Queen

TOTP 14 MAR 1991

Posted on by 80stastic

Right, we’re about 10 weeks into reviewing the year that was 1991 here at TOTP Rewind so how’s it going do we think? Personally, I think it’s been a bit all over the place. We’ve had a No 1 from Iron Maiden, some years old hits back in the charts from the likes of The Clash, Madonna and Bill Medley and Jennifer Warnes, some truly vile Grease and Bee Gees themed mega-mixes, some TV show cartoon characters topping the charts in the form of The Simpsons, some non mainstream acts sneaking into the charts like Pop Will Eat Itself, Ned’s Atomic Dustbin and The Railway Children, established rock and pop royalty still surviving into the 90s like Queen and Sting, some monks chanting their way to No 1, some classy dance tunes from the likes of Massive Attack and The Source and most unbelievably of all, a second hit for Gazza. Phew! Totally bonkers! The Top 40 was off its head!

And now a young man entered the fray who would add yet another unexpected element to the musical meting pot. Who saw Chesney Hawkes coming?! Well, if you had watched the film Buddy’s Song then maybe you did predict Ches-mania. This comedy-drama flick told the story of one Buddy Clark and his struggles to make it as a pop star whilst dealing with the issues of entering adulthood, separated parents and a burgeoning romance. Hawkes was, of course, the titular Buddy whilst The Who frontman Roger Daltrey played his Dad. I’m sure I’ve seen this but I don’t think it was at the cinema. Maybe it was shown on TV subsequently. It was pretty insubstantial as I recall but it was a perfect vehicle to launch Chesney’s real life pop star career. It was kind of like The Monkees all over again when the fictitious pop band from a TV show become actual pop stars or as Micky Dolenz famously said ‘like Leonard Nimoy becoming a real life Vulcan’. Cleverly, the film featured 11 songs performed by Chesney which were then released on a soundtrack album which could then be marketed basically as a Chesney Hawkes solo album. Added to all of this promotion, Hawkes even had a pop music back story as his Dad was Chip Hawkes from 60s hitmakers The Tremeloes.

Despite all this and Hawkes’ clean cut, pretty boy pop star looks, his rise to stardom still didn’t seem a given. Firstly, teenage girls already had a clutch of pop pin ups to scream at in the shape of New Kids On The Block. Secondly, there was his song. “The One And Only” had been written for him by faded 80s pop star Nik Kershaw whose last chart hit had been back in 1985 and was surely now unknown to 90s pop fans but it was, nevertheless, plucked from the album to be Hawkes’ debut single. Now here’s the thing for me about “The One And Only”; yes it sounded a bit dated (being written by a pop star from an earlier decade and all) and it had some cheesy, 6th form style lyrics but…but…it was and remains a bloody good pop song! No f**k you, it is! Whatever you may think about Kershaw, that’s what his strength was – writing decent pop genre songs. He knew how to do that. What he wasn’t so comfortable with was actually being the pop star which he always struggled with. This was an almost perfect arrangement for him. He gets all the royalties and kudos from a chart hit but he doesn’t have to front or promote it. Once more there was a tie in with The Monkees story as when music publisher Don Kirshner was asked to provide hit songs for the group and he presented them with the song “Sugar, Sugar”, they hated it and rejected it out of hand at a tense meeting at the Beverly Hills Hotel. Kirshner took his song and got some session musicians to record it and put it out under the name of The Archies who were a fictional band that featured in the animated TV series The Archie Show knowing that a bunch of cartoon characters couldn’t give him any grief. For Nik Kershaw see Don Kirshner (sort of). OK, the analogy doesn’t quite hold as a parallel to the Kershaw/Chesney story but you get my drift.

This TOTP performance helped propel Chesney to the top of the charts within a matter of weeks and for a while he was everywhere. I have my own (not especially interesting) Chesney Hawkes story but I’ll keep that back for another post as he will be at No 1 for FIVE weeks!

Next the sound of a band transitioning from being critically acclaimed and with a sizeable devoted fanbase to probably the biggest band in the world at the time; all courtesy of one unusual song. REM were certainly not a secret by the time 1991 rolled around. Their last album “Green” had sold a few million copies world wide and they had undertaken their biggest ever tour to support it. I was certainly aware of them having been introduced to their work by a pal at Polytechnic and had loved their “Stand” single. Yet, I wouldn’t have said they were up there with the ridiculously famous bands like, I don’t know, U2 or Queen or The Police.

