403 Hello Soft Cell- Tainted Love

Chart  entered : 1  August  1981

Chart  peak : 1  ( 43  and  50  in  separate  runs  in  1982, 43  in  1985, 5  in  1991

Number  of  hits  :  11

I celebrated  this  one  as  the  first  "futurist"  number  one  even  though  its  creators  were  quite  keen  to  eschew  any  association  with  the  New  Romantics.

Peter  Almond  ( born  1957 )  and  David  Ball  ( born  1959 )  met  as  Art  students  at  Leeds  Polytechnic  in  1978. Both  were  from  seaside  towns ( Southport  and  Blackpool  respectively  )  and  shared  a  love  of  Northern  Soul  and  electronic  music  particularly  the  pioneering,  if  often  unlistenable,  New  York  synth  duo  Suicide. Additionally  Peter  was  a  big  fan  of  Marc  Bolan  and  re-christened  himself  "Marc"  as  a  tribute.

They  called  their  group  Soft  Cell  and  soon  built  up  a  reputation  for  their  live  shows  which  mixed  synth-pop  with  sleazy  performance  art. In  October  1980  they  used  a  loan  from  David's  mother  to  record  the  EP  "Mutant  Moments" for  a  small  Yorkshire  label. Only  2,000  copies  were  pressed  which  unsurprisingly  are  now  very  collectible.  Though  roughly  recorded  it's  a  good  start  with  all  four  tracks  worth  a  listen. "Potential"  is  a  John  Foxx -like  drone  announcing  their  arrival  with  a fluctuating  tempo, "L.O.V.E  Feelings "  is  a  warmer  ditty  about  mirror-hugging  narcissism, "Metro  Mr X"  is  a  possibly  Perrin-influenced  poke  at  commuterdom  that  sounds  very  Human  League  Mk 1  and  "Frustration"  is  an  Everyman  howl of  pain  at  being  stuck  in  a  banal  life   where  a  treated  Marc  attempts  to  sound  like  Lydon  over  a  minimalist  rhythm  and  electronic  squeals  , the  most  Suicide-like  of  the  tracks.

Shortly  afterwards  the  duo  contributed  "The  girl  With  The  Patent  Leather  Face"  to  the  Some  Bizarre  album. It's  not  clear  whether  the  song   is  a    Ballardian   sci-fi  fantasy  or  a  sympathetic  look  at  a  girl  suffering  from  facial  deformity. Though  still  fairly  minimal   it  benefits  from  a  better  production  and  has  a  strong  chorus  demonstrating  Marc's  affinity  with  the  freaks  and  ghouls.

Unlike  Depeche  Mode  , Soft  Cell  did  sign  with  Some  Bizarre  which  was  backed   by  Phonogram. Their  first  single  was  "A  Man  Can  Get  Lost " produced  by  Daniel  Miller , a  fairly  uncompromising and  unmelodic   electro-throb  number  about  a  walk  around  Soho .  The  B-side  "Memorabilia"   attracted   club  attention   when  extended  in  a  dance  mix  on  the  12inch  single  and  is  much  better  remembered.

Phonogram  were  not  particularly  impressed  and  gave  them  another  single  to  save  themselves  leading  to  the  decision  to  cover  a  Northern  Soul  favourite  originally  recorded  by  Gloria  Jones  in  1965.  The  Popular  take  is  here : Soft Cell


 

402 Hello Debbie Harry ( solo ) - Backfired

Chart  entered : 1  August  1981

Chart  peak  : 32

Number  of  hits : 10

Well  now,  here's  the  first  of  two  hellos  from  The  Week  The  Music  Died. I  said  in  the  post  on  Wuthering  Heights  that  my  personal  Golden  Age for  music   began  with  that   reaching  number  one  and  ended  when  Green  Door  replaced  Ghost  Town  at  number  one.  We've  now  reached  precisely  that  point. Of  course  there  were  great  records  and  great  groups  to  come  - some  of  my  personal  favourites  haven't  even  appeared  yet  - but  the  days  of  liking  most  of  the  records  in  the  charts  were  now  over  for  me. I  guess  if  you're  not   John  Peel  or  a  professional  music  writer , someone  consciously  receptive  to  and  eager  for   "the  new" , however  far  outside  your  previous  comfort  zone  that  might  be , that  happens  to  everyone.

