TOTP 29 MAR 1990

Welcome to Britain 1990. The furore about the hated Poll Tax is about to erupt when 393 people get arrested after violence broke out at a 200,000 strong protest in Trafalgar Square. These events happened two days after this TOTP aired and the day after that, the Strangeways Prison riot in Manchester began and would last 25 days as prisoners protested against conditions there. It’s pretty grim stuff. Meanwhile in TOTP land, the increasingly unlikeable Nicky Campbell is in the chair for this particular show and he seems to have gone to town on the hairspray to ensure his bouffant hair remains in place for the whole 30 minutes.

Guess what we open tonight with? Yep, another unremarkable dance tune. This one is by Bizz Nizz and is called “Don’t Miss The Partyline” which I barely remember at all. Turns out they were Belgian and this annoying track was their only UK hit. It’s based round an annoying keyboard riff that allied to some rudimentary rapping reeled in enough record buyers to send it all the way to No 7 for some reason. The keyboard riff is a double whammy of irritation for both sounding like an early ringtone and being mimed in this performance on a keytar! If we thought this was the pinnacle of annoying that these pillocks could create then look out as Bizz Nizz shout ‘hold my beer’ and return in a couple of years having put together that well known antidote to quality music known as 2 Unlimited. For shame!

From an infernal racket to some excruciating lyrics next as the video for Heart‘s “All I Wanna Do Is Make Love To You” gets an airing for a second consecutive week. I’ve already dissected said lyrics in a previous post so let’s have a look at the video this time. Surely it can’t be as bad as those song words? Well, it’s basically a literal retelling of the song’s plot interspersed with footage of the band miming in a studio setting with the obligatory power lighting and smoke. It was directed by Andy Morahan and Mike Southon. Here’s the latter from his own website on the making of the video :

The record company were worried about Ann Wilson’s weight. They suggested she wore black, that I’d photograph her against black and just light her face with a spotlight. I said that that would look ridiculous and that such a powerful singer and performer did not need trickery to sell her image. In the end they relented and let Andy and I do it our way.”

As misogynistic as their stance was, it seems to me that the record company still managed to get their way in the end as the promo is very heavily edited so that singer Ann Wilson doesn’t actually get much screen time at all. She is only shown for the waist up and there seems to be much more focus on her sister Nancy. Even when she is on screen, the camera only stays on her for a couple of seconds at a time. Southon still seems pleased with how it turned out though:

“It’s a pretty classic vid of its genre. Rain, downtown LA cheap motel, smoke, beams of light, beautiful couple making love. What’s not to like?”

Hmm. Give me the much pilloried “Rio” video anytime over your effort Mr. Southon. “All I Wanna Do Is Make Love To You” peaked at No 8 in our charts and No 2 in the US.

Back in the studio, the increasingly snidey Nicky Campbell advises us “Here’s what we’re all going to be wearing this Summer – well you maybe – dig those flares…”. You can just tell that he desperately wanted to add the word ‘plebs’ after ‘you’ and before ‘maybe’ in his intro. And who were the flares wearing act up next? Candy Flip of course with their danced up version of “Strawberry Fields Forever”.

Apart from the obvious flares that Campbell was referring to, what else was this new strand of fashion that we would all be wearing? Well, look I’ve never been any sort of fashionista but even I know something of the baggy style that the ‘Madchester’ era ushered in. Alongside the flares there were brightly coloured or tie-dye casual tops (probably bought from Joe Bloggs) and possibly a bucket hat to top the look off as per The Stone Roses drummer Reni. Is this what those Candy Flip boys are wearing here? Sort of although it’s hard to see quite how wide their flares are because of all the dry ice. They do have their own version of Bez on maracas behind them though. We’ll get to see the real thing on these repeats soon enough.

As for the actual record, it seems remarkably dull and lifeless to me listening back to it now and I can’t quite see what all the fuss was about.

“Strawberry Fields Forever” peaked at No 3. and was the band’s only UK hit.

Ah now then. Here’s the real deal. After the faux bagginess of Candy Flip come a bona fide ‘Madchester’ band. Inspiral Carpets are back on TOTP for a second time with their hit single “This Is How It Feels” but…hang on a minute…. apart from singer Tom Hingley’s ridiculously oversized red duffle coat complete with toggles, the rest of them look pretty nondescript; not even one ‘Cool As F**k’ T-shirt on view anywhere!