“Losing My Religion” changed all that and brought them into the world of mainstream, global success. The lead single from their seventh studio album “Out Of Time” (yes seventh, they were hardly an overnight success), it wasn’t your typical rock/pop song featuring as it did a mandolin as the principal instrument and no recognisable chorus. Record company Warner Bros had some reservations about the band choosing it to promote the album but it would prove to be the biggest hit of their career. I say that but UK audiences didn’t quite embrace it in the same way as the rest of the world. A No 4 in the US and Top 10 just about everywhere else, it only made it to No 19 in the UK charts. However, sales of “Out Of Time” in this country were off the scale. It went to No 1, was the sixth best selling album of the year and would go five times platinum here. We sold that album in the Our Price store I worked in again and again and again. And they we sold it some more. By comparison, it sold five times more than previous album “Green”.

There’s loads of stuff online about the video for “Losing My Religion” in terms of the director, the concept behind it etc so you can look all that stuff up yourself if you like but here are the things that I have noticed about it:

  1. Is the actor with the bald head and white beard who takes the wig off the angel character the same bloke who played Socrates (So-Crates) in Bill And Ted’s Excellent Adventure?
  2. Supposedly Michael Stipe’s chaotic dancing style is based on a mash up of Sinead O’Connor’s moves in her “The Emperor’s New Clothes” video and David Byrne’s “Once In A Lifetime” freaky cavorting. However, to me, it looks more like Roland Orzabal wigging out in the Tears For Fears video for “Mad World”.
  3. Michael Stipe has hair!

Seeing as REM were making a bid for global domination, it fell to Oxford’s Ride to be this week’s non-mainstream artist on the show. Apparently this was their TOTP debut but I think we had seen some of their videos on before (probably in the Breakers section). “Unfamiliar” was actually just one of four songs on an EP called “Today Forever” Indeed all of their previous chart entries had actually been tracks from an over arching EP – I don’t know, those indie bands and their EPs!

Ride seemed to gain a lot of critical appreciation and indeed commercial success very quickly after their formation as the poster boys for the ‘shoe gazing’ movement. The following year would see them at the pinnacle of their powers as they would score a Top 10 single in “Leave Them All Behind” and a Top 5 album in “Going Blank Again”. My particular fave of theirs from that time was “Twisterella” so I hope we get to see that on a future TOTP repeat.

As brightly as they burned, their flame was also quickly extinguished and by 1995 they were in crisis following the recording of the “Tarantula” album and broke up quickly afterwards. However, they reformed in 2014 and have released two successful albums since then.

The “Today Forever EP” peaked at No 14.

After seeing their 70s canon bastardised into an horrific megamix by The UK Mixmasters a couple of weeks earlier, The Bee Gees themselves were back for real with some new material. Despite their incredible run of success in the 70s, the 80s had been a much quieter time for The Bee Gees apart from one notable exception. Their surprise No 1 single “You Win Again” in 1987 was their only Top 40 entry of the entire decade. In an attempt to reverse this trend, they pulled off a trick most commonly known as money for old rope. Yes, they just took one of their old songs, made a few tweaks and shoved that out into the marketplace. So not really new material at all then. The song that they refashioned was “Chain Reaction” which had been a No 1 for Diana Ross back in 1986 and it re-emerged in 1991 as “Secret Love”. It proved a simple act to deceive the UK record buying public as they sent it all the way to No 5. However, the album it was taken from called “High Civilization” severely underperformed.

They appeared to expend as little effort on the video as they had done on the song. This was stultifyingly dull following very much in the footsteps of the promo for “You Win Again”. They could have at least pulled out some Travolta -esque Saturday Night Fever moves.

What can only be described as a poignant video next. Due to his worsening condition caused by advanced AIDS, Freddie Mercury was in very poor health come 1991. He had wanted to keep working as long as possible which allowed for one final Queen album to be released before his death in “Innuendo”. “I’m Going Slightly Mad” was the second single to be released from it following the title track and was also the last promo in which he contributed significantly to the creative process. By this point, stories of his ill health were rife in the press and so as not to fuel the rumours, he wore heavy make up to his the blotches on his face and a big coat to disguise the heavy weight loss his condition had induced. An over the top wig was also in play to cover up his receding hairline. The fact that it was almost entirely shot in black and white may also have been designed to throw people off the scent. That and the penguins. Definitely designed to throw people off the scent was the gorilla suit which allegedly housed one Elton Hercules John.

