descendents find a "Greensleeves" or two in this collection, I will not be a bit surprised.
Inside the files, you'll find the first 21 original covers, from 1968 to 1971. The cover girls on the first eight discs were a mxed bunch, though mercifully whoever was responsible for the cutting out of the poor woman on Vol 1 (she lost half her hair in the process) didn't last long. The idea seems to have been to present an agreeable image that wouldn't put anyone off buying the albums. If there was a theme it was head-gear - hats, headbands and scarfs adorn the first six models. With Vol 7 the pulses quickened with a glimpse of a leather mini-skirt and on Vol 8 the first bikini - albeit a vaguely Christmassy affair (it was on sale during Nov/Dec 1969) in white fur! Now and then our corporate ears start to glow at a pleasant bit of news, such as when the girls of a factory floor sent a message to the effect that they've pretty much stopped buying singles, being now content to wait for each successive Hallmark LP.And it was true; "The Top Of The Pops" albums were starting to make the industry take notice, as people could buy a dozen potential hits for around 13s 11d. The cover girls also began to get a little more provocative as Hallmark gained confidence. So in 1970 the skirts got shorter (especially on Vol 9!) and the poses were certainly less inhibited than before. As 1971 came round, they risked all and went with the first glimpse of nudity initially with an open shirt and then a see-through top which, with the colours relected in the cover titles, was one of the best sleeves to date. The cover images became also a little more professional too (Vol 17 aside - surely a left over image from the first year?) but the basic layout of a simple border design with titles inside, plus the "The Top Of The Pops" logo which had adorned Vol 1, remained the same. It was this generic feel which contributed to the series' success (and which seems to have made them the most collectable of these cover albums today). Fashion historians can also deduce that 1971 was the year Hot Pants came in - while the bullet belt on Vol 20 was a must have accessory amongst many rock bands.
