Monaco

TOTP 30 MAY 1997

Posted on by 80stastic

We have arrived at a metaphorical line in the sand episode with these TOTP repeats as we say goodbye to the ‘golden mic’ slot whereby hosting duties were undertaken not by Radio 1 DJs but by pop stars and celebrities from the worlds of comedy, sport and showbiz. Introduced by new executive producer Ric Blaxill in March 1994, the very first incumbents were Take That’s Robbie Williams and Mark Owen heralding in a huge list of non-traditional presenters from Suggs to Skunk Anansie’s Skin and from Dennis Pennis to Gina G. Some choices really worked like the cast of The Fast Show, some really didn’t – Keith Allen as alter ego ‘Keithski’ was just plain annoying. Whether you liked it or not, at least it was an attempt to shake the format up after the ultimate failure of the ‘Year Zero’ revamp. The final ‘golden mic’ hosts are the Spice Girls which, given their profile at this time, was definitely a case of going out at the top. I have to say that, on balance, I was a fan of this particular invention and I’m not convinced that the regular roster of hosts, introduced by incoming executive producer Chris Cowey, that followed (including Jamie Theakston, Zoe Ball and Kate Thornton) will be any sort of improvement but maybe I’ll be proved wrong.

Anyway, we start with Wet Wet Wet and the time of their first incarnation was nearly at an end. It had been a good run – their debut single and hit “Wishing I Was Lucky” had been released just over ten years prior to this point and their subsequent run of 23 Top 40 singles included three No 1s. Even when their career was supposedly in the doldrums – that period between the second and third albums with the 90s in its infancy – they still only had one single that could be considered a flop (“Put The Light On” stalled at No 56 in 1991). Even then, their next release was “Goodnight Girl” which topped the charts. Having said all that, the signs were there that their conveyor belt of success was starting to slow down – three of their last four singles (including this one “Strange”) failed to go Top 10. For me, their sound had become just too safe by this point. “Strange” was perfect daytime radio fodder with its easy on the ear sound and prominent brass parts but ‘fodder’ was the significant word in that description; it was ‘filler’ not ‘killer’.

As well as sonic stagnation, the band was facing internal struggles. After the tour to support the “10” album, drummer Tommy Cunningham left over a dispute about songwriting royalties feeling he was frozen out of what had always been a four way split. Meanwhile, Marti Pellow was in the middle of fighting his alcohol and drug addictions and would also leave the band in 1999. I wonder if his peroxide blonde haircut seen in this performance was a cry for help similar to the style Robbie Williams sported at Glastonbury after leaving Take That where he was clearly under the influence of something stronger than a few light ales. As for the Wets, there was one final hit in the 90s – a cover of “Yesterday” for some reason – and that would be it for seven years until they reunited for a Greatest Hits album. They are currently touring but with bassist Graeme Clark the only* original member in the line up.

*Guitarist Graeme Duffin is also still with the band having been a touring member since the early days. He was previously reluctant to do any promotional work with the other four members partly on account of his suffering from a stammer.

Next a band who were following a similar career trajectory to our opening act but that’s about all they had in common – I’m clearly not saying Faith No More were anything like Wet Wet Wet! However, both bands were approaching hiatuses that would last for years, both were experiencing line up changes (guitarist Dean Menta had recently been fired and replaced by Jon Hudson) and both had recently released albums which seemed to demonstrate a downturn in creativity. In the case of the San Francisco rockers, their optimistically titled “Album Of The Year” proved to be anything but with reviews in the press ranging from lukewarm at best to downright caustic (if funny). Look at this:

“ ‘Album Of The Year’ leaves one feeling like waking up and finding last night’s used condom – sure, the ride was fun while it lasted but what remains is just plain icky. And you definitely don’t want it in your CD player.”

Stomberg, Jeremy. “Faith No More: Album of the Year: Pitchfork Review”. Pitchfork.

Heh and indeed eeeyeww! Anyway, the one track that did get a bit of love from the critics was lead single “Ashes To Ashes”. Absolutely nothing to do with the Bowie classic, it was a described as a “moody rocker” though I think I’d probably go with ‘doom-laden’ rather than ‘moody’. Apparently, the rumour from Ground Control was that this was more like the classic Faith No More sound but as I could only name you three of their tracks (and one of them isn’t actually theirs), I don’t feel qualified to make any sort of judgement.