Ah yes, those T-shirts. A few month on from this I relocated to Manchester and you could hardly move down Market Street for youths in Inspiral Carpets T-Shirts with the cow logo on them. In an innovative marketing campaign, their record label arranged for a quarter of a million milk bottles in the Manchester area to be emblazoned with an advertisement for their album “Life”. Despite those initial numbers, they’re pretty rare these days but you can still pick one up online for around £30 if you are so inclined. Moo!

The band revisited the milk bottle campaign
for the promotion of their 2003 Greatest Hits album

Now supposedly when the band travelled down to London on the train for this TOTP appearance, they sat opposite some girls from Manchester who were also going to the TOTP recording to be a part of the studio audience. Crushingly for the band, the girls didn’t recognise that their fellow travellers were Inspiral Carpets but did ask them what they thought of The Stone Roses though! You should have gone more heavy with the baggy togs lads!

“This Is How It Feels” peaked at No 14 making it the band’s second biggest hit ever behind 1992’s “Dragging Me Down”.

Next up is little Jimmy Somerville with his single “Read My Lips (Enough Is Enough)”. In this performance he’s wearing an ACT UP T-shirt to promote the direct action gay rights organisation he was a member of and whose causes the song’s lyrics espouse. In a Smash Hits interview later in the year Jimmy wondered if his being so outspoken on gay rights had stopped him from becoming more commercially successful. Apparently his record company commissioned a survey to find out who liked him and why. Here’s Jimmy taking up the rest of the story:

They found that a lot of boys between 15 and 23 like the music but won’t go and buy the records because they think people will think they’re gay. So I’m sure if I kept my mouth shut I would have higher singles. But then again, it’s also a little victory because it means these people know what I’m about. The survey said that really young school girls like what I do – they know that I’m gay and they just wish I’d shut up!”

I’m not sure that I appreciated what “Read My Lips” was about at the time although I knew Jimmy was gay and a gay rights activist. With lines like…

Here we are and standing our ground, and we won’t be moved by what they say

and…

Finding cures is not the only solution, and it’s not a case of sinner absolution

…I probably should have cottoned on earlier.

Right, it’s all dance tunes from here until the end of the show (no Breakers this week) and we start with “Ghetto Heaven” by The Family Stand. Not to be confused with JT And The Big Family who were in the charts at the same time, this lot were a trio from Brooklyn although the singer Sandra St. Victor was from Dallas originally as Nicky Campbell states in his intro. If you asked me before this repeat aired what they sounded like I wouldn’t have had a clue but hearing “Ghetto Heaven” back it does ring a few bells. Like Bizz Nizz at the top of the show, the employed a keytar player (urgh!) but unlike Bizz Nizz (whose single must have seemed dated even back in 1990), The Family Stand’s sound just about still stands up today. This single was remixed by Soul II Soul’s Jazzie B and it certainly sounds like it with that familiar ‘thumpin’ bass’ and cool groove vibe.

After splitting in 1997 they reformed in 2007 and are still a going concern to this day although St.Victor has also had a parallel solo career and has toured with the likes of Freddie Jackson and Chaka Khan. She also once recorded a song called “I’ll Never Open My Legs Again”. Blimey! And I thought Heart song was risque!

Moving on to Jam Tronik now and their unspeakable version of “Another Day In Paradise”. This was just proper dog shit, real gruesome stuff. Who the hell was dancing to this in the clubs back in the day? Having said all that, back in 2013 I went on a friend from work’s stag weekend in Leeds and after a night of drinking we all ended up in a club called The Cockpit. It was a right dive. God knows what the DJ was playing but it sounded awful. To my utter amazement the next track he ‘dropped’ (that’s what you’re meant to say these days isn’t it?) was “Easy Lover” by Phil Collins and Philip Bailey! And there were people (young people I may add) dancing to it! WTF?! Apparently they were being ironic the youngest person in our group advised me. And again I say WTF?!

Back to Jam Tronic though and the singer up front is called Nikita Warren but apparently, according to Wikipedia, like so many before her, she wasn’t the actual singer on the track! Well I never! Incidentally, in later life she would go into artist management and one of her clients was Jimmy Somerville! How weird is that as they were on the same show together back in the day? Nikita was just the front for the act but the whole Jam Tronik project was put together by one Charlie Glass. No, not the goal scoring Carlisle United keeper. That was Jimmy Glass. Who you say? This is Jimmy Glass….