None  of  that  has  much  to  do  with  Debbie  Harry  launching  a  solo  career, one  of  the  major  music  stories  of  the  year. The  timing  seemed  right  for  her  and  partner  Chris  Stein  to  take  a  year's  sabbatical   from  Blondie , return  to  being  a  brunette  and  do  an  album  with  the  Chic  duo,  Nile  Rodgers  and  Bernard  Edwards , who  had  just  resurrected  Diana  Ross's  career. Blondie  had  enjoyed  three  number  one  singles  in  1980  and,  more  significantly,  had  seen  their  audience  move  with  them  as  they  turned  away  from  New  Wave  rock  into  synth-pop, reggae  and  rap. All  the  portents  therefore  were  good  but  unfortunately  the  title  of  this  single  proved  hilariously  appropriate.

"Backfired "  was  written  by  Rodgers  and  Edwards  but  is  neither  aspirational  nor  celebratory, instead  wandering  into  Steely  Dan  territory  with  Debbie  giving  the  brush-off  to  a  sleazy  suitor. Rodgers  contributes  a  typical  jangly  guitar  figure  for  the  song's  main  hook  ( and  a  rare  vocal  interjection  as  the  sleazeball )  but  it's  not  enough. Debbie  semi-raps  the  verses  before  the  aggravating  chorus  with  its  fussy  brass  lines. It's  not  outrageously  bad  but  compared  to  Blondie's  own  "Rapture"  or  the  recent  offering  from  her  CBGB's  contemporaries  Tina  Weymouth  and  Chris  Frantz ,  Wordy  Rappinghood , which  explored  similar   musical  territory  with  far  more  wit  and  invention,  it's  just  irritatingly  mediocre.

The  fact  that  its  lead  single  stiffed  in  the  thirties  didn't  augur  well  for  the  album  Koo  Koo  .
Unnecessarily  handicapped  by  its  grotesque  cover  of  Debbie's  skewered  face  designed  by  Alien-creator  H R  Giger   which  some  shops  refused  to  stock, it  entered  at  number  6  then  rapidly  dropped  out  of  the  charts. Like  the  single  it's  not  awful  - and  "Under  Arrest"  is  pretty  good - but  you  do  get  the  feeling  that  none  of  the  parties  have  brought  their  best  work  to  the  table  ( and  Jimmy  Destri's  pop  nous  is  sorely  missed )  and  it's  a  classic  case  of  two  and  two  making  three. For  a  woman  who  hadn't  put  a  foot  wrong  in  the  past  three  years  it  was  a  stunning  reverse. It  wasn't  terminal  or  else  we  wouldn't  be  talking  about  it   here  but  Debbie  would  never  fully  recover  the  ground  she  lost  that  summer.  

401 Hello Kirsty MacColl - There's A Guy Works Down The Chip Shop Swears He's Elvis

Chart  entered : 13  June  1981

Chart  peak : 14

Number  of  hits : 10

Kirsty's  another  artist  who  only  gets  in  here by  the  skin  of  her  teeth  as  her  success  was  pretty  intermittent  but  she's  worth  the  attention.

Kirsty  was  born  in  1959  to  the  renowned  folk  singer  Ewan  MacColl  and  his  English  wife  Jean,  not  long  before  he  dumped  her  for  Pete  Seager's  sister  with  whom  he  already  had  a  son. Kirsty  missed  a  lot  of  school  through  chronic  asthma  but  was  smart  enough  to  catch  up  and  be  featured  in  a  documentary  about  gifted  children. On  leaving  school  she drifted  into  the  punk  scene  and  joined  the  band  The  Drug  Addix  as  a  backing  singer  under  the  name  Mandy  Doubt. They  released  one  EP  on  Chiswick  "Make  A  Record "  in  June 1978. The  lead  track  was  a  Lou  Reed  pastiche  " Gay  Boys  In  Bondage"  which  with  its  blatant  references  to  buggery, drugs  and  four  letter  words  , wasn't  exactly  tailored  for  radio  play. Kirsty's  most  prominent  on  the  equally  crude  and  misogynist    "Special  Clinic"  about  catching  VD.