As Mrs Merton would say, “It’s Hooky and the boys!”. Yes, I’d forgotten this but Monaco, Peter Hook’s side project band away from New Order, had a second hit besides the excellent “What Do You Want From Me” called “Sweet Lips” which made a respectable No 18 in the charts. However, it wasn’t Hooky and the boys in this performance but Pottsy and the boys with Hooky nowhere to be seen. Nobody seems to know why he wasn’t there but I liked the response on X from @DonOftheDead80 who said “He was playing Hooky”. Heh. Anyway, to counter his absence, we get Hooky’s parts in the song covered by the promo video which is intercut with my old Our Price colleague Pottsy doing his thing in the studio. It’s a clunky device but I guess it just about works. As for the song, it’s got much more of a dance vibe to it than its predecessor so did it counter the criticism that the band were just a pop version of New Order? Maybe but for me, it’s nowhere near as strong a single as their debut though it pisses over most of its Top 40 peers which was just as well as it was also the band’s final Top 40 hit. A third single from their debut album “Music For Pleasure” was released but it peaked at No 55. A second album just called “Monaco” was rejected by Polydor though it was eventually released on Papillon Records but lead single “I’ve Got A Feeling” was withdrawn due to sample clearance issues and a second track “See-Saw” only received a limited 12” single release. Relations between Pottsy and Hooky deteriorated to the point of the band splitting but the duo are together again performing as Peter Hook & The Light.

Right, who’s this? Oh, it’s that Rosie Gaines. Who? Yeah, I’d forgotten about her as well but she was a member of Prince’s New Power Generation and duetted with the diminutive one on “Diamonds And Pearls”. Her solo hit “Closer Than Close” is widely regarded by those who know as a club classic and an absolute banger in the cannon of house music. It goes without saying that I’m not one of those in the know. The title track of her album that was released in 1995 became a No 4 hit two years later when it was remixed after bootlegs circulating in the club scene had created an underground buzz. An official release on Big Bang Records saw it crossover into the mainstream. Wikipedia tells me that it got categorised as part of the ‘speed garage’ scene to which my response was “the what?”. Wikipedia, of course, can answer my question and tells me that the genre was characterised by a four-to-the-floor rhythm, breakbeats, warped bass lines and time-stretched vocals. Yeah, I’m still clueless. All I know is that “Closer Than Close” does next to nothing for me and I particularly did not enjoy it when Rosie does some scatting at the end.

It’s “Time To Say Goodbye” – no, not literally – it isn’t a very short, truncated episode of the show but Andrea Bocelli and Sarah Brightman with their No 2 hit. With the crossover appeal it had (non-traditional record shop visitors were buying it), a prolonged stay on the chart was inevitable and it duly spent five weeks inside the Top 10 and eleven on the Top 40 aided by some heavy airplay on Radio 2.

The cover of the single includes the tagline ‘A Tribute To Henry Maske’ which I didn’t notice at the time I would have been selling it in the Our Price store in Stockport so who was/is Henry Maske? Well, he was a five times German boxing champion and one of the country’s most popular sporting figures. Fair enough but what did he have to do with “Time To Say Goodbye”? Good question. The track was performed by Andrea and Sarah at the start of Maske’s last professional fight in 1996 (Brightman had already performed another song at one of Maske’s earlier fights) and it was also played at the end to mark Maske’s exit. The track didn’t bring him any luck as he lost that final bout – the only loss of his professional career. I guess it would have at least been a poignant soundtrack for the boxer much as it was when played at the end of my hometown football club Worcester City’s final match at their St George’s Lane ground that I mentioned in my last post. Of course, there is another goodbye song that can still bring tears to the eyes if the comments on YouTube about this clip are anything to go by. Seriously, check them out…

