Whitney Houston

TOTP 14 MAY 1999

Posted on by 80stastic

I’ve done a lot of themed posts lately but this one is going to just be a straight run through of the music on the show. That’s how I started out doing this blog nine years ago so maybe it’s time for a back to basics approach. Jayne Middlemiss is our host and we start with a boy band who’d just had their first No 1 with their last single. 911 had finally got to the top with a cover version of Dr Hook’s “A Little Bit More”. That had been preceded by another treatment of someone else’s song – “More Than A Woman” by the Bee Gees. And guess what? This song- “Private Number” – was yet another cover with the 1968 original by Judy Clay and William Bell having been a No 8 hit. There’s a reason for all of this – parent album “There It Is” was made up entirely of cover versions. I know boy bands taking on other people’s songs was an established tactic when it came to securing a hit single but did they really need to do a whole album of them? In fact, which artists did they put their own spin on?

*checks track listing*

Well, mostly it was the soul/R&B/disco genre that they plundered with the likes of Tavares, Heatwave, The Real Thing and Shalamar represented. However, a couple of other tracks stood out – Rick Astley’s “Never Gonna Give You Up” and “You’re The Best Thing” by The Style Council. I guess the choice of the former kind of makes sense – a genuine pop classic (I’m talking of its stature and profile rather than its musical quality) but the latter?! That’s not right is it?! Dare I listen to the 911 version? I do…

*listens to 911 version*

As expected, completely pointless! Sanitised, soulless, plastic…just horrible. Why do I put myself through these things? Anyway, “Private Number” would do the business for the trio by going Top 3 but 911’s pop star journey was coming to an end. There would be only one more hit (the No 13 “Wonderland”) from a Greatest Hits album and that was it. Lead singer Lee Brennan and Spike Dawbarn made the decision to split the group (third member Jimmy Constable wasn’t in on the decision apparently) and there would be no more until the first of a series of reunions in 2008.

As for the performance here, they show Westlife how to do it by sitting on stools throughout and dressed in white and beige – appropriately the colours of the nondescript. Only the presence of the female singer on the piano breaks up the monotony. Wikipedia tells me she is Natalie Jordan who worked with the likes of Louise and Matthew Marsden. Not much surprising there but the fact that she was one of the co-writers on the track “Superheroes” on Stormzy’s “Heavy Is The Head” album did peak my interest. One more thing. A group named after one of the most well known telephone numbers in the world singing a song called “Private Number” is a bit ironic isn’t it?

We have arrived at the point in the dance obsessed 90s where even Bryan Adams sat at the bpm counter and added a backbeat to his songs. Well, one song. For the moment anyway. Said song was “Cloud #9” or “Cloud Number Nine” as it was originally titled on the album “A Day Like Today”. The third single taken from the album, Adams decided he wanted to shake things up a bit by having it remixed. Step forward Nicholas Bracegirdle aka Chicane who’d had a hit with the track “Offshore” a couple of years before. So how different was the dance remix from the original? Having listened to both, there is a definite distinction between them but we were hardly talking the Armand van Helden remix of Tori Amos’s “Professional Widow” here. The album version is a fairly straightforward soft-rock song the like of which Adams specialised in. The remix adds an echoey, looped intro and a familiar backbeat but the basic tune remained intact. It proved to be a good decision with the single edit making No 6. The album was rereleased with the Chicane remix added as an extra track which has become the recognised and accepted version.

This performance sees Bry with a full on turn of the millennium floppy haircut in stark contrast to the slick, short back and sides he sports today. The all white backdrop and outfits that him and his band are wearing jar a bit (who did they think they were – Westlife? 911?) but I assume it’s to tie in with the idea of ‘clouds’? Adams would see out the decade with a second Best Of album and started the 2000s with an improbable No 1 single when he returned the favour and supplied (electronically altered) vocals for the Chicane single “Don’t Give Up”.

The saga of Whitney Houston’s “It’s Not Right Buy It’s Okay” and its multiple TOTP appearances has only just ended and we’re immediately embroiled in another such chronicle. Yes, just three weeks on from the final performance of her previous single, here was Whitney back with the follow up “My Love Is Your Love”. Now, I posited the theory the other week that the reason we got all these repeat appearances on the show was that Whitney’s management had insisted that she would only do a studio appearance for the BBC if it was shown a certain amount of times. Could the follow up be a part of the same deal? It would be shown three times in total so if you add that figure to the five times that “It’s Not Right Buy It’s Okay” was shown then that’s quite a package especially if the performances for both songs were recorded together in the studio one after the other which I’m thinking is maybe possible. To be clear, I haven’t gone forensic over this – it just seems likely to me.

As with the promotion for Geri Halliwell’s “Look At Me”, the marketing behind this one was comprehensive. The single wasn’t even released until June 21st and we wouldn’t see it again on the show until July 2nd, six weeks after this debut performance. Record label Arista were playing a long game. It worked though. “My Love Is Your Love” would debut at No 2 and spend seven weeks in the Top 10 whilst the knock on sales of its parent album saw it spend over a month inside the Top 5.

As for the song’s sound, listening back to it now was like hearing Whitney do her best Fugees impression and then, lo and behold, I read that it was produced by Wyclef Jean and it all made sense. There’s also an element of Bob Marley in there (whom the Fugees covered themselves of course) but what’s most revealing is Whitney’s restrained vocals on it which belie her ‘shouty diva’ persona. As we’ll be coming back to this one, I’ll leave it there for now.

Who?! Fierce? I’ve got nothing but clearly they were yet another R&B girl group. Would it be fair to say that they were not in the very elite strata of that genre? By that I mean they were more N-Tyce than TLC. Their discography shows that they had four chart hits including this one “Dayz Like That” and a version of Anita Baker’s “Sweet Love” which went Top 3 in 2000 which suggests I should have a better memory of them.

Hang on though. A post on X by @TOTPFacts has rung a bell….

I do remember this! I have a weakness for Deal Or No Deal and the late working hours of my job mean I’m quite often around in the daytime when it’s on. Stephen Mulhearn asked Chantel about being in a girl group but I don’t think I realised it was one that had achieved actual chart success. Well, at least it’s a spin on being on the ‘Identity Parade’ section of Never Mind The Buzzcocks!

The staggered and ultimately truncated chart career of Kula Shaker was nearly at its end with the release of “Shower Your Love”. For a band that once appeared to have the world at their feet, it was quite the implosion. After their first album “K” had become the fastest selling debut album by a UK artist eventually going double platinum and a BRIT Award for ‘British Breakthrough Act’, the road to further success was blocked by a series of rucks with the press. The long established tabloid tactic of building someone up only to knock them down came into play with the show business family tree of Crispian Mills a target. The singer’s ill advised comments about the cultural references and mystical properties of the Swastika symbol certainly didn’t help either. Then there was the loss of momentum caused by delays to release schedules causing a gap of two and a half years between albums punctuated by the appearances of just two singles. The second of those – “Sound Of Drums” – was meant to be the lead single from sophomore album “Peasants, Pigs & Astronauts” but the parent collection wasn’t in the shops for another year. By the time it came out, it sold just a sixth of its predecessor “K”.

It was all a bit of a shame as I’d always liked them. “Shower Your Love”, for example, is a great tune if a little psychedelic heavy. It would prove to be the band’s last Top 40 hit when it peaked at No 14. After splitting in 1999, they reconvened in 2004 and have been a going concern ever since releasing six studio albums in that time with the most recent arriving in January this year and securing their highest chart position (No 13) since “Peasants, Pigs & Astronauts”. Like those other 90s bands Jesus Jones and The Bluetones, they continue to play live gigs to audiences who, like them, aren’t ready for the story to end just yet.

There’s a big dance tune in the charts at No 12 which TOTP Executive Producer Chris Cowey can’t ignore so yet again he’s had to come up with an ever more desperate way to showcase it on prime time TV. There have been some epic failures on this score throughout the 90s era of the show and this one is no exception. There may be a reason why, for Pete Heller’s hit “Big Love”, they chose to go with two men wearing (paper mache?) elephant heads (do they feature in the promo video?) and a third with a cardboard box on his noggin (a parody of stacking boxes dance moves?) but I really can’t be arsed to look into it. To add to the surreal nature of the performance, a stop-frame effect has been added. Was this meant to somehow imitate a club atmosphere with strobe lighting or something? It just seems to elongate time and make the whole thing last twice as long as it should.

So who was/is Pete Heller? Well, he’s a house music producer from Brighton…wait, what? Another prominent dance music figure from the East Sussex seaside resort? If dance music was a football club, it would be my beloved Chelsea – both are obsessed with Brighton. Whilst we’ve plundered The Seagulls for the players Marc Cucurella, Robert Sanchez and Moises Caicedo for a combined price of £200 million (and disastrously pinched their manager Graham Potter), Brighton has given dance music Fatboy Slim, Phats & Small and now Pete Heller as well? No doubt “Big Love” was a bangin’ anthem but I don’t have to tell you that this did/does nothing for me do I?

The best song on the show? I think so (with an honourable mention to Kula Shaker) and it was certainly the track that made me think I should own a copy of “Performance And Cocktails” by the Stereophonics. The third hit from the album, “Pick A Part That’s New” had all those components I normally look for in a song – great hooks, edgy guitar riffs and strong vocals. After “The Bartender And The Thief” and “Just Looking” both went Top 5, the fact that the album’s next single could also pull off that same chart achievement shows the quality and strength of its material. Their promotion from just another post-Britpop band to major rock stars was under way.

Written about feeling underwhelmed by the band’s first trip to America, Kelly Jones explained that he felt he’d seen it all before through the medium of TV and films and that perception didn’t match up to the reality. I have to say that isn’t what I experienced the first time I visited New York in 1994. In fact, it did feel like being in a film walking down Fifth Avenue.

Oh God. How did it come to this? For the first time ever the Top 3 is a complete boy band zone being occupied by 911, Westlife and the Backstreet Boys who have their first and (mercifully) only No 1 single with “I Want It That Way”. And guess what? Next week’s No 1 is *SPOILER ALERT* bloody Boyzone! It’s not like we weren’t warned about Backstreet Boys though. Their last five singles peaked at:

2 – 4 – 3 – 3 – 2

A chart topper was always likely with those sorts of numbers. The song that eventually did it for them was awful though. Cynically designed in the fiendish Dr Bad Pop Music’s laboratory, it brainwashed the country’s female teenage population into thinking these chancers were a big thing, nay the real deal even. They were neither. Well, they were a big deal in terms of selling records but since when was that an indication of anything resembling talent. Even Mr Blobby had a No 1. For the first few times I heard “I Want It That Way”, I could have sworn that, in the second line of the chorus, they were singing “ain’t nothing but a piss-take” as opposed to “ain’t nothing but a mistake”. Maybe it was my bias influencing my ears as piss-takers was definitely what this lot were. They out-Westlife Westlife, 911 and even Bryan Adams in this performance with their stools, all white outfits and fake earnest nonsense. This was just deplorable stuff. 1999 – you have a lot to answer for.