Literally a schoolboy error from Nicky Campbell next as we get to the new No 1 from Snap! with “The Power”. Name checking the members of the band he says the rapper is called Turbo D when it’s actually Turbo B. Come on Campbell – it’s as easy as ABC! The other person that he mentions – Jackie Harris – wasn’t the person who did the actual singing, she just appeared in the video. That was ex Chaka Khan backing singer (another one!) Penny Ford whose musical pedigree is pretty impressive – her father produced James Brown, her brother founded Kool & the Gang, and her sister was the singer Sharon Redd. So who was Jackie Harris then? A random woman the record’s producers found at the German army base where Turbo B had been stationed for his national service in the US army. Hmm. As a back story it’s not really up there with my father produced James Brown is it?!

The Big Brother / 1984 imagery at the start of the video helps to crank up the intensity of the track I think. And if you were in any doubt of…erm… the power of “The Power” check out this anecdote that I found on the Songfacts website:

On July 5, 2011, the top 19 stories of the 39-story building housing the Gangbyeon branch of the Techno Mart shopping mall in Seoul shook violently for 10 minutes, causing the building to be evacuated for two days. Instead of an earthquake, it was found that an exercise class on the 12th floor was playing “The Power,” which happened to match the building’s resonant frequency and caused it to violently shake.

The play put video is “Mama Gave Birth To The Soul Children” by Queen Latifah and Del La Soul. In addition to his Turbo B error, Campbell also mispronounced Queen Latifah’s name as Queen La-fit-ah in the chart run down earlier. Didn’t Gary Davies make a similar mispronunciation the other week as well? How many times have I said this? “You had one job…”

For posterity’s sake, I include the chart run down below:

Order of appearanceArtistSongDid I Buy it?
1Bizz NizzDon’t Miss The Party LineMiss it? I gave it a massive wide berth!
2HeartAll I Wanna Do Is Make Love To YouIt’s a no from me
3Candy FlipStrawberry Fields ForeverNope
4Inspiral CarpetsThis Is How It FeelsNo but I’ve got their Greatest Hits I think
5Jimmy SomervilleRead My Lips (Enough Is Enough)No
6The Family StandGhetto HeavenNah
7Jam TronikAnother Day In ParadiseNOOOOOOO!!!
8Snap!The PowerNot for me thanks
9Queen Latifah and De La SoulMama Gave Birth To The Soul ChildrenIt’s another no


Disclaimer

OK – here’s the thing – the TOTP episodes are only available on iPlayer for a limited amount of time so the link to the programme below only works for about another month so you’ll have to work fast if you want to catch the whole show.

https://www.bbc.co.uk/iplayer/episode/m000pjdn/top-of-the-pops-29031990

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.

Some bedtime reading?

https://michaelmouse1967.wixsite.com/smashhits-remembered/1990-issues

TOTP 15 MAR 1990

After weeks of watching aghast at the state of the charts back in early 1990, there seemed to be some online optimism that we were finally embarking on a run of episodes that promised to turn the tide of disappointment. Even the usually disparaging @TOTPFacts seemed to have caught the good times vibe:

And yet…be warned for despite the undoubted presence of some decent tunage on display tonight, there is an awful lot of shite to have to wade through first. Simon Mayo is the host for tonight’s show who is usually nondescript enough to be considered as a safe pair of hands so let’s get into it…

…hmm. Now which camp do The Mission fall into? Decent or shite? I’m going to go for the former but with the caveat that it’s a risky choice. I definitely like some of their stuff (“Stay With Me”, “Wasteland” and “Tower of Strength” for example) but there was only so much of it that I could handle in one go. “Deliverance” was the second single from their “Carved In Sand” album and I have to say it doesn’t really ring any bells with me. That may be to do with the fact that it was only in the Top 40 for three weeks and was already at its peak of No 27 by the time of this TOTP performance. If I didn’t watch this particular episode (and I’m not sure that I did) then maybe it was just in and out too quick for me to have heard it. Having caught up with it some 30 years later, it doesn’t strike me as one of their better efforts. A rousing enough chorus but the rest of it is a bit of a dirge don’t you think? Well, Norman Cook agreed with me. In a Smash Hits article reviewing the charts back then he stated of “Deliverance”:

I hate all this macho rock business and The Mission came from a punk new wave background and they really ought to know better

Ouch!

OK, after a debatable start to the show, I’m nailing my colours to the flag straight off the bat with this one by saying “I’ll Be Loving You Forever” by New Kids On The Block is utter excrement, a complete jobbie of a song. After two uptempo dance pop singles broke them in the UK, it was pretty obvious that they would go for a weepy ballad for their next choice of release. Not obvious enough for Simon Mayo though who declares that T’KNOB have gone “exceedingly early” for a big *hand gesture* ballad *follow up hand gesture*. What’s with the gesticulating Simon? He comes across like he’s giving a paper at some academic conference – it’s not rocket science Mayo!