Now, here’s a thing. This is yer actual George Michael actually in the TOTP studio for the first time since 1986 when he performed “Where Did Your Heart Go?” as part of Wham! Bizarrely though, he isn’t performing but rather has a little stilted chat with Geri Halliwell before introducing the video for “Waltz Away Dreaming”, a track written by himself and one Toby Bourke and performed by the pair as a duet. This must be one of the least remembered George Michael hits not least because it didn’t feature on any of his albums (it eventually made it onto his “Ladies & Gentlemen” Best Of but inexplicably just the cassette version). I can barely recall it and I worked in a record shop and I still couldn’t have told you how it went. As for Toby Bourke, he was/is an Irish songwriter and the first artist signed to the independent record label Aegean that George founded after his split from Sony. Their track was dedicated to George’s Mum who had died in the February of 1997. Right, that’s all the facts out of the way – I’d better listen to the thing now…

…hmm…well, the video is giving me Narnia vibes which I don’t think suits the tone of the song which is meant to be a beautiful ballad but I found it meandering and rather soporific. It just doesn’t go anywhere rather like George’s record label which folded soon after and whose roster of artists included Trigger, Primitiva and Bassey Walker. Anyone? No, me neither. However, it was the first European record label to adopt the Liquid Audio secure electronic music delivery system which allowed music streaming and music downloads. Have that Spotify!

Although extensively used in classical music, there aren’t many pop songs that feature the word ‘waltz’ in its title. “Tom Traubert’s Blues (Waltzing Matilda)”? Does that count? Oh, hang on. Hers another by that rascal Malcolm McLaren…

After nearly four years and five Top 5 placings, Eternal are finally No 1 in the singles chart with “I Wanna Be The Only One”. It was a prophetic song title as it was the group’s only chart topper and it was only in pole position for a solitary week. Still, a No 1 record is a No 1 record and not every artist can claim to have had one. This gospel-inflected, joyous pop/soul track was always more likely to do the trick for the girls than one of their more melancholy efforts like previous single “Don’t You Love Me” or their mid-tempo dance tracks like “Save Our Love” as it was another one of those songs that would cut a swathe through people’s perceptions and reach the mainstream. It was and remains a fun track. Aided on vocals by BeBe Winans (of the extended musical Winans family) it was perfect for Summer playlists and was in step with the upbeat, good feeling that the General Election result had ushered in.

I’m pretty sure that I witnessed the announcement that Eternal were No 1 in person as it was made in Albert Square, Manchester where a mini Radio 1 Roadshow was taking place. It was on a Sunday and I think that as the chart countdown got to the No 1 position, Eternal were introduced on stage to perform their hit. Yes, I’m sure that happened and I haven’t made it up. Sadly, I’d given up on my diary a few weeks before so there isn’t any confirmation of events written down. This commercial peak for Eternal was over pretty quickly. Parent album “Before The Rain” had only been out for six months before a Greatest Hits package was released for the Christmas sales rush which seemed a bit odd. Maybe it was a contractual obligation thing. Said album was a hit but within two years, their last eponymously titled album made just as a duo by the Bennett sisters was a flop. The group split soon with the inevitable reunion rumours resurfacing most recently in 2023 with the four members from the original line up but Louise Redknapp and Kéllé Bryan pulled out over the Bennetts’ refusal to appear at LGBTQ Pride events.

The play out video is “I Have Peace” by Strike. Unsurprisingly, I don’t recall this one at all – my only memory of this lot is their 1995 No 4 hit “U Sure Do” though apparently they did have three minor hits after that and before this one. Wikipedia tells me that “I Have Peace” contains a sample of Level 42’s “Leaving Me Now”. Really? Let me have a listen…

…oh yeah – there’s it is. That tinkling piano part. It’s not an obvious steal for a dance track but it just about works. Despite it being their last UK chart hit, they would continue for another ten years supporting the likes of the Backstreet Boys, Jocelyn Brown and in a nice, full circle ending to the show, the Spice Girls.

Order of appearanceArtistTitleDid I buy it?
1Wet Wet WetStrangeNah
2Faith No MoreAshes To AshesI did not
3MonacoSweet LipsI bough their first single but not this one
4Rosie GainesCloser Than CloseNo
5Andrea Bocelli and Sarah BrightmanTime To Say GoodbyeNope
6George Michael and Toby BourkeWaltz Away DreamingNegative
7Eternal featuring BeBe WinansI Wanna Be The Only OneI did but for my wife who liked it
8StrikeI Have PeaceAnd no

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/m0028dyz/top-of-the-pops-30051997?seriesId=unsliced

TOTP 14 MAR 1997

Posted on by 80stastic

The era of Chris Cowey as TOTP executive producer may not have properly got underway yet but there have been some changes made already. Whether it’s down to this John L. Spencer guy who’s listed in the credits as the show’s director for some of this period or from higher above I’m not sure but what I do know is that the direct to camera piece at the start of the show by a featuring act has disappeared and the vintage clip advertising the TOTP2 brand at its end has also gone. I think I prefer it like this. The top and tail approach always seemed a bit clunky. Tonight’s host is Ian Broudie from the Lightning Seeds who’s got the gig for a second time in a short period – somebody on the show clearly really liked him but he’s not the most effervescent of presenters is he?