Order of appearanceArtistTitleDid I buy it?
1911Private NumberNever
2Bryan AdamsCloud #9Nope
3Whitney HoustonMy Love Is Your LoveNah
4FierceDayz Like ThatNo
5Kula ShakerShower Your LoveGood song but no
6Pete HellerBig LoveNot my bag at all
7StereophonicsPick A Part That’s NewNot the single but I had the album
8Backstreet BoysI Want It That WayAs if

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/m002s7dj/top-of-the-pops-14051999

TOTP 23 APR 1999

Posted on by 80stastic

Of the eight songs in this TOTP, four of them have been on the show before, some of them many times previously. The running order has the four ‘new’ hits sandwiched together in the middle, bookended by two repeated performances at either end of it. Was this some sort of shit sandwich in reverse technique being employed by executive producer Chris Cowey? Let’s see…

Disclaimer: I’m not saying that if a song had been on the show before it was necessarily shit in terms of its quality but rather that Cowey was shitting all over our expectations of being fed some new hits rather than those we were very familiar with.

Our host is Gail Porter and we start with…and this is truly ridiculous…Whitney Houston with “It’s Not Right But It’s OK”. Just..why Cowey? WHY?! Look, these are the facts about this one:

  • TOTP appearances: Five
  • No of repeats of original studio performance: Four
  • Date of first appearance: 26 Feb 1999
  • Weeks in Top 40: Twelve
  • In every week but one after debuting at No 3, it moved down the charts.

Why was it on the show so often? Was it part of the contract between Whitney and her people and the BBC that if she did an in person performance that TOTP had to show it a certain amount of times like five maybe?

Right, let’s have a look at Phats & Small and their hit “Turn Around”. Here are their facts:

  • Total TOTP appearances: Four (this was the third)
  • No of consecutive appearances: Three (four over a five week period)
  • Weeks in Top 10: Seven
  • Chart run: 3 – 4 – 2 – 8 – 7 – 8 – 7

So three of those four appearances coincided with the single going back up the chart which seems justified but four times in five shows still seems like overkill to me. Maybe though I was/am just a dinosaur, a relic of a past time having been brought up on the Top 40 of the 80s which was much more sluggish and intransient, when songs would take weeks to move up the charts and instant, week one Top 3 hits were rare to non-existent. Record company practices had changed by the end of the 90s and maybe TOTP was just reacting accordingly to a new way of the charts operating. I’m not sure how regular a viewer of the show I was by 1999 so cannot recall being as frustrated as I am now with all these repeat performances but I wasn’t doing a write up of each show back then either. Oh it’s all relative isn’t it?

From two artists with prolific TOTP appearance stats to one whom I would have thought had a much better record but then, I could have sworn that Electronic had actually released more music than their discography tells me they have. From their debut in 1989, they released a total of eight singles and three albums. Is that a decent amount of material over a 10 year period? I’m not sure. Certainly that singles figure seems a tad on the low side and resulted in just six TOTP appearances over the course of their career. Back in 1991, not long after I’d started working at the Our Price store in Market Street, Manchester, the duo of Bernard Sumner and Johnny Marr had released their eponymous debut album to critical appreciation and commercial success (it made No 2 in the album charts and sold a million copies worldwide). I recall their being such a buzz about the album which was magnified in Manchester obviously given the background of its two protagonists. There was even a demand for the import version of the album which included the single “Getting Away With It” which the UK version did not.

However, a gap of five years until the next album proved to be too long for that momentum to be maintained and sophomore effort “Raise The Pressure” was nowhere near as well received, neither commercially nor critically. By 1999, were they seen as, if not irrelevant, then as an anachronism? Too harsh? Maybe but the truth was that third album “Twisted Tenderness” spent just two weeks inside the Top 40 chart. Its lead single “Vivid” was…well…OK and that seems a damning description when you consider the quality of the cannon of work of Sumner and Marr. Was their heart not really in it anymore? That didn’t seem to be the case watching this performance and more specifically Sumner’s energetic-pogoing, arms-flailing, air-punching, woo hoo-ing antics. Maybe a decision to dissolve the project had already been made and he wanted to go out with a flourish? If so, we couldn’t have known that at the time but retrospectively we got the message.

Fancy a flamenco guitar themed dance anthem? No, nor do I but I haven’t got any choice as the author of this blog so you’re coming with me! According to Wikipedia, Ruff Driverz had six Top 40 hits. Six! I couldn’t have named one of them without looking at their discography but “La Musica” was the fifth of them and the second highest charting peaking at No 13. It was officially credited to Ruff Driverz presents Arrola but who was Arrola? Well, she was Katherine Ellis who came from a very performing arts background. Look at this from her Wikipedia page:

“…her mother Elizabeth was trained as an actress at the Royal Academy for dramatic art, her grandmother Joy was a violinist and pianist, and her great grandmother Elizabeth Haslam was a opera singer who won a competition at the Royal Albert Hall in 1893.”

Blimey! Katherine continued that lineage by becoming one of the go to vocalists in the UK house scene, working with the likes of Freemasons, Soul Avengerz and Cherrone. As for “La Musica”, I’m sure it was popular in the clubs but its repetitive “Di-O-Lo-Le-La” line didn’t make for a very engaging TOTP performance, even allowing for the distraction of the troupe of backing dancers. As for the ‘Arrola’ moniker, whoever thought it up was only one letter away from making a tit of themselves.

Before the Sugababes and their revolving door recruitment policy, there was Honeyz who set the mould for girl groups and continually changing line ups. However, I’ve talked about that story in all its detail before so I don’t propose to go through it all again. Suffice to say that, as Gail Porter comments, this was the first time for most of us seeing new member Mariama Goodman who had recently replaced Heavenli Abdi. The timing of Abdi’s departure was really off though coming as they were preparing to embark on a promotional campaign for the release of their third single “Love Of A Lifetime”. The original trio had already shot the video for the track including scenes with Abdi but her decision to quit after that shoot and before a promotional trip to Australia meant that the promo was now effectively redundant and so would have to be reshot. A temporary, second cut saw Heavenli heavily edited out of the video before a third was produced with shots of Goodman included. I wonder if the Honeyz management billed Abdi for all that re-shooting?

“Love Of A Lifetime” was more of the slick R&B/ pop sound we’d come to expect and duly returned another sizeable hit when it peaked at No 9. As far as I can ascertain, Abdi’s original vocals remained on the track and it wasn’t until follow up “Never Let You Down” that Goodman’s own singing featured. A fifth single from their album “Wonder No 8” appeared in early 2000 at which point Goodman promptly left the group to be replaced by a returning Abdi and the line up shenanigans began in earnest. Honeyz are still a going concern today operating as a trio of Célena Cherry, her sister Candace and Abdi (now known as Heavenli Roberts). In conclusion, I can’t say if they finally found the perfect line up and share a love of a lifetime or if the end of the line might still be in sight.

We’ve arrived at the final ‘new’ single of the show and it’s from Suede who we hadn’t seen nor heard of since August 1997 when “Filmstar” was released as the final single from their “Coming Up” album. In the interim time, Brett Anderson had developed a serious drug problem whilst keyboardist Neil Codling’s health was affected by chronic fatigue syndrome. As such, the environment for writing and recording a new album wasn’t ideal. Plus, there was a decision to be made about which direction the band should head musically. After divisive sophomore album “Dog Man Star” had drawn acclaim as a work of genius and criticism as one of the most pretentious albums ever recorded, a more mainstream sound was pursued with the glam-pop of “Coming Up” that furnished the band with five Top 10 singles. That run was continued by “Electricity”, the lead track from fourth album “Head Music”. However, subsequent singles released from it would form a picture of diminishing returns and indeed, Suede have not returned to the Top 10 since.

“Head Music” would top the charts but would spend just two weeks inside the Top 20 suggesting large early sales due to a sizeable fan base but a lack of crossover appeal. In terms of its sonic properties, it had a more electronic sound with producer Steve Osborne, who had worked with the Happy Mondays, imbuing it with a dance music vibe. As for “Electricity”, it sounded a bit more raw/garage-like to me than anything on “Coming Up” though some reviews heard a connection to “Trash”. It didn’t grab me I have to say and, as with Electronic earlier, left me a little underwhelmed but compared to some of the other rubbish in the charts, it was…well…electric but just on a lower wattage than before. Definitely not displaying low wattage was the visual effect of an electric charge coming from Brett’s microphone. Maybe it looked clever back in 1999 but it looks a bit naff in 2026.

Right, that confirms it. The fact that Westlife are clearly seen in the backstage area next to Gail Porter during the next segue and they haven’t even had a hit yet and won’t perform on the show for the very first time for another seven days is definitive proof that some of these performances were definitely not recorded the same week that the show was broadcast. This explains why the host is sometimes not seen in shot when doing the link and we just get a cutaway instead. Finally!

Right, rant over. We’re back to the repeated performances and we get TLC with “No Scrubs” again. Here are the details for this one:

  • Total TOTP appearances: Four (this was the third)
  • No of consecutive appearances: Two
  • Weeks in Top 10: Eight
  • Chart run: 7- 13 – 8 – 6 – 9 – 3 – 5 – 5 – 9

OK so, having cross-referenced its chart positions with the group’s TOTP performances, there does seem to be some clear, logical correlation with each appearance synchronised with a corresponding rise up the chart. That’s all fine but why did we have to have this satellite performance video every single time? Couldn’t we have had the promo video one time at least? After all, it did win the MTV Video Music Award For Best Group Video at the 1999 MTV Video Music Awards.

Right, I can’t really complain about this repeat performance seeing as it is actually the No 1 single for the second week running. Yes, this week’s highest new entry from Suede (No 5) proved to be no serious competition in the end for Martine McCutcheon and her hit “Perfect Moment”. With a No 1 straight off the bat, the only way was down for Martine and she would never have that level of success again but that chart topper can never be taken away from her (even if it was a cover version).

One thing that was taken off her though was any potential return to EastEnders. Supposedly, Martine was not happy with her character Tiffany Mitchell being killed off by the writers to allow her to pursue her pop star ambitions as she would have liked the chance to return once her music-orientated spleen had been vented but they used to call that having your cake and eating it didn’t they?

