We’ve reached a TOTP milestone – no, nothing to do with my blog (though my 400th post for the 90s shows happened recently). This was all about executive producer Chris Cowey who has taken the decision to change the show’s theme tune and titles. Graphics wise, gone are the flaming torsos and gold medal style logo to be replaced by a more back to basics flurry of primary colours, stripes, circles and lines that morphed into a 60s themed, almost pop art styled motif with bold font. The theme tune was even more retro bring a drum ‘n’ bass-ified take on “Whole Lotta Love” by Led Zeppelin, an instrumental version of which by CCS was used on the show from 1970 to 1977. The new opening music was the work of Bad Man Bad (aka Ben Chapman) and I’m guessing was meant to be an obvious homage to the show’s past but with a current vibe to ensure it remained contemporary and relevant. Cowey had taken nearly a year to bring in these changes, taking his time and experimenting with not having a theme tune at all (Vince Clarke’s “Red Hot Pop” had been phased out during 1997/98 having been in place since 1995). I think I prefer the changes as opposed to nothing at all which had led to a lack of show identity.

The first presenter in this new era was Jamie Theakston and the first artist was All Saints who, having spent months (literally) in the charts with their second single and first No 1 “Never Ever”, are back with…a cover version?! Yes, just three singles into their career and they’ve already hit the cover version button by recording “Under The Bridge” by Red Hot Chili Peppers. Now, as we have seen many, many times over the course of these TOTP repeats, the recording of a cover version can be a break-in-case-of-emergency strategy to save a dwindling pop career but this can’t have been the case with All Saints as they were riding the crest of a commercial wave. So what gives? Were some of the other tracks on their eponymous debut album not considered strong enough to maintain their momentum? That particular theory might have held more sway if the single after this one – “Bootie Call” – had bombed but it didn’t. In fact, it was a third, consecutive No 1 for the group. As such, I am at a loss as to why they went with a cover version so early on in their career but they were so sold on the idea that they doubled down on it by releasing two covers when they made the single a double A-side with the other track being their take on Labelle’s “Lady Marmalade”. Gitchie, gitchie ya-ya, da-da!

Whilst I quite like the staging of this performance with the group positioned on a gantry above the studio audience, I wasn’t that keen on their rendition of “Under The Bridge”. They changed the intonation of both the verse and chorus thereby affecting the melody which made it quite jarring to my ears. Yes, they at least attempted to do something different with it and yes, a change of phrasing can prove a winning tweak (see Paul Young’s take on “Every Time You Go Away” by Hall & Oates) but it just didn’t work for me. Maybe I was too familiar with the Red Hot Chili Peppers’ original. All Saints do a good job of selling it though (even if I wasn’t buying) with a nice little shimmy movement worked out for the distinctive guitar opening which was actually sampled from the original. They’ve also gone heavy again on the cargo pants with all four members sporting them. Their fashion influence has even spread to our host Theakston who’s wearing a camouflage design example of them.

The next song would spend two whole months inside the Top 10 peaking at No 4 and thereby providing another example that disproves my memory that all hits around this time were in and out of the charts within a fortnight. Admitting to liking “Dance The Night Away” by The Mavericks was never going to win you any credibility points but some people must have had a real thing for this rock/pop/country/Latin influenced tune though I can honestly say I was not one of them (my Dad has a fondness for it however). I could never really hear the appeal of what, for me, was a very sleight composition – even the guy who wrote it, lead singer Raul Malo, admits that it came together as a “happy accident” and that it just about wrote itself. So why was it such a big success? Well, my guess is that it was a crossover hit at just the right time. Whilst the UK had been a receptacle for country hits before from the old guard of the like of Dolly Parton, Kenny Rogers and Don Williams, when it came to the 90s and the emergence of ‘new country’, we hadn’t exactly welcomed the movement with open arms. Its biggest exponent Garth Brooks was a superstar in the States but he’d had solid but not widespread success over here. Fast forward five years and we were ready to embrace country music again so long as it had a pop flavour to it. 1998 saw both LeAnne Rimes and especially Shania Twain hit huge numbers sales wise and so the door was open for a track like “Dance The Night Away” to walk through and into our charts. I’m guessing it got a lot of play in Radio 2 back then when it wasn’t the catch-all station for the middle-aged as it is now. It was one of those record that people who wouldn’t be seen anyway near a record shop except with a present list at Christmas would venture into their local emporium to buy. Parent album “Trampoline” also sold well making the UK Top 10 but they would not sustain their commercial appeal. They are still together and touring with Raul Malo on vocals. I wonder if they ever get fed up of having to play their biggest hit though?