The song itself is so insipid as to hardly be there at all. Jordan Knight’s reed thin vocal is barely audible (except maybe to dogs). If you want falsetto vocals allied to love songs then The Stylistics had already been there and done it (much better) in the 70s.

“I’ll Be Loving You Forever” broke their run of UK No 1 singles after “You Got It (The Right Stuff)” and “Hangin’ Tough” had scaled the summit by peaking at No 5. It was the opposite trend in the US where it was their first ever Billboard Hot 100 chart topper.

Ooh, now then. Here’s one to split the nation. After I blithely stated in a recent post that the name Candy never caught on as a popular choice for newborns despite the rise to fame of Candy Dulfer, bizarrely there was another Candy in the charts almost immediately afterwards. Candy Flip, as I recall, were briefly hailed as ‘the next big thing’ when they gave The Beatles’ “Strawberry Fields Forever” the ‘rave’ treatment. This caused huge division around the duo; for some this was utter musical blasphemy while for the nation’s clubbers, it was bringing rave culture to the mainstream. In all honesty, and I say this as someone who has never been to a rave, I’m guessing that Candy Flip could have been seen by some in the rave community as betraying the whole movement by becoming pop stars off the back of it. Just a thought.

So who exactly were this pair of chancers? Well, they were Richard “Rik” Anderson- Peet and Daniel “Dizzie Dee” Spencer who had met whilst studying music and recording technology in Manchester where they moved in social circles that included the likes of A Guy Called Gerald and The Stone Roses. Clearly not ones to miss a trick when it came to burgeoning trends, they jumped on the ‘Madchester’ / ‘baggy indie’ bandwagon for their look and bingo! Ready made pop stars! They even made it onto the front cover of Smash Hits!

Apparently they did actually have some musical ability as in later life, Peet became a producer for the likes of The Charlatans and Muse whilst Spencer worked with erm…Robbie Williams…on his least well received album “Rudebox”. Yeah, maybe keep quiet about that. They also had some serious musical heritage in their locker. Here’s @TOTPFacts:

Mind blowing stuff. Talking of which they were named after ‘candyflipping’, the slang term for the practice of taking ecstasy and LSD at the same time. So definitely not Candy Dulfer then.

“Strawberry Fields Forever” peaked at No 3 and was their only chart hit. Their was an album which, gazumping Madness by two whole years, was called “Madstock…The Continuing Adventures of Bubblefish Car”. I don’t think a Candy Flip revival will be happening any time soon.

Is this the third consecutive week that “Love Shack” by The B-52s has been on the show? The TOTP producers must have loved this one. It’s the video yet again (I presume the band were too busy touring or something to pop by the studio) and as such, I’m out of comments so I’ll hand over to Homer Simpson for this one:

“Love Shack” peaked at No 2.

So the Breakers are back but at 1 min and 26 seconds to cover three whole songs, it barely seems worth it! The first of these stretches the description of ‘song’ to be fair. “Handful Of Promises” was the third hit on the bounce by Big Fun and was taken from their “Pocketful Of Dreams” album of which this song gave the album its title. Clearly it’s horrible. Nasty, cynical and lacking of any sort of tune, it somehow scrambled to a No 21 peak. Smash Hits magazine did a Big Fun v Yell battle of the bands piece which Big Fun won by 23 and a half points to 11 but it was a hollow victory – a bit like trying to work out which member of the Tory cabinet is the biggest wanker.

The good news is that I think Big Fun only have one Top 40 hit left in them before they will plague the charts and us no further.

I have to admit that Fish‘s solo career completely passed me by. “A Gentleman’s Excuse Me” is yet another of his recordings that I don’t think I have heard before now. The second of three singles taken from his “Vigil In A Wilderness Of Mirrors” album (incredibly all three were Top 40 hits) it’s actually a pretty little thing (to quote Bing Crosby from his Xmas chat with David Bowie)

It puts me in mind of “Home Thoughts From Abroad” by Clifford T. Ward. In fact, it almost seems like Fish was deliberately trying to rewrite it. In the shite v decent poll, I’m marking this one down as up to snuff.