Stiff  checked  them  out  but  decided  that  only  Kirsty  was  worth  pursuing  and  signed  her  on  a  solo  deal. Kirsty's  first  single  for  them  was  the  gorgeous  Spector-pop  tale  of  forbidden  love  "They  Don't  Know"  in  June  1979  which  got  a  lot  of  airplay  but  failed  to  be a  hit, due, according  to  received  wisdom , to  an  untimely  strike  at  Stiff's  distributors.  It  of  course  was  a  number  two  hit  for  Tracey  Ullman  four  years  later. It  was  made  with  Kirsty's  blessing  and  she  sang  the  high  bits  that  Ullman  couldn't  manage  including  the  heart-stopping "Baby "  that  heralds  the  third  verse.

Kirsty  recorded  a   confessional  follow  up  "You  Caught  Me  Out"  with  some  of  the  Boomtown  Rats  in  a  more  conventional  New  Wave  style  , sounding  like  Martha  and  the  Muffins   ( meant  as  a  considerable  compliment ). However  Kirsty  was  disillusioned  with  the  label  and  left  before  the  single  was  due  to  be  released  resulting  in  its  cancellation. Despite  her  acrimonious  departure  from  the  label  she  remained  on  good  terms  with  some  of  the  artists  and  made  her  Top  of  the  Pops  debut  in  May  1980  backing  Jona  Lewie  on  You  Will  Always  Find  Me  In  The  Kitchen  At  Parties. 

Kirsty  found  a  new  home  on  Polydor  and  released  her  first  single  for  them  early  in  1981  , a  cover  of  "Keep  Your  Hands  Off  My  Baby"  Little  Eva's  forgotten  follow-up  to  The  Locomotion.  Kirsty's  is  a  good  version   with   excellent  vocals  and   some  nice  sax  work  but   still  feels  slightly  redundant  and   it  sank  without  trace.  

"There's  A  Guy  Works  Down  The  Chip  Shop  Swears  He's  Elvis"  was  co-written  with  pub  rock  guitarist  Phil  Rambow. It's  a  fast-paced  rock  and  roll  number; Billy  Bremner's  presence  on  guitar  makes  it  sound  like  a  Rockpile  number  though  he  was  the  only  member  on  the  recording. Over  that  Kirsty  tells  us  of  an  untrustworthy  boyfriend  in  similar  terms  to  You're  So  Vain   with  a  confusing  mix  of    British  and  American  references. The  actual  guy  at  the  chippy  is  no  more  than  a  benchmark  of  unreliability  who  has  no  other  function  in  the  tale. Kirsty  sings  with  a  country  and  western  inflection  indicating  her  willingness  to  hop  across  musical  genres  before  unleashing  a  catchy  chorus.

The  single  was  a  fair-sized  hit  after  a  lot of  airplay  on  Radio  One. Because  of  the  unusually  long  and  apparently  jokey  title  and  Kirsty's  lack  of  a  track  record  in  the  charts,  it  did  have  the  feel  of  a  one  hit  wonder  and  it  proved  quite  difficult  for  Kirsty  to  overcome  that.

400 Hello Killing Joke - Follow The Leaders

Chart  entered : 23  May  1981

Chart  peak : 55

Number  of  hits : 15

Here's  another  act  who've  made  me  think  they  might  be  worth  investigating  further  but  I've  never  got  round  to  it.

Killing  Joke  started  in  the  autumn  of  1978  when  Jeremy "Jaz" Coleman ( born  1960 )  briefly  joined  the  backing  band  for  a  singer  called  Mataya  Clifford  whose  career  never  took  off. Jaz  was  an  interesting  character  to  say  the  least, the  son  of  an  English  father  and  Anglo-Indian  mother  ,reportedly  from  a  very  high  caste  family. He  was  a  classically  trained  pianist  and  violinist  who'd  sung  in  cathederal  choirs. He  persuaded  drummer  Big  Paul  Ferguson ( born  1958 )  to  quit  Clifford  and  form  Killing  Joke.  An  ad  in   Melody  Maker  produced  the  other  two  members  , guitarist  Kevin  "Geordie"  Walker  ( born  1958 )  who'd  never  played  in  a  band  before  and  Martin "Youth"  Glover  ( born  1960  )  who'd  been  in  a band  with  Jim  Lydon  called  4  Be  2. Their  single  "One  of  the  Lads"  is  a  prime  example  of  younger  brother  idol-worship  sounding  like  Death  Disco  with  added  banjos. Martin  supplied  the  Wobble-like  bass  line.

