Do you ever find yourself trying to remember a time before huge events had happened and had entered the world’s consciousness and what that felt like? Is it possible to access that part of your memory or does it no longer exist as any recollections you may have had up to that point can now only be viewed through the filter of those happenings?

Is that too heavy an intro for a post in a blog about 90s chart music? Too weighed down in the existential? Probably as I’m not referring to personal life changing occurrences like the birth of a child or the death of a loved one. I’m not even referring to world events like 9/11 or COVID. No, I’m talking about times before we had ever heard of a particular song or artist (well, in my defence, it is a music blog as I said earlier).

I touched on this subject the other week when we got our very first airing on TOTP of “(Everything I Do) I Do It For You” by Bryan Adams before it had even got to No 1 let alone staying there for 16 weeks. I’m reminded of that theme again this week as the date of this TOTP was around the exact same time that the debut single by a group came out who the vast majority of us had never heard of but from whom it would be impossible to escape in the years to come. I refer, of course, to Take That! Yes, 30 years ago in mid July their first ever single “Do What U Like” was released to a massive shrug of indifference from the public. It made zero impression on the charts despite the efforts of the put together boy band to build a fan base by playing endless shows in schools and clubs. They even made a saucy video involving naked buttocks and jelly smearing to gain them some profile although that did seem to rather shoot them in the foot as it couldn’t be played on daytime TV.

They did manage a small Top 40 hit when their next single “Promises” scrambled it’s way to No 38 but they were back pushing their faces up at the chart window again when third single “Once You’ve Tasted Love” failed to do the business. At this point they seemed destined to fall by the way side like so many other pop wannabes down the years and they couldn’t really blame their marketing and promotion teams – they had loads of press in the teen mags and were constantly being talked up as the next big thing.

At some point around this time, Gary Barlow came into the Our Price store where I worked in Manchester. We all knew who he was due to their aforementioned press coverage. As he wandered around the store, my co-worker Craig decided to follow him around mouthing behind his back “nobody buys your records, nobody buys your records”. Cruel but undeniably funny. Of course, Barlow had the last laugh as they finally hit pay dirt with their very next release “It Only Takes A Minute” and the rest was history. Hit after hit followed including 8 No 1s before they called it a day in 1996. The hits and affection for the band were still there when they reformed in 2006 as they took on near national treasure status. All of this and I haven’t even mentioned the ubiquitous Robbie Williams!

So, in conclusion and in answer to the question “is it possible to recall a time before household names entered our lives and how that felt?” then yes it is as a small part of me will always have a mental image of Craig following Gary Barlow around Our Price openly mocking him when I hear the words ‘Take’ and ‘That’!

Blimey! That intro was so long that I feel I should be tying up this post by now but I haven’t even got to the first act on tonight’s show which is…DJ H featuring Stefy. Oh. I think this lot had a hit earlier in the year but I’ve forgotten what it was called already. This track went by the title of “I Like It”, three words that proved beyond host Bruno Brookes who introduces it as “you need it and you love it”. WTF?!

Anyway, this was just more nasty Italian House but the real dregs of the genre I would suggest. Clearly the woman up there isn’t the actual singer. At points she sounds like Martha Wash who supplied the vocals for Black Box’s ‘Ride On Time” and at others like Aretha Franklin so I’m guessing there are samples of both those singers in the mix somewhere. So boring is the performance visually (Steffi herself hardly moves at all and can’t even get her miming to the few lines she has right) that the TOTP producers include loads more shots of the studio audience than they usually would. Not only that but they are dancing! Or attempting something that approximates to dancing at least – it seems to just be jumping up and down in most cases. Right at the end of the song, it sounds like the backing track is being played on warped vinyl as it carriers crazily off beat. Surely it wasn’t meant to sound like that was it?

“I Like It” peaked at No 16.

It’s the Paula Abdul video for “Rush Rush” again next (the third time it’s been played I believe). This was pretty much the end fo the road for Paula as a successful pop star. She managed one more UK hit of the “Spellbound” album from which “Rush Rush” was taken and then one final solitary Top 40 entry in 1995. She only actually made three studio albums of which the final one “Head Over Heels” was a big commercial disappointment compared to her first two. That’s not to diminish her chart stats though. She did have six US No 1 singles and two No 1 albums after all and set a record for the most No 1 singles from a debut album on the Billboard Hot 100.

The four years between her second and third albums though was a lifetime in the music industry and nobody was that arsed when she finally returned. In that time she married and divorced the actor Emilio Estevez and also sought treatment for bulimia so it’s hardly surprising that she took her eye off the ball of her music career. She did however, re-invent herself as a reality TV judge working on shows like American Idol, Live to Dance and The X Factor and also was seen as a big enough draw still to undertake a Las Vegas residency from August 2019 to January 2020.

When Andy McCluskey decided to carry on the OMD name after the departure of his writing partner Paul Humphreys (plus band members Martin Cooper and Malcolm Holmes) at the end of the 80s, he surely couldn’t have imagined the success he would have had straight off the bat with the single “Sailing on the Seven Seas” and the album “Sugar Tax” with both hitting No 3 in their respective charts. So when second single “Pandora’s Box” was lifted from the album and followed its predecessor into the Top 10, he must have been tempted to do the lottery that week (had it been invented by then which it hadn’t) as his Midas touch seemed to know no bounds.