After the full on bonkers “Innuendo”, “I’m Going Slightly Mad” did little to return the band to the Queen sound that had served them so well for the previous two decades. Very understated with some truly daft lyrics (“I think I’m a banana tree”), it never seemed to get going to me. Maybe that wasn’t the point though. Many an online theory suggests that the lyrics reflect the mental decline Mercury was experiencing as one of the effects of AIDS. It didn’t seem to strike an emphatic chord with the fans as after the album’s title track had gone straight in at No 1, “I’m Going Slightly Mad” peaked at No 22.

By late November, Freddie would be dead but his end would usher in a posthumous No 1 when a re-release of “Bohemian Rhapsody” backed with another “Innuendo” track “These Are the Days of Our Lives” claimed the Xmas No 1 spot.

After a brief cameo from Lenny Henry to plug Red Nose Day which was happening the following evening, we have another showing of the Massive Attack studio performance for “Unfinished Sympathy”. So what was the story behind that pithy song title? Here’s @TOTPFacts with the answer:

Shara Nelson would go onto have a clutch of hit singles in the mid 90s as a solo artist and she gives a heart felt performance here but the TOTP cameraman seems more interested in the guy in the backing orchestra with the pronounced comb over giving 70s footballer Ralph Coates a run for his money. Who was Ralph Coates? This was Ralph Coates…

A hat trick of rock and pop legends on the same show is completed. Following Queen and The Bee Gees earlier is Rod Stewart whose “Rhythm Of My Heart” single was the first from his “Vagabond Heart” album. That album would perform very solidly commercially(exceeding expectations even) and gave Rod the Mod his highest charting long player since 1976’s “A Night On The Town”. The single also did well for him peaking at No 3 at a stroke becoming his biggest hit since 1986’s “Every Beat of My Heart”.

If “Rhythm Of My Heart” sounded just a teeny bit Scottish in flavour, then there was a good reason for that. The melody is an adaptation of centuries old Scottish folk song “The Bonnie Banks o’ Loch Lomond”. Yes you do know it; it’s the one that goes:

O ye’ll tak’ the high road, and I’ll tak’ the low road,
And I’ll be in Scotland a’fore ye

Yes, that one. Rod’s pride in his Scottish ancestry is well known of course (although he was born in England and his Mother was English, his Dad was Scottish) so I suppose we shouldn’t have been surprised about him mining it for a hit record.

On June the 7th of this year, as part of his world tour in support of the “Vagabond Heart” album, Stewart played Old Trafford football stadium and, as core stock CD buyer at the time (oh the responsibility), I had my eyes on the ball for this happening. Predicting a spike in interest, I ordered in a load of his 1989 Best Of album which sold like billy-o’ the day after the gig which happened to be a Saturday. Or was it my manager (a big Rod fan) who told me to order them in? In the face-off a lack of definitive evidence, I’m going to take the credit for this one.

Host Simon Mayo blows his own trumpet (he did that quite a bit I’ve noticed) when introducing Happy Mondays and their latest single by saying it was a chart beater on his Radio 1 Breakfast Show and that he was playing it everyday. “Ooh check me out with my hip tastes; I’m no brainless DJ like Steve Wright, I’m into the music” you can imagine is what he really means.

“Loose Fit” was the third and final single to be lifted from the “Pills ‘n’ Thrills And Bellyaches” album and I recall our store having loads of it in stock but although it sold steadily peaking at No 17, it didn’t reach the heights of the first two singles “Step On” and “Kinky Afro” which both made it to No 5. Like many I think, I always thought it was something to do with Madchester fashion and all those baggy flare jeans but it wasn’t. Here’s Shaun Ryder courtesy of @TOTPFacts:

Oh OK but the lyrics did include this rhyming couplet…

Don’t need no skin tights in my wardrobe today
Fold them all up and put them all away

…so, as with the Rod Stewart Best Of story, I’m going to give myself the benefit fo the doubt on this one.