Anyway, we start with an absolute banger! I have a personal (albeit a bit tenuous) connection to this one – it’s “What Do You Want From Me” by Monaco. With New Order on hiatus following the release and promotion of the “Republic” album, the band members pursued side projects to give formation to their creativity. Whilst couple Stephen Morris and Gillian Gilbert worked together on their The Other Two material, Bernard Sumner always had the Electronic collective to fall back on. As for Peter Hook, thoughts that he might reactivate his late 80s/early 90s band Revenge were way off the mark as he came up with a new entity altogether in Monaco. I say new but his partner in this endeavour was David Potts who had been a part of Revenge but you get my drift. “What Do You Want From Me” was their first and biggest hit when it peaked at No 11. Accusations of being New Order-lite were as inevitable as they were obvious but none of that detracted from the general consensus that it was a great tune. Hooky’s distinctive bass playing style was allied to a catchy as hell ‘sha-la-la’ chorus that was both suitable for daytime radio and to maintain a lofty position in the credibility stakes.

So then. This personal connection story. Well, there was a lot of excitement about the release of this single at the Our Price in Stockport where I was working as David Potts had been one of us not so long before. Yes, the guy up there on our TV screens opening TOTP? We knew him! Now admittedly some of my colleagues knew ‘Pottsy’ better than me but I had worked with him for a brief period of a few months in the Manchester Piccadilly branch a couple of years before and his then girlfriend worked on a Saturday at the Stockport store at this time. As such, we were very aware of Monaco and were desperate for their single to be a big hit. I guess it was – No 11 was not to be sniffed at. Obviously we all bought “What Do You Want From Me” and aside from that track there’s also a fabulous song as the B-side called “Bicycle Thieves” presumably inspired by the 1948 Italian film of the same name. The CD single also featured an instrumental version of the title track and there’s a hidden bit that kicks in at the end after the track has finished which is basically a man laughing almost maniacally over a what sounds like a Wurlitzer organ. The guy doing the laughing was someone I’ve mentioned before in this blog, a larger than life character who was well known in Manchester as ‘Mirror Man’ on account of the way that he would talk to you through a hand held mirror. His real name was Ray and he used to wear a bus driver’s uniform despite the fact that he didn’t work on the buses and he would come into the shop where I worked and refer to all the staff by pop star names (I was Billy Idol for some reason). Anyway, Ray had this amazing, enormous, fill-the-room laugh and somehow he made it into the end of that Monaco track. RIP Ray.

As for Monaco, that initial success only sustained for one more single though their album “Music For Pleasure” matched the chart high of “What Do you Want From Me” and sold 500,000 copies worldwide. They split in 2000 but have come together again as part of Peter Hook and the Light playing New Order and Joy Division songs to live audiences. I caught them a few years back supporting Happy Mondays at an outdoor gig in Hull. I wasn’t anywhere near the front so there was no chance of Pottsy seeing me but even if he had I doubt he would have remembered me. It was all a long time ago after all.

We’re coming to the end of the era of Ant & Dec as pop stars but we’re not quite there yet. “Shout” was their twelfth consecutive Top 40 hit though only the third to make the Top 10. Sadly, it was not a cover of the Tears For Fears hit (though Wikipedia tells me that the lyrics of the chorus were influenced by it) but thankfully neither was it the duo’s take on that Lulu song. What it was though was quite a change of pace to those preceding hits. A slowed down number that verges on melancholy, one definite influence on it was the bass line from Lou Reed’s “Walk On The Wild Side”.