Order of appearanceArtistTitleDid I buy it?
1Whitney HoustonIt’s Not Right But It’s OKNo
2Phats & SmallTurn AroundNo thanks
3Electronic VividI did not
4Ruff Driverz presents ArrolaLa MusicaNever
5HoneyzLove Of A LifetimeNah
6SuedeElectricityNegative
7TLCNo ScrubsNope
8Martine McCutcheonPerfect MomentAnd 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 agre

https://www.bbc.co.uk/iplayer/episode/m002rlpg/top-of-the-pops-23041999

TOTP 26 MAR 1999

Posted on by 80stastic

On the same day this TOTP aired, The Rugrats Movie opened in UK cinemas. Based on the popular children’s animated TV series about the lives of a group of American toddlers and infants, the show was made available to British audiences via being the featured cartoon on Saturday morning children’s television series Live & Kicking on BBC1. Working in a record shop at the time of its transmission on a weekend, I didn’t catch Rugrats that often but I always enjoyed the adventures of Tommy, Chuckie, Angelica et al. I know I wasn’t the show’s target audience but it was light, innocent fun and an antidote to the stresses of adult life. I wonder which Rugrats character the artists featured in this TOTP would be?

We start with something straight out of left field – Andy Williams with “Music To Watch Girls By”. When I say ‘left field’, I mean as opposed to all the other dance crud or pop puppets in the charts at this time but in actual fact, the presence of a legendary easy listening crooner in the UK Top 40 in the 90s wasn’t a total shock. In the middle part of the decade we’d had a revival of the genre courtesy of Mike Flowers Pops and their easy listening version of “Wonderwall” by Oasis. This triggered a reaction within younger audiences tired of grunge and subsequently Britpop and their embracing of a more nostalgic sound would lead to the ‘lounge scene’ which saw a resurgence in cool lounge bars and clubs that featured easy-listening records and cocktail music. However, that wasn’t necessarily what caused Andy Williams to suddenly be a chart star again. No, that was down to a TV advert. Of course it was. This one, in fact, for a Ford Pinto car:

Williams looks the consummate performer here despite being 71 at the time. The success of the song (it peaked at No 9 in the charts) led to the obvious release of an Andy Williams Best Of but also an easy listening compilation album also called “Music To Watch Girls By” of which there were two volumes I think featuring artists like Tony Bennet, Bobby Darin, Perry Como and Petula Clark. However, my immediate go to Andy Williams memory is “Happy Heart” being used to soundtrack the ending of the Danny Boyle film Shallow Grave.

Which Rugrat character would they be? Grandpa Lou. Not only is he the oldest character but he had an obsession with the number 15. Look at these connections between Andy Williams and that number:

  • When renewing his contract with CBS in 1966, Andy Williams negotiated a $1.5 million guarantee to record 15 albums over the following five years.
  • Out of his 43-44 recorded albums, 15 were gold-certified.
  • Marriage Date: He married Claudine Longet on December 15, 1961. 

For a while, Kele Le Roc looked like she would be a prime mover in the UK R&B scene. In 1999, she won two MOBO awards for Best Newcomer and for Best Single and yet she seemed to fall away as fast as she had appeared. Just one album was ever released under her name which failed to impact the charts in any major way despite it including two Top 10 hits and then it all went quiet. So what happened to Kele Le Roc? Well, at the point where her career seemed on the point of lift off, she was dropped by record label Polydor despite those two MOBO gongs which, on the face of it, seems a ludicrous decision. I don’t know the whole story but Kele herself cited the catch-all phrase ‘creative differences’. She then spent three years trying to free herself from her contract with management company First Ave and all momentum for her solo career was lost. However, she didn’t give up on music and became a prominent featured vocalist in the UK Garage scene, collaborating with artists like Basement Jaxx, Shy FX, and T-Power.

In this TOTP performance, she was promoting the second of those two hit singles, the MOBO award winning “My Love”. I’m guessing when she thinks back to that time, this would be the TV appearance she wants to be remembered for and not the one that took place on ITV’s CD:UK during which her performance was interrupted by a stage invader who pinches her microphone off her and slams it to the floor whilst holding a banner saying ‘The Womb’ (which was the name of his own band). Apparently, he was protesting about the show’s policy of miming even though it seems that Kele was singing live. I think she handled it pretty well in fairness which is more than the protester did with that microphone.

Which Rugrat character would they be? Angelica – in a 10th-anniversary special titled “All Growed Up”, Angelica and Tommy fight over a microphone attached to a karaoke machine.

From their starting position of having a novelty, line dancing hit with “5,6,7,8”, the success that Steps achieved was as impressive as it was unlikely. Thirteen consecutive Top 5 hits including two No 1s, three chart topping albums and 22 million records sold worldwide. Like Take That, after an initial split, they returned to the pop world in the new millennium and are still touring and recording and their hits have been the source material for a jukebox musical. This single – “Better Best Forgotten” – only missed the top spot by one place and was the final track lifted from their debut album “Step One”. However, their legacy hasn’t permeated every corner of the music world. Check out this video of the rapper Aitch appearing on YouTube interview show Chicken Shop Date:

It’s the Alan Partridge style, non-plussed reaction that provides the genuine comedy moment for me – absolutely no idea who his phonic namesake is. Still, in a battle of who’s the more famous, I’m not sure who the winner out of ‘H’ or ‘Aitch’ would be despite the latter’s recent stint on I’m A Celebrity…Get Me Out Of Here.

Which Rugrat character would they be? Chuckie’s step-sister Kimi Watanabe-Finster.

We’ve already had a pinch of easy listening, a sprinkling of R&B and a dash of pure pop on the show tonight and next up is a dose of cutting edge electronic dance music to add to the mix courtesy of Underworld. Having crossed over into the mainstream consciousness via their No 2 hit “Born Slippy” from the Trainspotting soundtrack, there was much anticipation for the group’s next album release which arrived in 1999. “Beaucoup Fish” duly made No 3 in the charts selling 100,000 copies to date. It also generated three hit singles of which “Push Upstairs” was the biggest peaking at No 12. Whilst I’d enjoyed “Born Slippy” (who didn’t?), I wast on board for this much les accessible track I’m afraid. Far too heavy a sound for my tender ears. Let’s move on….

Which Rugrat character would they be? It’s Angelica again. There is an ‘underworld’ fan theory sometimes known as ‘creepypasta’ that suggests the characters are not actually alive but are figments of Angelica’s imagination. Furthermore the theory posits that Angelica is a neglected child with a drug addiction who imagines her friendships with the babies to cope with her lonely life and that the babies are dead or never existed in the first place. That’s sounds even heavier than “Push Upstairs”.

Houston…I have a problem….this is not right nor is it OK! This is the fourth time on the show for “It’s Not Right But It’s OK” by Whitney Houston and guess what? It’ll be on the running order for a fifth time in a month or so. And guess what again? Three weeks after that, her follow up single “My Love Is Your Love” will begin its run of three TOTP appearances! In the famous Apollo 13 aborted moon mission, said problem was a ‘Main B Bus Undervolt’ (wherever that was) but here it’s a Whitney H overload. She clearly was executive producer Chris Cowey’s ‘Greatest Love Of All”.

Which Rugrat character would they be? Tommy Pickles. As the show’s main protagonist, he appears in the highest number of episodes.

After two weeks at the top, Boyzone are no longer No 1 but, of course, that doesn’t stop them from appearing on the show again for the third week on the trot as this is the Chris Cowey era. However, make the most of them as there are only two more hits to come in this first era of the band as they would go on an extended sabbatical come the new millennium as solo careers and acting endeavours took over. For now though, it was their cover of “When The Going Gets Tough” that was commanding their attention and, having listened carefully to the climax of the song, it seems that whether you were Billy Ocean or in possession of a Dublin accent, there was no way of singing the line “going gets tough” without it sounding like “go and get stuffed”.

Which Rugrat character would they be? This is AI’s answer to that question:

  • Ronan Keating – Tommy Pickles: As the frontman and leader, Ronan fits the role of Tommy—the brave, optimistic leader of the group who guides everyone through adventures.
  • Stephen Gately – Chuckie Finster: With his sweet, sensitive, and endearing nature, Stephen matches Chuckie, the lovable, anxious worrywart who is loyal to his friends.
  • Keith Duffy – Phil DeVille: Known for his mischievous, energetic, and slightly chaotic personality, Keith fits the twin Phil.
  • Mikey Graham – Lil DeVille: Often providing a more thoughtful, yet still mischievous balance to the twins, Mikey fits Lil.
  • Shane Lynch – Angelica Pickles: With his tough-guy image, tattoos, and sometimes rebellious attitude in the early days, Shane fits the bossy, assertive, and rule-bending Angelica. 

Right, who’s this? Why it’s Tina Cousins of course. No, she wasn’t a sister of ice skating champion Robin Cousins but that woman who sang with Sash! Remember her? No? Well, she was also on that ABBA medley hit alongside Steps, Cleopatra, Billie and B*Witched. Still no? If you haven’t placed her from those clues, I don’t think references to her solo career will help you, mainly because the hits under her own name (including this one“Killin’ Time”) sound just like that one she made with Sash! In fact, they sound like any other Sash! track to my untrained ears. They might have the requisite bpm to dance to in a club but could you listen to a whole album of it? Apparently not as Tina’s debut solo album only made it to No 50 in the UK charts though it was more popular in Scandinavia. Tina would have one more big hit (again with Sash!) in 2000 but continued to release music into the noughties and beyond and still makes regular PAs on the club circuit.

Which Rugrat character would they be? Well, Angelica is the cousin of Timmy Pickles but I’m going for a character called Tina Trousers who was a toy doll that appeared in one episode. Tina Cousins once dispensed with trousers altogether when performing that ABBA medley at the BRITS preferring instead to wear a silver catsuit.

And so we come to a piece of chart history. Two pieces in fact. By dint of going straight in at No 1 with their single “Blame It On The Weatherman”, B*Witched become the first band ever to have their first four singles debut at No 1. The record wouldn’t last long as those dastardly Westlife boys would equal that feat by the end of the year and break it within the first few months of 2000. However, I’m pretty sure that the couldn’t lay claim to that second chart record which was that this was the first time ever that siblings had taken over from each other at No 1. Yes, the chart baton was handed over by Shane Lynch of Boyzone to his twin sisters Keavey and Edele of B*Witched. I don’t recall a big fuss about this at the time but it was quite a story I guess.

Having released two frenetically paced songs as their first two singles and a ballad as their third, B*Witched ploughed a furrow down the middle with their fourth as “Blame It On The Weatherman” is a mid-tempo pop song with an almost acoustic feel that was pleasant but unspectacular to my ears. Given that its parent album had been out over five months by the time of its release, was it a surprise that it went straight to No 1? Maybe. This was the peak of the group’s success with no subsequent release (single nor album) even making the Top 3.

I clearly recall doing a big display for “Blame It On The Weatherman” in the Our Price shop I was working in at the time so I, at least, must have been expecting big sales. The other big release that week which got a similar sized display was “Strong” by Robbie Williams which would enter the charts at No 4 but for some reason was never featured on TOTP which strikes me as quite odd on reflection.