Killing Joke  played  their  first  gig  in  August  1979  supporting  The  Ruts  and  The  Selecter. Their  first  release  is  a  bit  confusing. Having  set  up  their  own  label  Malicious  Damage  they  signed  a  deal  with  Island  to  distribute  the  records. In  October  1979  they  released  the  EP  "Turn  To  Red", with  three  tracks, "Turn  To  Red", "Nervous  System" and  "Are  You  Receiving". The  first  two  tracks  are  PiL- like  experiments  with  dub  and  reggae  and  the  latter  a  jagged, tuneless  but  controlled  burst  of  punk  aggression. Both  Peelie  and  John  Lydon  immediately  backed  them. In  November  Island  released  "Nervous  System"  as  a  conventional  single  and  the  following  month  the  EP  again  with  an  extra  track  "Almost  Red"  which  is  little  more  than  a  synth  doodle  re-working  the  I  Feel  Love  bass  line.

Before  the  next  record  they  switched  the  distribution  from  Island  to  E.G.Records. "Wardance"  in  March  1980  sounded  like  nothing  else  around  at  the  time,  the  savagely  barked  vocals  ( like  The  Stranglers'  Jean-Jacques  Burnel  taken  a  stage  further )  warning  of  some  unspeakable  apocalypse  ,  the  discipline  and  muscle  of  the  band's  metallic   rock   sound   and  complete  absence  of  any  concession  to  melody. Their  eponymous  debut  album  followed  in  August  honing  this  sound  although  Jaz's  voice  isn't  always  so  hard  on  the  ear  and  some  tracks  such  as  the  follow-up  single  "Requiem"  work  synthesisers  into  the  sound  mix.  If  you  can  cope  with  the  complete  absence  of  anything  like  a  tune  and  Jaz's  unremittingly  bleak  worldview  it's  an  invigorating   listen  and  certainly  Nirvana,  Metallica, Marilyn  Manson  have  all  paid  tribute  to  its  influence. It  reached  number  39  in  the  charts

"Follow  The  Leaders "  , their  fourth  single  grafts  their  hard  rock  aggression  onto  an  electrodance  backing  track  that's  pretty  similar  to  Fascist  Groove  Thang.  With  the  track  anchored  by  a  brutalist  drum  machine,  Paul  takes  the  opportunity  to  out-drum  Adam  and  the  Ants  throughout  the  track  while  Jaz  spits  out his  anti-conformist  diatribe.  Again  it's  completely  tuneless. It  was  perhaps  the  least  commercial  chart  debut  of  the  year.
    

399 Hello Imagination - Body Talk

Chart  entered : 16  May  1981

Chart  peak : 4

Number  of  hits : 12

Their  campy  presentation  didn't  endear  them  to  purists  but  unless  I've  forgotten  someone  Imagination  remain  Britain's  most  successful  all-black  soul  band.

A  couple  of  personal  notes  here. We've  now entered  the  period  when  I  was  buying  a  weekly  music  paper- usually  Record  Mirror  - on  a  regular  basis . This  was  also  the  record  which  finally  proved  that  my  voice  had  broken  as  attempts  to  sing  along  with  the  high  notes  ended  in  failure.

Imagination  started  forming  in  1980  when  Leslie  "Leee"  John  (  born  1957 ) who'd  been  working  as  a  falsetto  backing  vocalist   for  soft  soul  acts  such  as  The  Delfonics  and  The  Elgins  met  guitarist/ bassist   Ashley  Ingram  ( born  1960 )  and  decided  to  form  a  songwriting  partnership  initially  under  the  name  of  Fizzz. They  then  recruited  a  drummer Errol  Kennedy  ( born  1953 )  from  another  soul  band,  Midnight  Express. Errol was  the  older  brother  of  Opportunity Knocks  winner  and  light  entertainment  fixture   Grace  Kennedy.