I recall being almost impressed by their ability to change direction but on reflection, just as with Eternal’s “Don’t You Love Me” in the last post, I think I may have exaggerated its quality. Firstly, there’s the sixth form ‘state of the nation’ lyrics and then there’s the image of Dec on the guitar. Really?! Can he actually play the instrument? I’m no virtuoso but I have had a few lessons down the years and having looked at the chord shapes his left hand is making, they might be correct but his strumming action is not convincing at all. With this change of pace and public face (Ant on solo lead vocals and Dec sat down with a guitar), what then didn’t make sense to me was the fact that they’d ditched the pop star career by the end of the year*. Why try out a new sound if you had no intention of carrying on? I’m sure, given the longevity of their TV careers, that they would argue it was clearly the correct decision and to be fair to them, they’d be right.

*I’m ignoring the 2002 World Cup song “We’re On The Ball”.

A bit of admin for Ian Broudie next as he explains why Kula Shaker weren’t on the show last week despite going straight into the charts at No 2 with their cover of “Hush”. Well, they were meant to be on but singer Crispian Mills had a sore throat and so was tucked up in bed with his actor Mum Hayley looking after him. OK, that makes sense except why have they just shown the video this time. Why wouldn’t they have just done that last week when it was at its chart peak rather than when it had slipped four places down the chart? The way the charts were back then, John L. Spencer or whoever must have known there was a chance the single would slip after its first week position. Ah well, the thing was that with Ric Blaxill gone some of the appearance rules with regard to chart positions seemed to be…well…disregarded. Songs would be featured on consecutive weeks which historically would only happen if it was the No 1 single. Also, those going down the charts would be featured, again in contravention of previous norms and conventions. To disguise this practice, the artist/title/chart position captions have been removed from the start of the performance and added in right at the end. Sneaky.

Anyway, Kula Shaker and “Hush”. I’m guessing this was the classic standalone single to bridge the gap between albums tactic. Debut “K” came out in September 1996 whilst follow up “Peasants, Pigs & Astronauts” didn’t arrive until March of 1999. So long was the wait that the lead single for the latter – “Mystical Machine Gun” – was released nearly twelve months before the parent album. Now, being a pop kid, Deep Purple who had recorded “Hush” in 1968 had never interested me so I’m not sure if I even knew the song before this but when I did finally hear it, I liked it. My research tells me that the Deep Purple version itself was a cover with the original song recorded by country singer Billy Joe Royal and was written by Joe South who also wrote “Rose Garden” that became a hit for Lynn Anderson which I think my parents had. So I’m guessing that “Hush” wasn’t an out and out heavy rock song which may explain why I was open to the charms of the Kula Shaker version? Hush my mouth!

Here’s another band whose name I remember but I couldn’t tell you how one of their songs went. 3 Colours Red (their name came from putting a pin in London listing magazine Time Out and landing on an advert for the final film of the Three Colours trilogy) would rack up six UK chart hits before the end of the 90s. This one – “Sixty Mile Smile” – courted some controversy when rumours circulated that it was about lead singer Pete Vučković’s hospitalisation after a bad ecstasy trip. This sort of thing did not go down well in the media back then – just ask Brian Harvey.

The majority of the band’s hits would peak between Nos 30 and 20 except 1999’s “Beautiful Day” which was their biggest reaching No 11. There seemed to be a few bands in this period like 3 Colours Red that had a big enough fanbase to ensure that every single they released would be a medium sized hit which would then fall away dramatically – I’m thinking Gene, Therapy? and Terrorvision (apart from that “Tequila” hit of course). Having listened to “Sixty Mile Smile” in the present day, my opinion would be that it’s a decent sound without being anywhere near exceptional. 6/10 is about right in my book.

Like “Hush” before it, here’s another hit that had already reached its peak position and was on its way down the charts though this one was at least holding in the same position for two weeks running. “Encore Une Fois” by Sash! would actually prove to be a very hardy and resilient track taking another month after this before it even departed the Top 10 and spending twelve weeks in the Top 40 altogether. Apparently this German DJ/production team hold the record for the most amount of No 2 hits (five in total) without ever having a chart topper. That’s a lot of No 2s! You can make your own jokes up…

Talking of artists who had a run of hits that peaked at the same chart position each time, check out Alisha’s Attic’s chart stats for their first five singles:

14 – 12 – 12 – 12 – 13

Now that’s consistency. “Indestructible” came bang in the middle of that run and was the third track to be released from the sister duo’s debut album “Alisha Rules The World”. I remember this as being better than it was listening back to it now. It’s all very pleasant and has a dreamy quality but ultimately it comes off as a bit insubstantial. Perhaps the CGI video that was probably cutting edge at the time isn’t helping by dating it rather so probably not indestructible after all.