Which Rugrat character would they be? With twins in their line up, they have to be Phil and Lil DeVille.

Order of appearanceArtistTitleDid I buy it?
1Andy WilliamsMusic To Watch Girls ByGood song but no
2Kele Le RocMy LoveNope
3StepsBetter Best ForgottenNo
4UnderworldPush Upstairs I did not
5Whitney HoustonIt’s Not Right But It’s OKNah
6BoyzoneWhen The Going Gets ToughNot even for charity
7Tina CousinsKillin’ TimeNever
8B*WitchedBlame It On The WeathermanAnd 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/m002qx5m/top-of-the-pops-26031999

TOTP 12 MAR 1999

Posted on by 80stastic

At last a presenter who isn’t Jayne Middlemiss nor Jamie Theakston! Yes, we have a new presenter who is Gail Porter, someone who has had quite the life and career full of the highest highs and the lowest lows. Gail’s early CV entries included stints on various children’s TV shows before getting her big break on TOTP. She was also a model for magazines such as FHM and it was that part of her life which would result in one of the most infamous news stories and visual memories of the decade. Although it would raise her profile into the stratosphere, it would ultimately cause Porter far more harm than good. A couple of months after her TOTP debut, Gail would awake one morning in May 1999 to find her names in headlines though it wasn’t her head that the story concerned. A nude 60ft tall photograph of Porter was projected onto the Houses of Parliament organised by FHM magazine as part of a marketing campaign to promote their ‘100 sexiest women in the world’ poll. Gail had no idea what had been planned but received a backlash anyway as the perception that she was in on the stunt as a career move was propagated. The incident would lead to Gail not feeling able to leave the house and contribute to bouts of depression. She suffered from anorexia nervosa and was hospitalised before, in 2005, developing alopecia totalis which led to her losing all of her hair. Choosing to deal with her condition literally head on, she declined to wear hats or wigs and used her profile to become ambassador for the Little Princess Trust, a charity which provides wigs to children with hair loss. As if that wasn’t enough to deal with, her marriage (to Toploader guitarist Dan Hipgrave) broke down and she was diagnosed with bipolar disorder and sectioned against her will for 17 days in 2011. In a painfully honest and insightful 2024 documentary called Being Gail Porter, she discussed her two decades of mental health struggles. Knowing all of the above, it’s hard to recall her as this fresh faced, young presenter. Let’s see how she did…

Well, Gail’s first line is about it being her first time and a request to please be gentle with her, a bit of sexual innuendo which feels unnecessary but possibly didn’t raise an eyebrow in the era of ‘lad culture’. We then move straight to our first performance which is…oh this is just getting silly now…a hit that was only just on last week’s show and was now coming down the charts. I know this was nothing new in the Chris Cowey era and that I’ve banged on loads about the practice of repeat showings of songs that were descending the Top 10 but this one has really pissed me off for some reason. Actually, not this one but FOUR songs that were on just seven days ago which are all back on the show. Wait a minute though, am I being unfair here? Having checked out that week’s chart on official charts.com, there’s not one song going up the charts! The whole Top 40 consists of either new entries or songs going down. What was the hell was this?! I guess it was another consequence of first week record company discounting as sales in the second week fell dramatically as the price of a single went up. OK, so were there any new entries that could have featured on the show instead of songs declining in popularity? Well yes, there were three entries inside the Top 10 which were never featured including hits from two of the biggest names in music – Madonna and George Michael! OK, they might not have been available for an in the studio appearance but were there no videos made to promote their singles? Well yes, there were – at least they are easily found on YouTube so was this Cowey’s stupid ‘no promos’ policy at work again?

For the record the first act in this TOTP is Cher with “Strong Enough” which is down from No 5 to No 8 in the charts. I’ve nothing else to say about this one other than that Cher was in the news this week for fluffing her lines at the Grammys when presenting Kendrick Lamar and SZA with an award though in her defence it didn’t seem to be all her own fault…

Gail Porter warns us that this next act’s last single stayed on the charts for three months hinting that the follow up may do the same. Did we heed Gail’s warning? No we did not as Vengaboys spent five weeks inside the Top 10 and two and a half months on the Top 40 with “We Like To Party! (The Vengabus)”. You know, the 90s have provided some awful years of music but I think 1999 might just prove to be the worst and this lot will have been one of the biggest contributing factors as to why. Using those exact same tinny, buzzing and downright annoying backing beats as featured on their first hit “Up & Down”, this was music in its most basic form. No, it wasn’t music, this was anti-music or some sort of tribal chant led opium for the masses causing the general public to lose its collective mind and taste to rush to their local record emporium to buy this colossal shit. “Pushing the boundaries of pop” says Gail by which I don’t think she meant carving out a new art form but shrinking the definition of what could reasonably be described as such. Just horrendous but worse was to come in the shape of two No 1 hits during the year for these absolute dolts. The Vengabus was indeed coming…for us all.

Now in previous posts I’ve stated how I should really explore Skunk Anansie’s back catalogue more based on some of their hits I wasn’t familiar with. However, this next one – “Charlie Big Potato” – has dulled my commitment to that endeavour as it’s far too heavy for my liking. I mean, it sounds like Metallica or someone. And it’s dark as well as heavy. The opening lyrics are “I awake from blood thick dreams” followed a bit later by “I awake, dry the scream, spit the vile breath, till my tongue bleeds”. Bloody hell! Skin’s almost demonic performance here certainly doesn’t add any levity to the whole experience with her seemingly on the verge of kicking out at the studio audience and her weird stage outfit of what seems to be a PVC jacket with dangling, massively oversized pieces of material (I’m not sure they count as sleeves) hanging from her arms. Are they meant to be wings? Is she meant to resemble a bat? The whole thing comes across as far too much for a mainstream pop music show and the aforementioned audience don’t seem to know how to react to what they are witnessing initially before adopting an ‘if you can’t beat ‘em, join ‘em’ approach and just going mental in the really loud bits. The floor managers seem to have run with the element of danger to the whole performance with police tape barriers skirting the stage. “Charlie Big Potato” was a big hit in Iceland which makes sense as the craziness of it puts me in mind of Björk. It was also used in the soundtrack to the deeply disturbing and unpleasant movie Hollow Man starring Kevin Bacon which again makes sense.

Another song going down the charts from No 3 to No 5 is next – “It’s Not Right But It’s OK” by Whitney Houston. This is the third time in a row this performance has been on the show. Week one was an ‘exclusive’ performance before the single was released, week two reflected its debut at No 3 and week three is it descending the charts albeit still remaining in the Top 5. Are all three appearances justified? I can make a case for the first two but surely the third is overkill? Whatever your own opinion on the matter, the upshot is that I have nothing else to say about this one. As a blogger, it’s not right…but it’s OK.

We arrive at the valedictory performance for a band who had eighteen Top 40 hits including a Christmas No 1 and of which only six failed to make the Top 10. A group who courted controversy and were allocated the role of the perceived rivals to the UK’s premier boy band of the 90s. A group who looked to have lost everything but who shortened their name and made one last (partially) successful grab for chart victory. It is, of course, East 17…erm…E-17!

Having achieved a No 2 hit against the odds as a Tony Mortimer-less trio with their past single “Each Time”, Brian, Terry and John (thanks for the name checks Gail!) followed it with “Betcha Can’t Wait” which was more of a deliberate R&B sound which they’d plotted without their former chief songwriter. However, whilst I’d unexpectedly appreciated “Each Time”, this one was pure parody. All the same soul stylings were there but the lyrics were laughable. Witness:

“I’m gonna touch you in the right spot baby….Betcha can’t wait, betcha can’t stop…Can’t stop thinking ’bout my love rock, baby come on”

Source: Musixmatch
Songwriters: Brian Lee Harvey / Terence Mark Coldwell / John Darren Hendy / Mark Reid / Jonathon Lesley Beckford / Ivor Paul Reid
Betcha Can’t Wait lyrics © Universal Music Publishing Ltd., Strongsongs Ltd.

“Touch you in the right spot”?! “My love rock”?! This performance is almost like a Fast Show sketch but instead of ‘Jazz Club’ or ‘Indie Club’ they’d turned their attention to R&B and given us ‘Bump ‘n’ Grind Club’. And check out the other two’s (forgotten their names already – where’s Gail when you need her?) ridiculous dance moves! Like I said pure parody. Compare this nonsense to such gems as “Deep” and “It’s Alright”. There is no comparison. What a said way to bow out for the lads who were straight outta Walthamstow.

Two more hits now which were also on only last week starting with “Just Looking” by Stereophonics. As with Whitney earlier, I haven’t got much else to say about this one except to note that their bass player was recreating a look first popularised on the show by Sandie Shaw and her barefooted performances. However, if you’re wanting a band to band comparison, check out Duran Duran’s guitarist Andy Taylor in this clip of them playing “Hungry Like The Wolf”. What happened to his shoes? I don’t know but if you watch him closely, he does seem to be rather out of it like he was in another world. Planet earth to Andy…Is there something I should know?

Also just like Whitney Houston, this is the third time for Blur on the show with “Tender”. Come on Cowey, what do you think I’ve still got left to say about this one?! OK, how about a shout out to the London Community Gospel Choir who also featured on this track. Founded in 1982, look at this list of artists with whom the have either performed or recorded:

  • George Michael and Liza Minnelli at The Freddie Mercury Tribute Concert
  • Madonna at Live 8 in Hyde Park
  • Eric Clapton in Hyde Park
  • Kylie Minogue in Hyde Park
  • Blur (again) at the 2012 BRITS
  • The 1975 at the 2017 and 2019 BRITS
  • Pink! at the 2019 BRITS
  • They recorded a version of the OutKast hit “Hey Ya!” with Razorlight (the B-side to their single “Vice”)
  • They recorded with Will Young on his debut album “From Now On”
  • They provided backing vocals on Erasure’s  self-titled 1995 album
  • They featured on Nick Cave And The Bad Seeds 2005 double album “Abattoir Blues/The Lyre Of Orpheus”
  • They also performed on the songs “Don’t Get Lost in Heaven” and “Demon Days” on the Gorillaz’ “Demon Days” album
  • They have also recorded with
    Paul McCartney, Elton John, Westlife, Elkie Brooks and Tori Amos amongst others

Blimey! Or should I say Hallelujah!