Watching this performance back, it’s hard to remember that Shaun used to look like this. Still, I guess we all look a bit different to how we did 30 years ago… apart from Sinitta of course who doesn’t look much different from her “So Macho” days.

It’s a second and final week at the top for The Clash and “Should I Stay Or Should I Go”. Given the renewed interest in the band, record label Epic went to work on raiding their back catalogue to try and spin to out some more hits. They released a Best Of album called simply “The Singles” despite their already being a superior collection called “The Story Of The Clash” from just three years earlier. The public weren’t taken in by that and it struggled to a high of No 68. They had better luck with a re-release of ‘Rock The Casbah” (like “Should I Stay Or Should I Go”, also from the “Combat Rock” LP) which went to No 15 in the singles chart. However, a second re-release of “London Calling” (it had already been re-released once in 1988) missed the Top 40 altogether and brought the whole early 90s revisiting The Clash project to a close.

The play out song is “Who? Where? Why?” by Jesus Jones. It’s not the official promo video though but rather a re-showing of their studio performance from the other week. If you google Jesus Jones, the first result that comes up is a link to their official website (good work from their website creator) and the link says ‘Jesus Jones. No, we didn’t split up’. Yes, in spite of everything, the music press backlash, the decline in their popularity, being dropped by EMI, the band remained together and are still touring and releasing new material to this day. Apart from a spell when original drummer Gen was replaced by Tony Arthy before rejoining the fold in 2014, thew original line up has remained intact. Quite the achievement.

“Who? Where? Why?” peaked at No 21.

For the sake of posterity, I include the chart rundown below:

https://www.youtube.com/watch?v=dP5r_Uz-FOg
Order of AppearanceArtistTitleDid I buy it?
1Chesney HawkesThe One And OnlyI did not
2REMLosing My ReligionNot the single but I must have it on something
3RideToday Forever EPNah
4The Bee GeesSecret LoveDefinitely not
5QueenI’m Going Slightly MadNegative
6Massive AttackUnfinished SympathyNo but I had the album Blue Lines
7Rod StewartRhythm Of My HeartAnd no
8Happy MondaysLoose FitNo but I had the Pills ‘n’ Thrills and Bellyaches album
9The ClashShould I Stay Or Should I GoNot the re-release but I have it on something surely?
10Jesus JonesWho? Where? Why?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/m000x8p7/top-of-the-pops-14031991

TOTP 24 JAN 1991

Posted on by 80stastic

A truncated edition of the show this week  – the BBC seemed to have lopped 5 minutes off it which means no play out video after the No 1 single and no Breakers. I’m guessing this is to do with additional news coverage of the continuing Gulf War. It is, however, back in its usual Thursday time slot. The host tonight is Simon Mayo who I am beginning to find increasingly smug and annoying – whether I felt like this at the time or not, I don’t know. 

There’s a definite theme of recycling in this TOTP as we start with a song that was originally a Top 10 hit for Patrice Rushen back in 1982. “Forget Me Nots” was given the UK electro dance treatment 9 years later by Tongue ‘N’ Cheek to very little effect and with very little just cause to my ears. This seemed to be a desperate attempt to grind out another Top 40 hit after their last single “Nobody” had failed to consolidate on their breakthrough hit “Tomorrow”. It doesn’t seem to add that much to the original but would be part of a brief movement of old songs given the dance treatment around this time (see also Quartz doing Carole King’s “It’s Too Late”). Although it secured them a No 26 hit, it would be the last time Tongue ‘N’ Cheek appeared in the Top 40 and they would split soon after. However, “Forget Me Nots” would go onto have a life way beyond its dalliance with Tongue ‘N’ Cheek. It was sampled by George Michael for his 1996 No 1 single “Fastlove” and also by Will Smith the following year for his chart topper “Men In Black”.

After the recycling of “Forget Me Nots” a few times over comes Robert Palmer doubling down on his green credentials by regenerating not one but two Marvin Gaye numbers into a whole new song of its own. “Mercy Mercy Me / “I Want You” would be Palmer’s last ever Top 10 hit in the UK and whilst his back catalogue includes some wonderful songs , I’m not sure if that ever translated into the chart success they deserved. Looking at his discography, he had 12 Top 40 Uk hits (if you include his work with The Power Station) of which 5 were Top 10. It’s not a bad haul but when you consider his music career spanned nearly 40 years and took in 14 studio albums until his death in 2003, it maybe doesn’t seem that much either. Throw in the possibility that, for many people, he’s just the “Addicted To Love” guy and it seems an outright injustice.