Right, this messing around with the TOTP appearance rules has got out of hand now. Why the hell are No Mercy on again?! Their hit “Where Do You Go” has been on the show at least three times now and this is the fourth week in a row that it has gone down the charts! Make it make sense! I’ve also noticed that as well as shifting the artist/title/chart position graphic to the end of the performance, there’s no longer an arrow indicating that a song was climbing the charts. That used to be a thing didn’t it? Surely the chart countdown graphic had something like that which it doesn’t appear to anymore. It all stinks a bit of hoodwinking the TV audience to me.

Ian Broudie refers to the next artist as his showbiz mates and I don’t think he’s making it up as he did produce their debut album and one of them clearly says “Thanks Ian” as the camera pans from him to the band. Our host was talking about Dodgy whom he also refers to as “probably the best group in the country”. Hmm. It’s a bold claim. Whilst I did quite like them, I don’t think I’d have gone that far. They’re in the studio to perform their latest hit “Found You” which was the fourth and final track lifted from their “Free Peace Sweet” album. Looking at their discography, this could be the last time we see them on TOTP as they only had one more Top 40 hit in 1998 and that only made No 32. What is their legacy? As I said, I quite liked their jaunty, melodic brand of Britpop (if that’s what they were) but sadly if you type the word ‘dodgy’ into a search engine, you more likely to be prompted to look for ‘dodgy fire stick’ than the band.

The Spice Girls are No 1 (of course they are) with double A-side “Mama/Who Do You Think You Are”. We get the latter song this week and it really is a great pop track. An instant floor filler – contemporary sounding but with a retro disco style flavour (I think they called it nu-disco). Despite not having her own solo part on any of the verses, it’s Melanie C’s vocals that stand out and hold it all together with her counterpoint harmonies. In a glorious bit of symmetry, she would appear in 2024 in Series 21 of the genealogy show Who Do You Think You Are, the only Spice Girl to do so up to now.

As mentioned previously, the plug for TOTP2 has gone and is replaced by a play out video of a current song. This week we get “Rumble In The Jungle” by the Fugees featuring A Tribe Called Quest, Busta Rhymes and John Forté. Taken from the soundtrack to the documentary When We Were Kings about the Muhammad Ali /George Foreman boxing match that took place in the former Zaire in 1974, it famously features the bass line from ABBA’s “The Name Of The Game” and the melody from “Angel Of The Morning” made famous by Juice Newton. Now apparently, the Fugees’ record label Columbia had planned to rerelease “Fu-Gee-La” as the group’s next single and had even sent out promo copies to radio stations to plug the track. However, in America, Mercury Records released the When We Were Kings soundtrack and “Rumble In The Jungle” to promote it which led to canny record dealers in the UK getting hold of import copies of the single and selling them over here thus undermining any potential sales for “Fu-Gee-La”. In the end, Columbia relented and the planned rerelease never happened leaving the way clear for an official release for “Rumble In The Jungle” which made No 3. As with Dodgy, I think this might be our last glimpse of the Fugees on TOTP. For a group of such influence, the small size of their discography seems like a contradiction.

I don’t think I’ve ever seen the documentary all the way through which I should probably correct one day. I do know that Ali won the fight and was massively popular in Zaire where he won over the locals with his charm. Of course, the Fugees song wasn’t the first to use the Rumble In The Jungle as its subject matter. There is also this…

Order of appearanceArtistTitleDid I buy it?
1MonacoWhat Do You Want From MeYES!
2Ant & DecShoutNO!
3Kula ShakerHushNegative
43 Colours RedSixty Mile SmileNah
5Sash!Encore Une FoisNever
6Alisha’s AtticIndestructibleNope
7No MercyWhere Do You GoAs if
8DodgyFound YouNo but my wife had the album
9Spice GirlsMama/Who Do You Think You AreI did not
10FugeesRumble In The JungleAnd no

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/m0027fvz/top-of-the-pops-14031997?seriesId=unsliced