So the halting of the run of one week wonder No 1s didn’t last long did it? Britney Spears has been toppled after just fourteen days at the top of the charts by the 1999 Comic Relief single recorded that year by Boyzone. For the third time in a row we got a pretty straight run through of a song that wasn’t written with the intention of being funny nor that had extra comedic lines thrown into the mix by the performers over a well known hit. To break that down further, ever since its inception in 1986, the established choice was either a cover version played for laughs:

  • Cliff Richard and The Young Ones – “Living Doll”
  • Mel & Kim (Mel Smith & Kim Wilde) -“Rockin’ Around the Christmas Tree”
  • Bananarama & Lananeeneenoonoo – “Help!”
  • Mr. Bean & Smear Campaign feat. Bruce Dickinson – “(I Want to Be) Elected”

Or an original song written to be intentionally funny (I’m not sure the writers always succeeded):

  • Hale & Pace – “The Stonk”
  • Right Said Fred – “Stick It Out”
  • Pet Shop Boys – “Absolutely Fabulous”

Then came “Love Can Build A Bridge” by Cher, Neneh Cherry, Chrissie Hynde and Eric Clapton in 1995 which was a cover of an original song by country music duo The Judds. Two years later, no song was specifically written nor covered for the campaign but the Spice Girls agreed that all royalties for their double A-side single “Mama / “Who Do You Think You Are” would go to the charity. And then there was Boyzone who did a faithful version of Billy Ocean’s 1986 No 1 “When the Going Gets Tough” which I didn’t particularly like first time round so Ronan and the lads take on it was never going to win me over, charity record or not. Watching this back, I’m struck again by how little the guys who weren’t either Keating nor Stephen Gately actually did. In this one, they’re tasked with a bit of finger clicking and some shadow boxing to match the staging theme for the performance and that’s about it. That staging with the boxing backing dancers gives the whole thing a very 80s feel. I’m thinking of this perhaps..

P.S. A few people on line noted an unlikely link between “When the Going Gets Tough” and “We Like To Party! (The Vengabus)” by Vengaboys. Give up? They both have near identical opening lines – “I got something to tell you” in the former and “I’ve got something to tell ya” in the latter. Then in the third line they both share a similar theme – Ronan Keating sings “I’m gonna put this dream in motion” whilst whoever the Vengaboys ‘vocalist’ is gives us the line “Gonna put some wheels in motion”. Note to arresting officer – add plagiarism to the Vengaboys charge sheet for crimes against music.

As for Gail Porter, she did pretty well I think. All power to you Gail, a quite remarkable person. We’ll see plenty more of her (ahem) in future 1999 TOTP repeats.

Order of appearanceArtistTilteDid I buy it?
1CherStong EnoughNah
2VengaboysWe Like To Party! (The Vengabus)Never
3Skunk AnansieCharlie Big PotatoNo
4Whitney HoustonIt’s Not Right But It’s OKI did not
5E-17Betcha Can’t WaitNope
6StereophonicsJust LookingNo but I had the album
7BlurTenderSee 6 above
8BoyzoneWhen the Going Gets ToughNot even for charity

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.

TOTP 05 MAR 1999

Posted on by 80stastic

Three days before this TOTP aired, the singer Dusty Springfield passed away aged just 59 from breast cancer. My Dad saw her folk-pop trio The Springfields back in the early 60s but I wasn’t really aware of Dusty until I started taking a real interest in pop music around 1983. By that point, her career was totally in reverse with no Top 10 hits since 1968 and just one minor Top 40 chart entry throughout the whole of the 70s. Her 60s glory days seemed a long time ago. An attempted comeback in 1985 with the single “Sometimes Like Butterflies” (which I’d quite enjoyed) failed to restore her fortunes despite an appearance on Wogan when it peaked at No 83. And then, just two years later, enter the Pet Shop Boys and a career resurrection via her part in their No 2 hit “What Have I Done To Deserve This” and a Top 20 album of her own in the silver disc achieving “Reputation”. She would release just one more studio album in her lifetime (the commercially overlooked “A Very Fine Love”) but her profile was maintained via a couple of Best Of collections with 1994’s “Goin’ Back” making the UK Top 5. Talking of going back, let’s revisit this TOTP episode from 1999 and see if there’s any sign of a connection to Dusty…

Jamie Theakston is our host (boo!) and we start with the No 2 record “Tender” by Blur. This appears to be just a repeat showing of the ‘exclusive’ performance from the other week prior to the single’s release and we get the whole 4:30 radio edit version which seems quite generous. Expectations were that it would go straight in at the top of the charts (I fully expected it to). After all there’d been a new No 1 every week for the first nine weeks of the year so far. And it was the band’s first new material for two years and it was something of an anthem. However, the power and pull of Britney Spears and “…Baby One More Time” would not be denied a second week at the summit and Blur had to be content with the runners up spot. Apparently it was a close (ish) run thing. The two singles had been neck and neck for most of the week but Britney would pull away over the weekend and would sell 55,000 more copies than Blur in the final reckoning. Still, “Tender” did outsell just about every other No 1 up to this point in the year and, perhaps more importantly, parent album “13” would spend two consecutive weeks at the top on its way to achieving platinum level sales in the UK.

Can I just say that Damon Albarn looks perhaps the coolest he ever did in this performance with his tousled hair, shades and Fred Perry shirt. Compare that with his look in the video for 1991’s breakthrough hit “There’s No Other Way”. Dearie me.

Dusty Springfield connection: The aforementioned Pet Shop Boys who resurrected Dusty’s career also did remixes of Blur’s 1994 hit “Girls & Boys”.

Next up is a singer who was a peer of Dusty Springfield and, rather incredibly, was still having hit singles in 1999. And not just hit singles but the biggest one in the UK in 1998. So how do you follow up such a success? Well, if you’re Cher, you just repeat the exact same formula. At least, that’s how I remembered it; that “Strong Enough” was just a carbon copy of “Believe” but listening to it now, it’s clear that rather it was more trying to be “I Will Survive Mk II”. I mean, it’s not a million miles away from being “Believe Mk II” either but “Strong Enough” had more of a disco feel to it with some definite 70s sonic stylings thrown into the mix and, of course, it had the same lyrical subject matter. Given the status of “I Will Survive” and Cher’s standing amongst the LGBTQ+ community and that “Believe” had brought her to a new audience within said community, it made perfect sense to release “Strong Enough” as the follow up single.

Watching this performance back, all the backing dancers positioned in straight lines behind Cher make it seem like a fitness video. Has Cher ever done a fitness video?

*checks internet*

Yes, she did two in the early 90s called “A New Attitude” and “Body Confidence”. Well, had she ever made a third then she could have used this routine in it. “Strong Enough” couldn’t hope to match the success of “Believe” but it was a Top Ten hit around the world and was a No 1 on the Billboard Dance Club Songs chart so not quite strong enough but not a 10 stone weakling either.

Dusty Springfield connection: Both emerged as significant female artists in the 1960s, both are celebrated as camp icons and both have recorded versions of “You Don’t Have To Say You Love Me” which was a UK No 1 hit for Dusty in 1966 and appeared on Cher’s album “Chér” also from 1966.

Another performance we’ve seen before next as we get The Corrs and the rereleased “Runaway” just seven days after it was last on the show and despite the fact they it had dropped from No 2 to No 6 this week. Except…hold on…this isn’t the same performance…is it? They’ve all got the same outfits on but Caroline, the drummer, is playing the piano in the first appearance and it’s a more acoustic version of the song and in the second show she’s back on the drums. What gives? I can only assume that they recorded two versions whilst they were in the studio that day. Why did they do that? To diversify the promotion of the single? Both the Tin Tin Out remix and the album version were on the 1999 CD single release so maybe they were trying to cover all bases of appeal? Maybe the BBC wanted to stockpile their archives? Who knows? Either way, it didn’t stop the single from descending the charts albeit at a steady rate.

Dusty Springfield connection: According to Sharon Corr, her parents listened to a lot of Dusty Springfield (along with Burt Bacharach and The Carpenters) which served as the soundtrack to her early childhood. Also, Dusty’s parents were both Irish just as the Corrs family are.

Jamie Theakston can’t help himself making a comment about The Corrs (“Runaway. That’s The Corrs. You wouldn’t really would you?”) before he does that thing all the presenters were doing around this time that was clearly a new innovation by executive producer Chris Cowey – walking into the backstage area and introducing the next act who were to be found on a TV screen not on stage. Well, I mean they were on a stage but not actually sharing the same physical space as the presenter if you see what I mean. I’m guessing that many of these performances were being recorded separately from the host’s time in the studio because of scheduling issues? Having said that, there is a studio audience present so there as a certain amount of joining the dots going on. In the old days, unless a video was being shown, it seemed like one big shot jumping from presenter to artist and then back to the host to introduce the next act. This had the feel of lots of clips needing to be edited together neatly so as not to see the seams hence these rather clunky backstage segues.

Anyway, enough of the technical stuff, back to the music – who were the next artist on? Well, it’s The Cardigans and their hit “Erase/Rewind”. Now I could have sworn that this follow up to “My Favourite Game” was released much closer to its predecessor but the time elapsed between the two was four months. Presumably their record label didn’t want it swallowed up in the mad dash that was the Christmas selling period. The other thing I could have sworn was that it was better than this. I mean, I shouldn’t be complaining about it when compared to the rest of the crud in the charts but it did disappoint slightly on re-listening to it. Just ever so slightly underwhelming. It certainly helped reactivate sales of parent album “Gran Turismo” propelling it into the Top 10 after spending the first four months of its chart life outside of the Top 20. This would pretty much be the peak of commercial success for The Cardigans, in the UK anyway*. One more Top 10 hit with Tom Jones doing a cover version of “Burning Down The House” by Talking Heads would follow later in 1999 and a No 31 hit in 2003 was it for chart singles action whilst their two albums released subsequently to “Gran Turismo” gained hardly any sales traction.

*In their home country of Sweden, the band continued to rack up No 1 albums and Top 10 singles.

Dusty Springfield connection: The band’s bassist Magnus Sveningsson participated in a tribute project to Dusty Springfield around 2007, where he played in a band for a live performance featuring songs like “If You Go Away”.

This post is all about female singers what with the Dusty Springfield theme, Cher and Britney Spears. Even two of the groups featured are fronted by women. Add to that list Whitney Houston who appears on the show two weeks on the run with “It’s Not Right But It’s OK”. With the single having entered the charts at No 3, I get why it’s featured but there were other new entries this week that could have been shown instead from Shawn Mullins, Kula Shaker, Sheryl Crow and…erm…Elton John and LeAnn Rimes…OK maybe not that last one!

Anyway, it’s Whitney who got the nod and perhaps rightly so if you read about the song’s legacy. It won a Grammy for Best Female R&B Vocal Performance and in 2019 it was certified platinum for sales of over a million copies in America. It regularly features highly in the various Best Of polls and just last year it was ranked the 45th Greatest LGBTQ Anthems of All Time with Billboard comparing it to…yes, Gloria Gaynor’s “I Will Survive” just as Cher’s “Strong Enough” was. Clearly the two were duking it out for the hearts of that particular community.