Now, as follow ups to a No 1 single go, Usher only making No 24 with “Nice & Slow” after previous hit “You Make Me Wanna…” topped the chart isn’t the worse example of how to consolidate on that success*. However, it can’t have been what the R&B superstar would have been expecting or hoping for. After all, the song gave him another Billboard chart topper across the pond.

*Bee Gees followed up No 1 “You Win Again” with “E.S.P.” which peaked at No 51 whilst Nena’s next single after “99 Red Balloons” was “Just A Dream” which struggled to a high of No 70.

However, its inability to achieve the same level of success as its predecessor certainly wasn’t anything to do with a lack of confidence on Usher’s part to sell the song. Look at him in this performance – he has the studio audience of young girls literally trying to paw him. The man in the hat is actively encouraging the near fever pitch crowd though – what is that finger movement near his crotch area when he sings “I got plans to put my hands in places…”? Well, I think we all know what it is but before the watershed BBC? He follows this up by making thrusting motions with his groin after he’s thrown the hat off Michael Jackson style. In case the audience can’t contain themselves, in what must be a first in TOTP history, Usher has a bodyguard stood at the side of the stage. Surely this must have been for effect? Another Chris Cowey innovation maybe? Or was he an actual bodyguard primed for action? What was going on?!

Was there a more intriguing artist in the 90s than Tori Amos? Now don’t all come at me at once with your own, much more deserving (in your opinion) nominations for such a question – I had to start the paragraph with something to introduce her and, in any case, she is intriguing I think, both musically and culturally. Sure, there were the inevitable Kate Bush comparisons early in her career but to dismiss her as some sort of tribute act was pure folly. Sonically, her compositions could make your senses tingle or alternatively make you think “what on earth is this?” so genre-fluid is her work. At once eerie and haunting but also aggressive and deeply emotional with lyrics that address subjects such as sexual assault, religion and gender politics. This track – “Spark” – dealt with her own experience of suffering a miscarriage. It’s hardly ‘I love you, you love me’ stuff.

In her personal life, Tori is a spokesperson for Rape, Abuse and Incest National Network (RAINN) and has a deep connection with Native American culture due to her ancestors on her Mother’s side being of Cherokee descent. Some of the artists she is reported to have influenced include Alanis Morissette, Olivia Rodrigo and Olly Alexander of Years & Years. Her songs have appeared in multiple TV series including Dawson’s Creek, Yellowjackets, Charmed and Beavis and Butt–Head. She’s undoubtedly a complex and multi-layered character which, as I say, makes her an intriguing artist. As a performer, she’s visually arresting too. Look at this TOTP appearance in which she employs both keyboards and a piano. I also admire the way she looks like she’s come to the studio straight from having a shower with wet hair. It’s an unconventional approach. Having said all of this, “Spark” would prove to be her final Top 40 hit of her career so did her idiosyncratic ways prove ultimately to be to impenetrable for mainstream success? I think probably it was just a case of shifting tastes and anyway, Tori retains a loyal and sizeable fan base to this day.

Is this a case of the sublime to the ridiculous? I think it might be. Having created an unusual piece of pop history for themselves with their first single “5,6,7,8” which, at the time, became the biggest selling single never to make the Top 10, Steps were back to prove that they were never destined to be a one-hit wonder and a novelty one at that. Now, if I said some of the Kate Bush comparisons with Tori Amos were inevitable (and unjustified) then the parallels being drawn between “Last Thing On My Mind” and ABBA were inescapable and totally justified. The back story of this track is that it was originally recorded and released by Bananarama in 1992 as Keren and Sara began the second phase of their career as a duo with Mike Stock and Pete Waterman as producers. It was the latter whose idea for working with the Nanas on the album “Please Yourself” was encapsulated by the phrase ‘ABBA-Banana’. In the end, only the singles released from it stuck to the plan of which “Last Thing On My Mind” was the second. It turned out that the world wasn’t ready to accept this hybrid in the early 90s and the single bombed.

Waterman must have ruefully filed the idea in a drawer marked ‘Do not open until 1998’ as it was recycled for his latest project Steps. Spending a fortnight at No 6 not only justified Waterman’s faith but also ensured that Steps would carry on (and on and on) beyond one hit. It’s as sugary as golden syrup and as substantial as a politician’s promise but at least they didn’t just do a remake of their line dancing debut. Watching this performance, it strikes me that Ian ‘H’ Watkins and Lee Latchford-Evans, though I’m sure that they’re lovely people, are also two of the luckiest pop stars going based on their contribution to this which consists of some tightly rehearsed but limited dance moves. Maybe they’ll come into their own the bigger the hits become.