Taking  the  name  Imagination  as  a  tribute  to  John  Lennon  they  sent  a  demo  of  "Body  Talk"  to  producers  Steve  Jolley  and  Tony  Swain  who'd  recently  been  working  with  Irish  singer Joe  Dolan. Swain  and  Jolley  did  enough  buffing  up  to  earn  themselves  a  co-writing  credit  and  it  was  released  on  new  label  R & B  Records.  "Body  Talk"  is  a  languorous  smooth  soul  number  about  sex  underpinned  by  Ashley's  crunchy  bassline  and  Errol's  rocksolid  backbeat. Leee, sounding  a  lot  like  Stylistics's    Russell  Tompkins  Jr, handles  most  of  the  vocal  duties   although  Ashley's  more  manly  tones  come  in  with  a  couple  of  lines  each  verse. Leee  also  handles  the  keyboard  duties  , both  the  synth  washes  and  the  laconic  grand  piano  that  would  become  something  of  a signature  sound. I  had  a  sneaking  regard  for  it  at  the  time  and  it  has  held  up  well. The  band  promoted  its  themes  by  wearing  jackets  without  a  shirt  and  loose  fitting  trousers  without  underwear  which  boosted  sales  at  the  time  if  not  their  long  term  credibility.

398 Hello Depeche Mode - Dreaming Of Me

Chart  entered : 4  April  1981

Chart  peak : 57

Number  of  hits : 46

From  this  pretty small  acorn  sprang  one  of  the  biggest  bands  in  the  world.

Depeche  Mode  started  to  come  together  in  1977  when  Basildon  schoolmates  Vince  Clarke
and  Andy  Fletcher  formed  a  shortlived  band  called  No  Romance  In  China.  By  1979  Vinnce  had  moved  on  to  a  band  called  The  Plan  with  his  friend  Robert  Marlow. Marlow's  next  band  The  French  Look  featured  a  young  guitarist  Martin  Gore  who  had  been  part  of  an  acoustic  duo  Norman  and  the  Worms. In  1980  Martin, Vince  and  Andy  got  together  to  form  Composition  of  Sound   and  play  electronic  music  inspired  by  Vince's  love  of  the  OMD  single  Electricity. As  none  of  them  wanted  to  sing  Vince  recruited  Dave  Gahan  after  hearing  him  sing  Bowie's  Heroes  at  a  jam  session  in  a  local  scout  hut . They  changed  their  name  to  Depeche  Mode  based  on  a  French  fashion  magazine  and  played  their  first  gig  in  May  1980  at  Martin  and  Andy's  school.

The  band  attracted  attention  in  a  remarkably  short  time  and  they  were  receiving  offers  by  the autumn. As  they  were  supporting  another electronic  pioneer  Fad  Gadget they  were  approached  by  his  producer  Daniel  Miller  who  had  put  out  records  himself  as  The  Normal  and  The  Silicon  Teens  whose  version  of  Memphis  Tennessee  had  failed  to  chart  in  1979  despite  considerable  airplay  that  summer. However  their  first  meeting  didn't  go  well  and  they  turned  to  Stevo  Pearce  who  was  setting  up  his  own  Some  Bizarre  label  and  offering  to  put  the  new  electronic  acts  on  a  sampler  album  without  them  having  to  commit  themselves  to  the  label. Pearce  wanted  Miller  involved  and  it  was  the  latter  who  suggested  "Photographic"  as  the  track  to  record.  "Photographic"  ( in  a  rawer  version  than  the  one  that  appeared  on  Speak  And  Spell  )  is  a  good  reminder  that  there  was  darkness  in  their  music  before  Martin  took  over  from  Vince  as  their  songwriter. Incidentally  Depeche  Mode  are  the  first   of  four  acts  ( out  of  twelve )  on  the  album  to  appear  here  which  is  a  credit  to  Pearce's  talent-spotting  and  a  much  better  strike  rate  than  the  vaunted  C86   a  few  years  later ( 2  from  22 ).

The  album , released  in  early 1981 , increased  the  interest  from  other  labels  with  Phonogram  making  a  big  offer  but  the  band  decided  to  record  their  first  single  with Miller's  Mute  label  and  see  how  that  went  before  signing  for  a  big  label. Thirty-four  years  later  they're  still  with  Mute  although  the  label  hasn't  been  truly  independent  since  2002.  

"Dreaming  Of  Me "  is  a  chirpy  little  synth-pop  ditty  at  medium  pace  with  a  lyric  seemingly  from  the  point  of  view  of  a  narcissistic  film  star . Dave's  blunt  nasal  vocal  is  backed  up  by  some  charmingly  raw  harmonies. It's  far  from  their  best  song  even  at  the  time  and  I  think  the  band  themselves  were  surprised  that  it  saw  some  chart  action. It's  one  of  the  few  singles  in  my  collection  ( the  others  that  spring  to  mind  are  by  The  Jam  )   where  the  B-side  is  indisputably   the   better  song,  the  sinister  "Ice  Machine " having  all  the  cold  drama  that  the  A-side  lacks  even  if   Vince's  lyric  is  impenetrable.