Dusty Springfield connection: Cissy Houston (Whitney’s mother) was a founding member of The Sweet Inspirations, a group that provided backing vocals for several of Dusty’s records, most notably on her acclaimed 1969 album “Dusty In Memphis” and her classic hit “Son Of a Preacher Man”.

With their last single “The Bartender And The Thief”, the Stereophonics took a significant step up the ladder of commercial popularity. No longer were they a band of minor to medium sized hits but a Top 5 artist. Follow up “Just Looking” would consolidate that position by being a No 4 chart hit. More than that though, it was a great advert for their sophomore album “Performance And Cocktails” which was released the Monday after this TOTP aired. It would go to No 1 and six times platinum in the UK. These boys really were big news. It remains their second biggest selling album after “Just Enough Education To Perform” I liked it enough for it to end up in my CD collection. “Just Looking” maybe wasn’t as rollickingly riotous as “The Bartender And The Thief” but it’s still a decent track worthy of repeated plays. However, I’d have to say I prefer “Just Lookin’” by The Charlatans as a song – that missing ‘g’ clearly making all the difference.

Dusty Springfield connection: Well this is tenuous in the extreme but…the Stereophonics only No 1 single is a track called “Dakota” and in January 2024, singer-songwriter Shelby Lynne performed a set dedicated to Dusty based on her 2008 tribute album “Just A Little Lovin’” at the Dakota Jazz Club in Minneapolis. Don’t like that? How about that Dusty once recorded the song “The Black Hills Of Dakota” from the film Calamity Jane? Oh suit yourselves!

Britney Spears is No 1 again with “…Baby One More Time” and has therefore achieved something that we were yet to see in 1999 – a record top the charts for more than seven days. Yes, it’s taken ten weeks but finally the constant conveyor belt of a different No 1 has ground to a halt. When you consider though that this was easily the best selling single of the year in the UK, could we have expected a longer ride in pole position? The timings within release schedules probably worked against Britney as in her third week in the chart she was up against that year’s Comic Relief single courtesy of the biggest boy band in the country at the time but even so. That chart conveyor belt would spring back into action though with another 14 No 1s spending a solitary week at the top meaning 22 out of 52 weeks of the year saw a different record at the top!

As for Britney, well I haven’t the time nor space to chronicle her career and personal struggles here but suffice to say she would have two more big UK hits before 1999 was out and followed that by starting the new millennium by topping our chart twice with consecutive singles. That’s two, not one more time.

Dusty Springfield connection: Dusty’s iconic hit “Son Of A Preacher Man” featured in the film Pulp Fiction and was included on its multi platinum selling soundtrack. In 2008, the film’s director Quentin Tarantino considered casting Britney Spears as the lead character Varla in a planned remake of the 1965 cult film Faster, Pussycat! Kill! Kill! The project never materialised though.

We’re still not done with The Great British Song Contest entrants in the BBC’s quest to find a contestant to be the UK’s representative at 1999’s Eurovision but fear not for this is the last of the four finalists. Jay were a band not a singer who was one Jamie Callis seen here fronting the song “You’ve Taken My Dreams” and what an affront to musical taste it is. Dull doesn’t quite cover it – how about ‘insipid’? ‘Soulless’? ‘Banal’? I’ll go for plain old shite I think. Callis was an unemployed karaoke singer at the time of his 15 minutes of fame – I should have just used those three words as my review of this one. Jay came fourth out of four when The Great British Song Contest airedtwo days after this TOTP was broadcast.

Dusty Springfield connection: Surely there’s nothing?! OK, how about Laurie Jay who was the drummer with The Echoes who served as Dusty’s primary backing band for her live performances and several studio recordings during the peak of her early solo career from late 1963 to1966. Jay was a dedicated fan and associate of Dusty, even attempting to organize tribute events in her memory such as a star plaque in Los Angeles and a show at The Albert Hall in 2012.

Order of appearanceArtistTitleDid I buy it?
1BlurTenderNo but I had the album
2CherStrong EnoughNo
3The Corrs RunawayNegative
4The CardigansErase/RewindNope
5Whitney HoustonIt’s Not Right But It’s OKNah
6StereophonicsJust LookingSee 1 above
7Britney Spears…Baby One More TimeI did not
8JayYou’ve Taken My DreamsAnd pissed all over them – 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.

TOTP 26 FEB 1999

Posted on by 80stastic

It was remiss of me to not make reference in my last post to the mention host Kate Thornton made to the fact that the BRITS had just taken place that week back in 1999. I’ll make up for it now by having a look into what went down on the night. Well, not that much really by which I mean nothing explosively controversial compared to 1996 (the Jarvis Cocker / Michael Jackson incident), 1997 (Geri Halliwell’s Union Jack dress) and 1998 (Chumbawamba’s Danbert Nobacon pouring a jug of water over John Prescott). However, there were rumblings about one of the winners. Belle And Sebastian picked up the award for the Best British Breakthrough Act triumphing over the likes of Five, Steps, Billie Piper and Another Level. The award was sponsored by Radio 1 and voted for online by their listeners. The Glasgow indie pop outfit were surprise winners, so much of a surprise that a story ran in the papers the following weekend that the vote had been rigged with students of two specific universities encouraged by the band to vote for them. Steps impresario Pete Waterman was so incensed (presumably that his red hot charges had lost) that he called for an investigation but nothing came of the conspiracy story and Belle And Sebastian kept their award. Robbie Williams was the big winner on the night though with three awards whilst Natalie Imbruglia also took home two. I wonder if anybody on this TOTP also benefitted from the BRITS…

First up are The Corrs who were big winners at the BRITS picking up the Best International Group gong ahead of the likes of REM no less. Hoping to cash in on that award were their record label Atlantic with a new single and when I say new I actually mean old. “Runaway” was the group’s debut single in 1995 which missed the Top 40 by nine places when first released and was from their first album “Forgiven, Not Forgotten”. Having already completely plundered sophomore collection “Talk On Corners”, Atlantic turned their attention to that debut album and single. As with their No 3 hit “What Can I Do”, “Runaway” was given the Tin Tin Out remix treatment resulting in the group’s then biggest hit single as it debuted at No 2. Just to ensure they were adhering to the completely cynical record label image, they included it in a special edition version of “Talk On Corners”.

Having listened to both the original and the remixed version, I can’t hear that much difference between the two or maybe my ears just aren’t sufficiently highly tuned for that level of discernment? The group performed “Runaway” at the BRITS so it was always clear that the intention was to strike whilst they were hot (as it were) with a flurry of releases to kept their profile high and momentum going.

I should say that our host this week is Jayne Middlemiss who makes a comment about “your Dad’s and your brother’s blood pressure calming back down to normal” after watching The Corrs implying that they’d maybe got over-excited a tad. Now isn’t that putting filth into their minds Jayne and didn’t somebody else say a similar thing about The Corrs?*

*It’s not the inappropriateness of David Brent’s comments which are awful that makes this scene but actually Tim’s look to camera that gets me every time

Another rereleased single making it big second time around now as NSYNC make their UK bow. Well, they had visited our Top 40 once before 18 months prior but in the most fleeting of ways (one week at No 40) so I’m not counting that. When originally released, “I Want You Back” only made No 62 but it crashed straight into the Top 5 in 1999. Now, there two inescapable talking points that have to be mentioned when discussing NSYNC:

  1. The comparisons to Backstreet Boys
  2. Justin Timberlake

Let’s address them head-on then. Firstly, maybe if they hadn’t been from America, maybe if there hadn’t been five of them and maybe if, you know, they hadn’t sounded exactly the same as the Backstreet Boys, then maybe those comparisons wouldn’t have been made. Secondly, is it just me or has Justin Timberlake always had problem hair?

Their performance here is nauseating. They don’t so much dance as walk around a bit and then perform backflips. And did they really need shirts with the number 5 on them telling us there were indeed five of them perhaps or that they are at No 5 in the charts? If they’d been called, I don’t know, Five maybe then it might have been justified. Timberlake would of course go on to solo superstardom after starting out on Disney’s The All New Mickey Mouse Club show. Improbably, another ex-Mickey Mouser would do exactly the same and will be along in this same show a bit later…

Although she wasn’t a winner the next artist was nominated for a BRIT award in the category of International Female Solo Artist losing out on the night to Natalie Imbruglia. I think I might have been a tad surprised at the time that Lauryn Hill didn’t walk off with that particular gong based on the sales of her solo album “The Miseducation of Lauryn Hill” which we sold loads of in the record shop in the Our Price store in Altrincham where I was working – clearly she spoke to the white, middle class teenagers of that particular market town that lies within the historic country boundaries of Cheshire. Anyway, “Ex-Factor” (see what she did there?) was the second single from that album following “Doo Wop (That Thing)” which had been an American No 1 as was the album – Hill was the first female rapper in history to debut atop both charts. I couldn’t recall how “Ex-Factor” went and wasn’t particularly expecting to like it but I was pleasantly surprised as it’s a very melodic, soul ballad with enough edge to it to make it stand out. It would peak at No 4 in the UK charts.

Now, what’s the connection between Lauryn Hill and the last act NSYNC? Yes, it’s Justin Timberlake of course. According to Wikipedia, a stripped down rendition of the song was featured in a medley performed by his backing singers during his 2018 The Man In The Woods Tour. Just a word of congratulations to Jayne Middlemiss on her intro for his one (or to whoever wrote the script) – “It’s not Cypress, it’s not Dru, it’s not even Katy…it’s Lauryn Hill”. Nice work.

As much as Belle And Sebastian winning the British Breakthrough Act award was a bit of a surprise, if the next artist had even been nominated in the category it would have been a seismic shock. Lucid had clocked up one Top 10 hit with 1998’s “I Can’t Help Myself” but even allowing for that, them winning a BRIT gong was as likely as Robbie Williams not winning one. Still, their No 14 follow up hit “Crazy” did earn them a place on the TOTP running order and a chance to perform for the watching TV audience at home. I’m not sure how big said audience was at this point in the show’s history nor how many viewers the BRITS pulled in but those of us working in record shops still took note of who was on TOTP when it came to predicting singles sales and how much stock to order.

There’s not much info on Lucid online but what little I did find described them as being of an electronic /dance / trance persuasion which I guess I can hear although there does seem to be an almost heavy rock element to it as well which is further highlighted by the presence of real instruments in this performance. It also does sound very derivative and unoriginal at the same time. Not a very satisfying nor lucid definition really. They would have one more hit – a version of Judy Tzuke’s “Stay With Me Till Dawn” before Lucid made like a loose lid and fell off the music industry jar of hits.