My sister’s then boyfriend was obsessed with this song apparently and bought every available version of it that was released including a limited edition collector’s CD single which came housed in a rather neat little wooden box. I’m pretty sure we had this version in the Our Price I was working in at the time.

“Pandora’s Box” seemed to be a much more straight forward type of pop song compared to its more quirky, shuffling predecessor. The verses were fairly pedestrian but the pay off of the uplifting chorus was more than worth the wait.

Inspired by silent film actress Louise Brooks and named after the 1929 film Pandora’s Box in which she starred, the single was retitled “Pandora’s Box (It’s a Long, Long Way)” for the American market but God knows why? A similar practice had been inflicted upon a single by The Icicle Works who’s song “Birds Fly (Whisper to a Scream)” was reversed for its US release as “Whisper to a Scream (Birds Fly)”. Weirdos.

“Pandora’s Box” would peak at No 7 and was directly responsible for a spike in sales of the album around this time.

C+C Music Factory are up next (or CeCe Music Factory as Bruno Brookes mispronounces it) with their “Things That Make You Go Hmmm…”single, talking of which, does that bass line sound a bit like the one used so majestically in “Groove Is In The Heart” by Dee-Lite? Hmmm. Anyway, the track had plenty more hooks to it including that saxophone riff which is recycled at the end of every line. Sometimes it’s the little things like that which can make a song (see also that ringing almost tinny sounding double strummed guitar chord in “She Sells Sanctuary” by The Cult).

Oh and that lyric about ‘playing tic tac toe’? Nothing to do with noughts and crosses apparently. It refers to when you have sex with three different partners in one night according to the urban dictionary. You learn a new thing or three every day.

1991 saw the release of not only some of the biggest selling albums of the whole decade but also some of the most iconic. Look at some of these albums for a start

All released within the calendar year of 1991. However, no such list could be compiled without including not one but two albums released in the same year by one band. That band was, of course, Guns N’ Roses and the albums were “Use Your Illusion I” and “Use Your Illusion II” both released on the same day (17th September) to much fanfare and excitement. Two albums by a huge artist on the same day! Long before the Blur vs Oasis chart battle, this was a majorly significant event in the record industry. Within six months though the practice would appear old hat as Bruce Springsteen followed suit with the “Human Touch” and “Lucky Town” albums both released on 31 March 1992.

Before that Guns N’ Roses day in September though, we had the first new material from the band of the decade (although the track “Civil War” had appeared on the charity album “Nobody’s Child: Romanian Angel Appeal” in 1990) with the single “You Could Be Mine”. Not only would it in effect be the lead single from the “Use Your Illusion II” album but it was also being used prominently in the soundtrack to one of the biggest films of the year, the much anticipated Terminator 2: Judgment Day the sequel to 1984’s Terminator. The flick was a huge success becoming the highest-grossing film of 1991, beating Robin Hood: Prince of Thieves (more of which later) into the process.

“You Could Be Mine” seems a perfect fit with the film and was used during the ending credits and in the film itself in early scenes with John Connor and that’s despite it having what would normally be seen as the impediment of having a one-minute drum and guitar intro. The video is basically just a straight in concert performance intertwined with some action sequences from the film but it’s all held together by the fairly weak premise of Arnold Schwarzenegger as the Terminator himself being dispatched to assassinate the band after the gig. Somehow though despite the hokey ending as Arnie finally catches up with the band as they leave the venue and deciding that killing them would be a ‘Waste of Ammo’, it all kind of hangs together and just works; for me at least.

“You Could Be Mine” would peak at No 3 and would herald a run of seven singles taken from across both “Use Your Illusion” albums stretching into 1993 when the final “Civil War EP” was released.

https://youtu.be/6j0HfZCP-og

A rare in the studio appearance from Billy Bragg next as he performs his “Sexuality” hit single. To be honest, it’s nowhere near as much fun as the video we saw in the Breakers last week, shorn as it is of Kirsty MacColl in the background making small dick gestures behind Billy’s back plus some admirable attempts at slapstick humour from the Braggster himself.

So what was “Sexuality” all about anyway? There is a lot of online discussion about some of the lyrics references. What was the significance of an uncle who once played for Red Star Belgrade or of a nuclear submarine sinking off the coast of Sweden? I think a lot of it was just Billy playing around with word puns like rhyming ‘Sweden’ with ‘read them’ and Robert De Niro with Mitsubishi Zero (which wasn’t a car at all but a Japanese WWII fighter aircraft). My general reading of the song is that it’s a celebration of sexual freedom in whatever form that takes.

I saw Billy in concert in Dublin in 2006 and in the middle of his set an extremely pissed fan got out from his seat and wondered up the aisle to the stage waiving an autograph pad. Billy handled it pretty well but you could see that it really annoyed him as he issued the withering put down “I’m working mate”.