397 Hello Bucks Fizz - Making Your Mind Up

Chart  entered : 28  March  1981

Chart  peak :  1

Number  of  hits : 20

Buck's  Fizz  are  unique  in  being  the  only  act  specifically  put  together  for  the  Eurovision  Song  Contest  to  achieve  sustained  success  thereafter; of  course, actually  winning  the  damned  thing  helped ! They  represent  the  pinnacle  of  Eurovision  influence  on  the  chart ; just  five  years  later  Ryder's  Runner  In  the  Night  failed  to  chart  and  only  one  British  runner  has  topped  the  chart  since  ( Gina  G  in  1996 ).

Buck's  Fizz  were  the  creation  of  Andy  Hill  and  his  girlfriend  Nichola  Martin  and  were  something  of  a  bet-hedging  exercise  as  the  duo  were  also  competing  in  the  1981  British  heat  as  performers  in  the  group  Gem . Hill  had  achieved  some  success  writing  advertising  jingles  while  Nichola  had  been  trying  to  make  it  as  a  singer  throughout  the  seventies  in  various  outfits  including  one  called  Rags  who  contested  the  1977  British  heat. During  this  period  Martin's  paths  had  crossed  with  another  struggling  outfit  called  Brooks  and  she  called  on  one  of  their  ex-singers  Mike  Nolan  ( born 1954 )   to  help  her  record  Hill's song  for  a  demo.

Brooks  were  an  early  boy  band  put  together  by  future  Shakin  Stevens  manager  Freya  Miller  and  originally  featured  Chris  "Limahl  "  Hamill. Founded  in  1976  it  took  them  three  years  to  even  get  a  record  deal  with  Polydor  despite  a  fair  amount  of  TV  exposure. Roger  Greenaway  became  involved  with  them  and  wrote  the  last  three  of  their  five  singles , only  one  of  which  "Don't  You  Know  A  Lady"   I've  heard . The  verdict  is  very  dated  bubblegum  disco.  By  the  end  of  1980  neither  Polydor  nor  Miller  were  interested  in  the  group  any  more  and  they  broke  up.

Mike  and  Martin's  demo  got  accepted   for  A  Song  for  Europe  so  they  now  needed  to  put  a  group  together. Martin  invited  Cheryl  Baker  ( born  1954  as  Rita  Crudgington  )  and  decided  to  hold  auditions  for  another  male  and  female  ( in  case  Cheryl  declined ). Cheryl  was  something  of  a  Eurovision  veteran  having  tried  three  times  with  her  group  Co-Co. In  1976  they  came  second  in  the  British  heat  with  an  Arrows  song  "Wake  Up ".  After  a  couple  of  self-written  singles  in  the  meantime  including  the  Dooleys-like  "Money  Song"   they  were  back  with  "The  Bad  Old  Days"  an  Abba-meets-Mary  Hopkin  confection  which  became  the  UK  entry  but  only  came  11th  in the  Final, the  UK's  worst  ever  performance  at   the  time  but  we'd  probably  settle  for  it  now.  After  two  more  self-written  singles  they  had  a  third  crack  now  renamed  The  Main  Event  in  1980  with  the  song  "Gonna  Do  My  Best"  written  by  group  leader  Terry  Bradford. Unfortunately  this  dire  disco  effect  which  makes  The  Dooleys  sound  like Chic, wasn't  good  enough  and  they  placed  last  in  the  British  heat. That  finished  the  group  off  and  left  Cheryl  free  to  accept  Martin's  invitation.

From  the  auditions,  Martin  chose  Stephen  Fischer  but  he  was  unable  to  square  it  with  his  commitments  in  the  musical  Godspell   so  the  spot  went  to  runner-up  Bobby  "G" Gubby, ( born  1953 ) a  pub  singer.  Having  decided  against  appearing  in  two  different  groups  Martin  surrendered  her  place  to  the  best  of  the  female  auditionees, sexy  teenager  Jay  Aston.

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