There always seemed to be more attention on his sartorial style than his music it seemed to me. For example, in 1989 he received two Brit Awards nominations but won neither yet he did top a Rolling Stone magazine poll for the best-dressed rock star of 1990. This is reinforced by Simon Mayo’s description of him in his intro as ‘Mr Suit’ and ‘Mr Smooth’ and even ‘a singing version of Robert Kilroy -Silk'(remember him?!). “Mercy Mercy Me / “I Want You” peaked at No 9 and I’m guessing this Robert’s final TOTP appearance. Thanks for the memories Bob.

Next a song that must have been the bane of many a young woman’s life back in 1991. How many of the nation’s female population had to endure having ‘wiggle it, just a little bit’ shouted at them as they went about their business by lairy neanderthal men around this time? I know of at least one who had this happen to them. 2 In A Room were the architects of this nonsense and “Wiggle It” would become a No 3 hit in the UK. Only in Australia did it chart so high on the national chart. Hmm.

Inevitably, the video features lots of bikini clad ladies…erm…wiggling it on the beach whilst a male counterpart (who looks very much like Jerry Seinfeld) gets the exact opposite treatment of being fully covered up by being buried in the sand. Once again, hmm. I genuinely thought until this moment that the lyrics were ‘wiggle it just a little bit, I wanna see you wiggle it just a little bit ACID GROOVE!’ but it turns out that they’re singing ‘as it grooves’ and not ‘acid groove’. I’m not sure which makes more sense to be honest but then how do you make any sense of this piece of garbage?

It may be a new decade but we haven’t left novelty records back in the 80s. After the ghastly Bombalurina last year comes The Simpsons with “Do The Bartman”. I’m pretty sure I didn’t know much about The Simpsons back in 1991. For a start it had only been on UK television for less than 6 months by this point and even then it was only on Sky which hardly any of us had. We certainly didn’t in our little rented flat. It would take another 6 years before the show became available on terrestrial TV. It seems unimaginable now, so much a part of our cultural lives have Homer, Bart, Maggie and the rest become but this was genuinely the case back then.

My first introduction to them being this record didn’t bode well. It didn’t even seem that funny to me but then I had never seen the show nor know its characters. And why were they all yellow? A bigger question was how on earth did it get to No1 in the UK? It wasn’t just a matter of taste – genuinely, how did a novelty record from an American TV show that most of the population almost certainly didn’t have access to top the charts? There was no internet or streaming services back then either remember. Most novelty records that have been successful have not been imports – “Ernie (The Fastest Milkman in the West)”, Orville The Duck, Grange Hill (a UK TV show of course)….I’m sure there must be loads of others. “Do The Bartman” seemed to be a different beast. It was taken from an album called “The Simpsons Sing The Blues” which would spawn another Top 10 hit in “Deep Deep Trouble” later in the year. Oh deep, deep joy.

I’ve still got very little to say about Off-Shore and “I Can’t Take The Power” not least because I hardly remember it. I did post the theory last time it was on about whether it was meant to be some sort of repost to Snap!’s ‘The Power” and that’s given a bit more credence by this tweet from @TOTPfacts:

And then this one aswell:

Listening to this back, it really is very repetitive. It’s just that cut and paste sample over and over again to an Italian House piano riff backing. It’s like they hardly put any effort into it at all and it doesn’t lend to self to a studio performance. No wonder TOTP had to intercut it with bits of the official promo video to make it even slightly watchable. Off-Shore – they couldn’t take the power but they did take the piss.

Simon Mayo seems to slip in an unofficial plug for a non BBC product at the song’s end when he says you can find the lyrics to the Off-Shore song in No 1 magazine. That wasn’t in the rules surely? He then follows it up with some cryptic clue about a vocal performance from a Radio 1 DJ on the next song which is “Can I Kick It?” by A Tribe Called Quest. According to Mayo, it’s Pete Tong who says A Tribe Called Quest towards the end of the song. Is that right?