“Now we’ve had loads of letters to see this next performance again” Jayne Middlemiss tells us in her next intro. Letters?! It’s easy for those of us of a certain age to forget and hard to imagine for the Generation Z-ers but we didn’t all used to have the internet and digital methods of communication available to us at our fingertips (or thumb tips maybe). Even so, I’m not convinced that loads of viewers were writing into the BBC begging for a particular TOTP performance to be shown again, even if said performance was by Lenny Kravitz who was “sex on legs” according to Jayne. In fairness, he does look pretty cool though not as cool as his drummer and her magnificent, towering Afro. As for featuring the clip again, chances are, as last week’s No 1, executive producer Chris Cowey would have shown “Fly Away” again anyway.

When it comes to Whitney Houston, a bit like Kylie, there’s lots of different versions of her depending upon which era of her career you’re talking about. There’s the smooth love song chanteuse of “Saving All My Love For You”, the perfect pop singer of “I Wanna Dance With Somebody”, the power balladeer of The Bodyguard but by the late 90s she had turned to R&B and hip-hop for the sound of her fourth studio album “My Love Is Your Love”. Given that she’d spent most of the 90s being a film star with her name also all over the associated soundtrack albums, was this an attempt to realign herself as a singer first and foremost by making an album that tapped into the dominant sound of the latter part of the decade? Maybe. Maybe not. Whitney had already strayed down that road with her last studio album completely under her own name, 1990’s “I’ll Be Your Baby Tonight” which had garnered mix reviews. “My Love Is Your Love” would be much better received and with the sales to back up its praise and yet its chart life started out in quite a minimal way. Released quietly (and perhaps unwisely) over the 1998 Christmas period, it didn’t really have a lead single to promote it. Yes, there had been that duet with Mariah Carey but that was from the soundtrack to the DreamWorks animated film The Prince Of Egypt and was seemingly just tacked onto “My Love Is Your Love”. As a result the album initially made only a minor splash in the UK charts, debuting at No 27 and then spending a couple of months hopping around the lower ends going as low as No 71. Then came what many saw as the first official single for the album – “It’s Not Right But It’s OK” which would provide Whitney with her highest charting single in the UK since “I Have Nothing” made the Top 3 six years earlier. And this is where the BRITS connection comes in as Whitney performed the track at the awards show to a rapturous reception. Ah, is that why it was released so much later than the album? So that she could promote with a headlining performance at a high profile, televised event? Maybe. Anyway, off the back of the single’s success, the album would ultimately go Top 5 and achieving three times platinum sales.

As for the song itself, it’s not really my thing/thang but I can appreciate that it’s a well executed R&B dance track with lyrics about defiantly telling an unfaithful lover to pack their bags. Given their tumultuous relationship many in the press speculated on whether it was about Whitney’s husband Bobby Brown. I’m pretty sure much more of a fuss would have been made about an in person appearance by Whitney Houston on the show back in the day but I guess things change quickly in the world of popular music and maybe her light wasn’t shining as brightly as it once had but the “My Love Is Your Love” album would see Whitney stake a claim as one of its biggest names again.

An absolutely iconic song next (yes it is, whether you like it or not) and a chart munching, sales crunching commercial juggernaut to boot. Once in a while, a single would come along that could never be anything but huge such was the buzz about it. I’m thinking “Killing Me Softly” by the Fugees, “MMMBop” by Hanson and “Don’t Speak” by No Doubt. That sort of thing. The buying department at the Our Price chain for whom I worked would send round a memo for these titles saying how the predicted sales of them were so massive that they’d had to order in extra quantities for every store to meet initial demand but also warning that we would have to monitor the single very closely for fear of selling out. “…Baby One More Time” by Britney Spears was definitely one that also needed watching closely.

Originally offered to the Backstreet Boys, TLC and Five (really?), they all turned down the opportunity to record the song leaving the path open for that other young star of Disney’s The All New Mickey Mouse Club show I referred to earlier to prove them all wrong by taking it to No 1 just about everywhere in the world. Why was it so successful? Well, it’s an extremely accessible pop song with hooks a plenty and some very convincing vocal styling from Spears for one so young. It’s also got that creeping backbeat that made it stand out from any other pop/dance tunes of the time. It also had that element of controversy with that chorus “Hit me baby one more” which label Jive were so concerned about that they changed the track’s original title to omit the first two words.

Then of course there’s that video which we get to see here and which is trailed by Britney doing a video message explaining that she can’t be in the TOTP studio because she’s hurt her knee. Apparently, a lot of the elements that made it so daring and controversial were down to Spears herself. She pitched the concept of the school setting to video director Nigel Dick after rejecting his original space themed idea and it was also Britney who had the idea of the knotted shirt look that sparked so much outrage. I once attended a guitar class and one of the songs we were learning was “..Baby One More Time”. Our teacher asked us to listen to the track before the next lesson to which one of my fellow students said “Well, the blokes here can’t watch the video, we’re not allowed” meaning that he believed that society had decreed that any man watching the video would be judged and not in a good way. Living in the times that we currently do, I can’t decide whether it would still be considered that way or not. Would it be seen as small fry in an Epstein files world or is it part of the problem? I don’t really want to pursue that line of enquiry any further than that. What I will say is that it’s a very impactful video which earned three nominations in the MTV Video Music Awards. Although, she didn’t feature in the 1999 BRITS, the following year she was nominated in the categories of Best International Female Solo Artist and Best International Breakthrough losing in both categories to Macy Gray. As for “…One More Time”, it would sell 463,000 copies in its first week of release easily dwarfing the commercial performance of any other No 1 single of 1999 so far. The bods in that buying department at Our Price knew what they were talking about.

We still haven’t yet finished with this Great British Song Contest malarkey to find the UK entrant for Eurovision so here’s the third of the four finalists Alberta with a song called “So Strange”. This one at least try to do something different from the safe pop/soul song template delivered by eventual winners Precious by offering us a reggae-lite tune. It puts me in mind of the 1985 hit “Girlie Girlie” by Sophia George which is no bad thing. I also quite like the way the songwriters tried to cover all cases by having part of the track sung in French. Cynical? Maybe but again at least they were trying to do something different. Alberta would come second to Precious which Wikipedia informs me was the second time she failed to be the UK Eurovision entry at the final hurdle having come second in 1998. Oh well. As Johnny Logan once sang, “What’s Another Year”.

Order of appearanceArtistTitleDid I buy it?
1The Corrs RunawayNegative
2NSYNCI Want You BackNever
3Lauryn HillEx-FatorDidn’t happen
4LucidCrazyNope
5Lenny KravitzFly AwayNo
6Whitney HoustonIt’s Not Right But It’s OKNah
7Britney Spears…Baby One More TimeI did not
8AlbertaSo StrangeAnd 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/m002q94h/top-of-the-pops-26021999

TOTP 20 JAN 1994

Posted on by 80stastic

And so the party is finally over. Not the TOTP party as the grand old show will carry on for another twelve and a half years from this point. No, it’s the end of the line for presenter Tony Dortie whose innings finishes after 57 shows stretching back to the 3rd October 1991. So who pulled the plug on Dortie? Well, presumably it was incoming new producer Ric Blaxill who replaced ‘year zero’ innovator Stanley Appel and decided to shake things up by…erm…getting some of those old Radio 1 DJs back in on presenting duties. That hardly sounds like a creative genius teeming with new ideas at work does it? To be fair to Blaxill, he did come up with some other plans to overhaul the show including the ‘golden mic’ where TV celebrities, pop stars and comedians were invited to present the show. Curiously, this change seems to already be in place before Dortie has left the building as he is joined on his final show by Def Leppard’s Joe Elliot as co-host. I presumed initially that this was just to introduce his own band’s video but he does get extra presenting duties later on in the show. The subsequent show would be Dortie’s presenting partner Mark Franklin’s last appearance. The times they were a-changin’…

…talking of which, we start the show with a tune that seemed out of time. It was now nearly four years since Inspiral Carpets burst into our lives as part of the ‘Madchester’ scene and whilst that movement had withered whilst main protagonists The Stone Roses were still missing presumed disbanded and the Happy Mondays having self destructed, these Oldham lads had carved themselves out a little niche which revolved around Clint Boon’s farfisa electronic organ and its swirling 60s retro sounds. By 1994 though, they were coming to the end of their initial incarnation and that year’s “Devil Hopping” would be their last album for twenty years after being dropped by Mute Records. The lead single from it was “Saturn 5” which seems to borrow a fair bit from “Telstar” by The Tornados. Yes, I know that 1962 No 1 transatlantic hit was an instrumental track but it was named after the Telstar communications satellite that was launched into orbit that year. Similarly, “Saturn 5” was named after the space rocket that launched all the Apollo missions. Then there’s the almost distorted, futuristic (back in 1962!) organ sound on “Telstar” which “Saturn 5” isn’t a million light years away from.

According to Boon, the song is about hope and achieving your ambitions. Here’s @TOTPFacts with an explanation of that Rockette lyric:

I went to New York for the very first time in 1994 and me and my wife did the Radio City Hall tour and met a Rockette. It was a a bizarre experience. Anyway, some of the other lyrics refer to the assassination of JFK (“the lifeless corpse of President 35”) and his grieving wife Jackie Onassis (“the lady crying by his side is the most beautiful woman alive”) and Boon’s mother-in-law going on a first date with her husband in a Ford Mustang (“Lady take a ride on a Zeke 64”). In my head, I’d made the line “An Eagle lands” into a reference to 1970s sci-fi series Space 1999 whose spacecrafts were called ‘Eagles’. Either that or the Eagle comic and its space captain hero Dan Dare. Both theories kind of fit with the space theme but further research on my part suggests it’s more probably to do with the Embry-Riddle Aeronautical University where JFK learned to fly and whose nickname is ‘Eagles’. Regardless of its subject matter, I liked “Saturn 5” and its incongruousness with the rest of the charts. Yes, it was a bit formulaic – my work colleague Justin remarked on first hearing it “Ah, there’s the distinctive organ” – but it was well constructed and had charm as well as hooks. It would make No 20 on the chart while the album went to No10.

I saw singer Tim Hingley years later as a solo artist at tiny venue Fibbers whilst I was living in York. Can’t remember if he played “Saturn 5” though. I also caught Clint Boon do a DJ set of ‘Manchester’ tunes as a warm up for a Happy Mondays gig a few years ago. That really was money for old rope.

And so to that first Joe Elliott intro which, rather obviously, is for his own band. He actually does a decent job and seems much more at ease than an over excited Dortie. They do have some decent banter (note banter not ‘bants’) as Tony chides Joe for his Sheffield United shirt who responds with with “Hold your tongue philistine Spurs freak”. Nice comeback!

As for Def Leppard’s cover of The Sweet’s “Action”, I pretty much said everything I had to say about it in the last post. Erm…OK, did they do any other cover versions?