“Sexuality” peaked at No 27.

Another video from another big rock band next as after Guns N’ Roses we now get INXS with “Bitter Tears”. This was another track from their “X” album and managed to immediately see off the possibility of a run of flopped singles from the band. Despite the album having been out for 9 months by this time and “Bitter Tears” being the fourth and final single from it, another Top 40 miss (previous single “By My Side” only made No 42) was avoided when it made it to a peak of No 30.

As Bruno Brookes hints at in his intro, the band were about to play a huge gig at Wembley stadium on 13 July 1991 as part of their Summer XS tour to a sold-out audience of 74,000 fans. The band would never play live to a bigger crowd. It was recorded and and filmed and would become the live album “Live Baby Live” which would be released in the November. “Bitter Tears” was included in the set list for the concert but didn’t make it onto the track listing for the album (it did however feature in the video of the gig).

The style of the promo video for “Bitter Tears” follows the well worn template that all the band’s videos seemed based on. A straight performance of the song filmed in black and white with a few cut away graphics thrown in to maintain interest. I’m not sure if they were all shot by the same director but if they were, he or she did seem to be a one trick pony.

After Guns N’ Roses sang “You Could Be Mine” earlier in the show, here were Bros being even less decisive with “Are You Mine?”. The 90’s pop career of Bros after their late 80s success could not be better summed up than by the phrase the ‘after the Lord Mayor’s show’. The biggest group in Britain at the height of Brosmania, by the time the new decade was getting into its stride, they were an afterthought at best. Seriously, who thought a third album by the Goss twins was a good idea? A third one though they did make and it was called “Changing Faces”. It struggled to a high of No 18

I knew that they were still trying to recapture their glory days back then as I was working in a record shop but I could not have told you how any of their later singles went with “Are You Mine?” a prime example. I think I have a strong defence for my lack of recall about this one though on the basis that it is absolutely dire and instantly forgettable. A complete snooze fest from start to finish.

There would be one more single released before the duo went their separate ways, Matt Goss into a successful residency at Las Vegas and Luke into an acting career. 27 years later that documentary about them would appear and the rest is history…

“Are You Mine?” peaked No 12.

Who’s this then? Lisa Lisa and Cult Jam? That can’t be right surely? The people that had a hit in 1985 with “I Wonder If I Take You Home”? They had another hit 6 years later? I have literally zero recall of this but for the record their second hit was called “Let the Beat Hit ‘Em” and was produced by Clivillés and Cole who we saw earlier under their other guise of C+C Music Factory. It sounds completely bland to my non dance ears but it is lauded by the likes of Pete Tong and Trevor Nelson no less the latter of whom says of it in Music Week magazine “It’s not the coolest record I’ve ever bought but it’s the most fun.”

“Let the Beat Hit ‘Em” peaked t No 17 in the UK but it topped the dance and R&B charts in the US.

And here we are, the first of 16 weeks at No 1 for Bryan Adams and “Everything I Do (I Do it For You)“. How am I supposed to write about one song for so long?! On top of that, I need to be wary of just repeating the same trivia and tidbits that @TOTPFacts might serve up as he has the same problem. OK, I think I’ll allow myself to reproduce one @TOTPFacts tweet per post so here’s this week’s:

I’d forgotten that Bryan actually made it into the TOTP studio for at least one week of the song’s chart reign but here he is in his trademark white T-shirt and jeans emoting all over the stage although the show’s producers do intercut his performance with the promo video.

In case you’re bored of the song already, here’s a 1992 cover of the song by Fatima Mansions which was released as part of a double A-side with “Suicide Is Painless” by Manic Street Preachers which was a charity single for the Spastics Society. It made No 7 but hardly received any airplay as the Manics track was predominantly the one played on radio.

The play out video is “Love And Understanding” by Cher. Coming hard on the heels of her recent No 1 with “The Shoop Shoop Song (It’s in His Kiss)”, I’m guessing much was expected by her record company of the follow up. It did pretty well making it to the Top 10 (just) in the UK and the Top 20 in the US. Its sales (plus a last minute inclusion of “The Shoop Shoop Song (It’s in His Kiss)”) helped propel parent album “Love Hurts” to No 1 in the UK where it would stay for 6 weeks and end up becoming the best selling female album of the year.

I was working at the Market Street Our Price store in Manchester at the time and around then, the company was committed to its slogan of ‘mad about music, see a specialist’ (or something like that) which meant every week day morning, we had to play music from a particular genre like Easy Listening, Folk or Classical. Once 12 o’clock came around there was a rush to put a chart album on and I recall shoving “Love Hurts” on as the first thing that came to hand after a particularly gruelling morning of folk music. The store manger happened to walk by and said to me “Time for some proper music eh?”. We should probably both have been ashamed.

Disclaimer

I make no claim to the rights of this show and all ownership and contents including logos and graphics belongs totally to the BBC or copyright holder(s).

All opinions on the music and artists featured are my own. Sorry if you don’t agree.

https://www.bbc.co.uk/iplayer/episode/m000yw8k/top-of-the-pops-11071991