Out of the way! Here come Catatonia and they’re mad with “Road Rage”! Yes, confirming their status as one of the hottest bands of 1998, Cerys and co follow up “Mulder And Scully” with an absolute banger. Some songs are defined by a singular detail – that ringing guitar chord in “She Sells Sanctuary” by The Cult comes immediately to mind – and so it is with this one but said detail in this case is Cerys’ ability to roll her Rs in the chorus which became the USP of the track. Despite its rather gruesome inspiration being the real life event of the murder of Lee Harvey by his girlfriend Tracie Andrews in 1996 (Andrews falsely claimed to the police Harvey was killed by a man during a road rage confrontation), the track has a glorious, singalong chorus that helped it peak at No 5 in the charts. That position, following the No 3 hit that was its predecessor, meant Catatonia were finally big news after a few early releases that failed to land.

However, was it the band that were building their profile or Cerys Matthews who was generating the headlines? It seemed to me to be the latter and that they were following in the footsteps of Blondie, No Doubt and Sleeper. Press coverage of Cerys reportedly storming out of the Ivor Novello Awards after “Road Rage” was beaten to the Best Contemporary Song gong by Tin Tin Out only fuelled the perception. In her defence, at least her band wrote their song whilst Tin Tin Out’s was a cover of a track by The Sundays. Maybe her rage was justified?

Nearly two years on from their breakthrough hit “Tattva”, Kula Shaker were still experiencing huge commercial success but this single – “Sound Of Drums” – would mark the beginning of the end of their time as chart stars. Whilst it’s true that it went straight in at No 3, it would be their last ever visit to the Top 10. So what went wrong? Well, a lot of factors contributed to their decline I think not least the bad press lead singer Crispian Mills had generated with some decidedly dodgy comments he made to the NME about the symbolism behind the swastika for which he later apologised. In today’s world, he’d have probably been cancelled immediately but back in the late 90s, the slump was more gradual. The press also applied that well worn convention of building up our heroes only to knock them down which played a part in their downfall with Mills’ acting dynasty background that once marked him out as unusual now saw him as part of some elite to be criticised. Then there’s the band’s own inertia when it came to releasing new material. Between “Govinda” in November 1996 and “Mystical Machine Gun” in the March of 1999, the only Kula Shaker tracks made available in the shops were the singles “Hush” and “Sound Of Drums” and one of those was a cover version! The latter was officially the lead single from their second album “Peasants, Pigs & Astronauts” but said album didn’t arrive until ten months later. All these gaps between releases meant that the band’s momentum inevitably waned and their place amongst the rock/pop A-list was destabilised.

What about the music though? Well, despite having a title that sounded like an Audie Murphy Western, it was talked up in the music press as being an attempt to sonically resemble The Doors though I’m not sure I can hear it. They were still definitely playing that mystical, psychedelic rock card in their image though. Check out the trippy backdrop in this performance and The Beatles referencing helter skelter prop. I have to say that having liked their debut album “K” enormously, they were starting to lose me at this point but then maybe I was just paying too much attention to the dissenting voices.

We finally have a new No 1 but be careful what you wish for as replacing Run-D.M.C. versus Jason Nevins are Boyzone. Now despite this being a chart topper, I have zero recall of it. An actual No 1 that I can’t remember at all despite working in record shop at the time! It doesn’t say much for the song in question which is “All That I Need”. A ‘mature’ ballad is no doubt how the band would have described it whereas I would have gone with a dreary non-entity of nothingness. For the record, the thing that Ronan Keating was struggling with that meant the band didn’t perform in the studio was that his mother had recently passed away. The interview with three of the other four band members means we get less than a minute of the promo but it maybe demonstrates as well that executive producer Chris Cowey really couldn’t stand featuring videos on the show but don’t panic as they are in the studio the following week despite having dropped down the charts from No 1 to No 4. Also, why was Stephen Gately the only one to speak during the interview? What was the point of the other two being there?

It’s taken me the whole post but I’ve finally realised what the new opening title graphics remind me of and it features one of the greatest drum fills of all time…

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/m002hqxv/top-of-the-pops-01051998?seriesId=unsliced