There is a theory that Wet Wet Wet‘s second studio album (if you discount their demoes / early recordings album “The Memphis Sessions”) “Holding Back The River” should have been their third whilst their actual third album (“High On The Happy Side”) should have been their second. Confused? Don’t be because it does make sense. After their debut “Popped In Souled Out” established their blue eyed soul / pop amalgam sound, the obvious move would have been to follow it up with something very similar. What the Wets did however was to throw caution to the wind and write an album that was much more mature that dealt with more heavyweight subject matters. For example the near title track from their sophomore album “Hold Back The River” deals with alcoholism I believe.

Whilst certainly not a commercial failure (it was a No 2 and went double platinum), it didn’t perform as well as “Popped In Souled Out”. When their career was looking decidedly dodgy two year later, they returned to a more accessible sound and found their way back to the very summit of the charts with “High On The Happy Side” which also furnished them with another No 1 single in “Goodnight Girl”. Did they go for that grown up sound too early (maybe we should ask Simon Mayo – he seems to have an opinion about these things!)? I doubt it. Things worked out pretty well for the band ultimately. “Hold Back The River” remains one of their lowest charting singles though peaking at No 31 but then there is a jazz break down half way through it so what did they expect?!

OK, now we get to the big guns which all the pre-show ‘ooh this is a good one’ fuss was all about. Not just one of the biggest tunes of the 90s but one of the biggest tunes ever – it can only be “Loaded” by Primal Scream. I’m pretty sure I didn’t know anything about Bobby Gillespie and co before this point but then, I don’t think that many people did. Yes, they had been around since the early 80s and had already released two albums by 1990 but they hadn’t got anywhere near mainstream success. Enter Andy Weatherall (who sadly died in February) to alter forever not just the career of Primal Scream but also that of music culture period.

I can’t recall for sure the first time that I heard “Loaded” but I’m pretty sure I didn’t get it straight away. What were all those sampled voices at the beginning and what was with the structure of the track that seemed to be all over the place? And why did it take so long for the singer to come in? Thirty years on and hundreds of plays later, it’s hard to believe I once thought like that. I’m nothing if not consistent though. Having not immediately swooned at Morrissey’s feet as The Smiths broke and then resisted the charms of the emerging Stone Roses, this was par for the course for me. I’m glad to say that I got with the programme in time and own both “Screamadelica” and an import CD single of “Loaded” (purchased some time after the initial single release I have to admit).

For a while I was convinced that those disembodied voices at the start of the track were The Monkees but I subsequently learned that they are actually Frank Maxwell and Peter Fonda from the 1966 biker movie The Wild Angels. I’ve never seen the film but if you ever wondered what was the scene that they were sampled from, here’s the answer:

Bobby Gillespie stated in an February 2011 NME interview about the samples used in the remix:

“Imagine if we hadn’t got the Fonda one though. We wouldn’t be sat here now. I don’t know where we’d be but we would not be sat here talking to you. The gods were smiling on us that day.”

I can’t quite describe what it is that those clipped pieces of dialogue add to the track are but I totally agree with Bobby.

The original track that Weatherall remixed was of course “I’m Losing More Than I’ll Ever Have” from the band’s second album which was on that CD single I bought as an extra track and I have to say, I think that stands up pretty well on its own merits as well…

I managed to catch Primal Scream live at an open air gig in Hull in 2017 and they were belting. Bobby Gillespie definitely has a portrait in an attic at home where he looks absolutely decrepit though.

“Loaded” peaked at No 16.

The second big gun of the evening now as the TOTP TV audience gets its first sighting of Inspiral Carpets with their hit single “This Is How It Feels”. Instead of Simon Mayo blathering on about the sporting exploits of the band’s hometown of Oldham that year, I would rather have seen the current  Speaker of the House of Commons Sir Lindsay Hoyle introduce the band in that game show host style that he employs to command Prime Minister Questions… “and now, we travel north to Oldham where we find Inspiral Carpets – Inspiral Carpets everyone!”.

To be fair to Mayo, Oldham Athletic had a monumental season that year (I’ve no idea about the basketball and rugby teams he also mentions). Despite finishing 8th in Division 2 and missing out on the play-offs, it was in the two domestic cup competitions that they excelled. The day before this TOTP aired, they had beaten 1st Division title hopefuls Aston Villa 3-0 to reach the FA Cup semi finals and had already secured a place in the actual League Cup Final. A guy called Frankie Bunn scored SIX goals in one game on the way to the final. I distinctly remember what a big deal all of this seemed at the time. Sadly Oldham would go onto lose that final and also the FA CUp semi final after taking Man Utd to a replay.