*checks internet*

Huh – seems it is according to Wikipedia anyway:

In the official Boilerhouse mix of the song, the name of the band “A Tribe Called Quest”, is spoken by the British radio DJ Pete Tong

If you want a story about spoken word samples on “Can I Kick It?” though, this takes some beating:

Apparently it’s from the kids cartoon SuperTed in which Jon Pertwee voiced a character called Spotty although the twitteratti can’t agree for sure. Also, the comment about not believing Wikipedia puts some doubt on the Pete Tong claim for me. Anyway, all of this shouldn’t distract from how good the track is. Another example of recycling with its heavy use of Lou Reed’s “Walk On The Wild Side” it also, inevitably due to its title, led to it being used in many a footballing montage and indeed advertising campaign beginning with this one from Nike in 1992:

The success of “Can I Kick It?” led to a previous single from their album being re-released in “I Left My Wallet in El Segundo” which was pretty cool too but it failed to get anywhere near the Top 40 peaking at No 86. A Tribe Called Quest would not have another UK Top 40 single for five long years.

I’m not sure what was more shocking about Rick Astley‘s 1991 comeback – his new sound exemplified by the gospel tinged ballad “Cry For Help” or his long hair! I mean, just look at it! Where had that boy next door, preppy look gone?! Apparently he hadn’t had a haircut for over a year by this point – always ahead of the game Rick, modelling lockdown hair 30 years before it was a thing.

What about his song though? Sure it was different but was it any good? Well, I thought so and so did my wife who bought it. It was also a wise move in my book – if you’re the biggest pop star in the country and you just walk away from it for a whole two years without so much as a by your leave, then when you come back, you better have come up with something new in the intervening time. For my money, he would have looked ridiculous making a comeback with “Never Gonna Give You Up Part II”. “Cry For Help” was written by Astley with Rob Fisher (one half of both Naked Eyes and Climie Fisher) whilst all but three of the parent album album’s tracks were either written or co-written by him. That album was called “Free” and seeing as he had totally ditched his association with Stock, Aitken and Waterman for the project, you don’t need many guesses to work out what the title was referring to. The single and album would go Top 10 but it was a short lived revival. Subsequent singles failed to chart and although the album reached gold status, it was a far cry (for help) from his multi platinum SAW heydays.

I think I’ve worked out what has been annoying me retrospectively about Simon Mayo – it’s his continuous banging on about how any breaking chart hit had been the Breakfast Show ‘Record of the Week’. He makes that claim for Rick Astley in this show but has also done it loads of times previously. ‘Ooh look at me – I’m in it for the music really and not the fame and profile’ seems to be his message. Yeah, whatever mate.

Right, as its a shortened show, the final song of the evening is the No 1 and it’s not only new to the top spot but it’s gone straight in on its first week of sales. This had happened just a handful of times in the 80s and it still was hardly a regular occurrence by the early 90s. By the end of the decade however it would be a weekly occurrence due to heavy record company discounting. “Innuendo” was the title track of Queen‘s final album to be released in Freddie Mercury’s lifetime and it was pretty much…bonkers. I mean seriously, it sounded all over the place to me. Can you imagine the conversations in the jam session which led to its creation?

“I’ve got a great idea for a Boléro themed opening”

“Oh well, if we’re going down that route, I vote for a flamenco guitar breakdown but it has to be performed by Steve Howe from Yes”

“Look, you can have what you want in it but it must be 6 and a half minutes long”

Just your typical song composition really! Did I like it? Not much. Its complex structure brought inevitable comparisons with “Bohemian Rhapsody” but I’ve never been a fan of that either. Before the end of the year, Freddie would be gone and “Bohemian Rhapsody” would be at No 1 all over again. Oh and if I thought “Innuendo” was bonkers, then the point was really hammered home with the title of their next single -“I’m Going Slightly Mad”.

Order of appearance ArtistTitleDid I buy it?
1Tongue ‘N’ Cheek Forget Me Nots Nope
2Robert PalmerMercy Mercy Me / I Want YouNo but it’s on My Best of CD of his
32 In A RoomWiggle ItA massive no
4The SimpsonsDo The BartmanGive over
5Off-ShoreI Can’t Take The PowerNope
6A Tribe Called Quest Can I Kick It?Though I maybe did but apparently not
7Rick AstleyCry For HelpNo but my wife did
8QueenInnuendoNah

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.