Back to the music though and Inspiral Carpets seemed to be promoted in the press as part of some ‘Madchester’ Holy Trinity (despite not actually being from Manchester) alongside the Stone Roses and the Happy Mondays. I’m not sure if that’s how they actually saw themselves having been in existence since 1983. I didn’t know this until now but they had an almost Fall like number of personnel changes in the years leading up to this commercial breakthrough.

As for the song itself, I thought it was great with its prominent, swirling organ sound and heavyweight lyrics. Bizarrely, my elder brother and Paul Weller disciple seemed to be going through a ‘Madchester’ phase at the time and had a mix tape featuring all the aforementioned bands on it (including Inspiral Carpets) which he was fond of blasting out of our shared bedroom at the time. He was also a big Man Utd fan and had been going to the matches for a few years back then and went to all the FA Cup games that season including that semi final. Maybe his fleeting association with the ‘baggie’ was more to do with the football than the music. Incidentally, Man Utd used to serenade their Man City counterparts with a chant based on “This Is How It Feels” with the words changed to :

This is how it feels to be City, this is how it feels to be small

This is how it feels when you club wins nothing at all

I think that one got consigned to the dustbin of terrace chants sometime around 2011.

Lead singer Tom Hingley had a very striking look back then. It was sort of Mr Logic from Viz meets Red Dwarf‘s Dwayne Dibley. Most disconcerting. I’m pretty sure I saw him do a solo gig at the tiny York venue Fibbers after he subsequently left the band but I can’t recall whether he still had the same hairstyle or not. Mind you, Clint Boon’s Stooges cut isn’t much better.

“This Is How It Feels” peaked at No 14.

Oh FFS! Seriously! We hadn’t all had enough of Jive Bunny by the time that the new decade had come around?! No, we hadn’t because they racked up another four hit singles before they finally fucked off sometime around 1991. “That Sounds Good to Me” followed the same cut and paste formula that these idiots had already used to mug off the UK public three times previously and featured tracks including “Everybody Need Somebody To Love”, “Long Tall Sally” and “Roll Over Beethoven”. I’m pretty sure that the version of “Everybody Need Somebody To Love” recorded for the Blues Brothers film was re-released not long after this Jive Bunny abomination

*checks http://www.officialcharts.com*

Yes! I was right. It was released about a month or so after this and peaked at No 12. Inexplicably, Jive Bunny peaked 8 places higher at No 4!

Beats International still claim the No 1 slot with “Dub Be Good To Me”. In a Smash Hits interview entitled ‘How To Make A Hit record In Your Bedroom’, Norman Cook admitted that putting together “Dub Be Good To Me” from the initial sampling he did in his bedroom to the finished record took just three days and £400. Wow! £400 for a record that was innovative and well…pretty good actually. By those standards, Jive Bunny, using similar techniques, must have spent about 40p to produce their steaming heap of shit.

The play out track is “You Don’t Love Me” by the 49ers which was their follow up to “Touch Me” and which I don’t remember at all. Apparently it samples Jody Watley’s 1987 hit “Don’t You Want Me” which I also have zero recall of. I’m putting this one in the shite pile which means, by my reckoning, the final tally for tonight’s show is:

Shite Music 7 v 5 Decent Tunes

For posterity’s sake, I include the chart run down below:

Order of appearanceArtistSongDid I Buy it?
1The MissionDeliveranceNah
2New Kids On The BlockI’ll Be Loving You ForeverGood God no!
3Candy FlipStrawberry Fields ForeverNope
4B-52sLove ShackCouldn’t be doing with it – no
5Big FunHandful Of Promises…and a pocketful of shite, NO!
6FishA Gentleman’s Excuse MeNo
7Wet Wet WetHold Back The RiverNo but my wife liked this one
8Primal ScreamLoadedYes but some time after the event
9Inspiral CarpetsThis Is How It FeelsNo but I’ve got their Greatest Hits I think
10Jive BunnyThat Sounds Good To MeOh this is an open goal….That sounds shite to me..No!
11Beats InternationalDub Be Good To MeNo but my wife had their album
1249ersDon’t You Love MeNo I don’t

Disclaimer

OK – here’s the thing – the TOTP episodes are only available on iPlayer for a limited amount of time so the link to the programme below only works for about another month so you’ll have to work fast if you want to catch the whole show.

https://www.bbc.co.uk/iplayer/episode/m000p9v2/top-of-the-pops-15031990

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.

Some bedtime reading?

This image has an empty alt attribute; its file name is imgres-2-1.jpg

https://michaelmouse1967.wixsite.com/smashhits-remembered/1990-issues