*checks internet*

They’ve done loads! Some are obvious like T. Rex, Bowie and Thin Lizzy but some less so. How about these? “Rock On” by David Essex and…No! “Personal Jesus” by Depeche Mode?! I’ve got to hear this…

…well, it doesn’t eclipse Johnny Cash’s take on it but it’s not bad I’ll admit. I suppose that’s testament to how much of a great song it is. “Action” peaked at No 14 but Def Leppard returned with their equal biggest hit ever in 1995 with “When Love And Hate Collide” which peaked at No 2 matching the high of 1992’s “Let’s Get Rocked”.

Here’s something a bit different. Tori Amos might be an acquired taste and suffer from continual accusations of being a Kate Bush wannabe but I’ve always quite liked her. I’m pretty sure we even had her first album “Little Earthquakes” at some point. It sold respectably and steadily but 1994 saw her up the ante with the release of sophomore album “Under The Pink” which went to the top of the charts. The lead single was “Cornflake Girl” which would give Tori her highest charting single by far at that point when it peaked at No 4. I said in the last post that I was surprised that Toni Braxton’s “Breathe Again” was such a big hit and “Cornflake Girl” also falls into that category. Nothing to do with the quality of the song – it’s a great track – but because it felt like such an outlier in the charts. A haunting piece with a striking melody that allows Tori’s otherworldly vocals to flourish, it sounded like nothing else in the Top 40 at the time (and no smart arse remarks about Kate Bush not having a single out that month!).

The song has some dark origins. Here’s @TOTPFacts again:

Out of this discussion came the song’s title which was a name that Tori and her peers would use growing up to describe girls who would hurt you despite a close relationship. On a lighter note, Amos appeared in an advert for a Kellogg’s cereal in 1984 but apparently that was nothing to do with her writing the song.

Interestingly, Billy Bragg also name checks the phrase on a track called “Body Of Water” on his 1991 album “Don’t Try This At Home”.

Summer could take a hint
Seeing you in a floral print
Oh to become a pearl
In the wordy world of the cornflake girl

Source: LyricFind
Songwriters: Billy Bragg / Philip Douglas Wigg
Body of Water lyrics © Universal Music Publishing Group, Warner Chappell Music, Inc

In an unlikely turn of events, as I was checking my Tori Amos facts for this post, I discovered that she is a very close friend of the author Neil Gaiman who is actually godfather to her daughter. The book literally next to me on the coffee table as I read that information? The Graveyard Book by Neil Gaiman.

For me though, the one thing that always comes to mind when I hear “Cornflake Girl” is this TV theme for a show that always seemed to be on the late night schedules growing up in the Central ITV region…

Talking of cover versions as we were before about Def Leppard, Tori has quite a few in her live set lists. I think my favourite is this unlikely coming together of styles…

Oh come on! Still with Haddaway in 1994? Surely he was a one year phenomenon? Sadly, he’s still knocking about with his “I Miss You” single. Everything about this performance is just odd, from Haddaway’s cringeworthy spoken intro to the presence of the woman on stage with him? Quite why was she there? She spends the first part of the song sat on a chair looking miserable. I’ve not seen someone look so upset in a pop song since that woman in the video for Eddy Grant’s 1982 No 1 “I Don’t Wanna Dance” when she’s left fuming on the beach whilst Eddy noodles around on his guitar whilst sat on an unlikely floating platform in the sea.

Back in 1994, the woman on stage with Haddaway finally gets up to wander around a bit before miming some “ooh, woohs” backing vocals. Is that why she was there all along? For that? It really wasn’t worth it. “I Miss You” peaked at No 9.

As with Def Leppard earlier, here’s another of last week’s Breakers getting a full spin on the show. Toni Braxton gets the live by satellite treatment to perform her “Breathe Again” hit. They’ve plonked her on a stool sat between two candelabras on the stage of the Apollo Theatre, New York where she belts out her song…to nobody. They even have a shot from behind Toni facing the empty theatre and its non existent audience just in case anyone was under the misconception that somebody (anybody) was actually there. Madness. I hope Ric Blaxill got rid of this nonsense when he took over the TOTP reins and resuscitated the show. Hey, maybe he made it breathe again! I’ll get me coat.

Four Breakers this week starting with some bloke called Joe (just Joe) who I hardly remember and couldn’t tell you anything about before reading up on him but who somehow managed to have ten UK Top 40 hits the last of which came some ten years on from this, his debut single, “I’m In Luv”. Tony Dortie is clearly giving zero f***s seeing as he’s been given the chop and this is is final appearance as he says the following in his intro “…I know it’s politically incorrect to say so but there’s some mighty fine ladies in this video”. Well! Tone had some previous with this sort of thing dropping similar comments about Jade, En Vogue etc during his time on the show. He also says that Joe “…at last gives us the missing note between hip hop and R&B…”. Wasn’t that called New Jack Swing?

A genuine sales phenomenon next as Garth Brooks makes his first TOTP appearance. No. Really. Check these stats out from @TOTPFacts

Told you. It was an unlikely occurrence though for a country artist. Or was it? Certainly in the UK, that genre had traditionally struggled to gain a foot hold commercially but in the US? I’m thinking there was a much bigger market and appetite for country music. Randy Travis, Willie Nelson, Reba McEntire, Dwight Yoakam, George Strait and loads more artists had huge careers over there as country acts. However, Troyal Garth Brooks (that’s his actual name! Troyal!) was somehow different. His melting pot of country with elements of rock and pop allowed him to crossover into the mainstream markets and he did so like nobody before him. We’d resisted in the UK for the early part of the decade despite promotion by his record company of his albums like “Ropin’ The Wind”, “No Fences” and “The Chase” but we finally caved to his fifth one “In Pieces” which rose to No 2 in our charts. The single from it that broke the dam was “The Red Strokes” – (actually a double A-side with “Ain’t Going Down (‘Til The Sun Comes Up)”) – a pleasant but unremarkable ballad to my ears and the biggest of only three UK hit singles which peaked at No 13. Hold onto your Stetson though as we’ll be seeing more of Garth Brooks on the next show.

I’d totally forgotten about the final single from Depeche Mode’s “Songs Of Faith And Devotion” album. “In Your Room” was a powerful slab of gloom rock in line with the rest of the album which was influenced by the emergence of grunge. Despite the album having been out for nearly a year by this point and despite it being the fourth track released from it, “”In Your Room” still went Top 10 displaying the loyalty and purchasing power of the band’s fanbase.

The video references much of the band’s past work with homages to “Strangelove”, “Personal Jesus” and “Enjoy The Silence” amongst others. There’s also a heavy David Lynch vibe with scenes of bondage set against the red curtain drapes reminding me of both Twin Peaks and Blue Velvet. The band themselves were in turmoil at this point with Dave Gahan struggling with his heroin addiction whilst the single would be the last to feature Alan Wilder who left the group after the completion of the album. We would not see them again for four years when they returned with “Ultra”.

Well, I suppose this was totally inevitable. Whitney Houston and Bobby Brown had been married for eighteen months when they decided they needed to record a song together to further publicly display their love for each other. I’m surprised it took that long. “Something In Common” was the chosen track but if they were expecting a gigantic hit off the back of them joining forces, it didn’t quite happen. A No 16 peak was all it could achieve over here whilst it also failed to make the Top 10 in the US. How come? I mean, Whitney was on a very hot streak with the success of The Bodyguard whilst Brown’s 1992 album “Bobby” had gone double platinum. Maybe the song was just no good? It’s uptempo and probably right on the New Jack Swing zeitgeist but it doesn’t live long in the memory. Seriously, how far down the list would you have to go when naming Whitney or Bobby Brown songs before you got to “Something In Common”?

Joe Elliott is back to do a link for the next artist who is Phil Collins. How many times was Phil on TOTP as a solo artist doing a mournful ballad? I don’t know and I’m not about to count but I’m pretty sure he did what he does whilst performing “Everyday” on every appearance; that Everyman, shuffling turn whilst wearing oversized, casual clothes to create the impression that he’s only turned up at the studio to sing a song whilst he’s waiting for the first coat of creosote to dry on his garden fence before applying the second. I’m not buying it Phil nor indeed any of your records. “Everyday” peaked at No 15.

They’ve done it! D:Ream are No1 with “Things Can Only Get Better” a year after it originally peaked at No 24. Despite it being his last ever TOTP show, Tony Dortie still has one last presenting gaff in him when he refers to their lead singer Peter Cunnah as ‘Pete Cornelius’! Watching Pete perform here in his trademark checked suit, I can’t help but notice that there’s an element of Robbie Williams about his performance. All that energetic cavorting and arm waving and a desperation to make everything about him on stage. Well, D:Ream had just been on tour with Take That at the time so maybe he did indeed learn from the master!

Order of appearanceArtistTitleDid I buy it?
1Inspiral CarpetsSaturn 5No but I have it on a Best Of CD of theirs
2Def LeppardActionNah
3Tori AmosCornflake GirlLiked it, didn’t buy it
4HaddawayI Miss You…but I don’t miss you. No
5Toni BraxtonBreathe AgainNope
6JoeI’m In LuvI’m not – no
7Garth BrooksThe Red StrokesNo
8Depeche ModeIn Your RoomI did not
9Whitney Houston and Bobby BrownSomething In CommonNegative
10Phil CollinsEverydayNever!
11D:ReamThings Can Only Get BetterAnd 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/m001h88r/top-of-the-pops-20011994

TOTP 23 DEC 1993

Posted on by 80stastic

It’s nearly Christmas. Well, yes that’s hardly news I know but I’m talking about Christmas twenty-nine years ago as per the BBC4 TOTP repeats schedule which has arrived at the festive period in 1993. I was working in the Our Price store in Altrincham at the time and so if I watched this episode then I would have done so in the knowledge that the following day was perhaps the busiest of the whole retail year. Given my experience of Christmas Eve in the Rochdale store the previous year, I wouldn’t have been looking forward to it. You could say there was a distinct lack of festive cheer from the punters or to put it another way, they tore lumps out of us. Rude, aggressive and if we told them that we’d sold out of Gloria Estefan’s Greatest Hits on cassette (we had), they reacted as if we’d told their three year old child that Father Christmas didn’t exist. As such, I wasn’t looking forward much to the 24th December. I wonder which songs were in the charts that I might have been flogging to Christmas stressed customers?

We start with a song that would reach its chart peak the following year which is why I associate “Come Baby Come” by K7 with 1994 rather than 1993. The last time this was on TOTP in the Breakers section, I commented on how its lyrics were full of innuendo so I was expecting a very risqué studio performance full of explicit, sexually charged dance moves. However, whilst Mr K7 (real name Louis Sharpe) and his three backing singers/dancers are next level slick, I didn’t notice too many moves that would have had the TOTP producers panicking. Bizarrely though, at one point the main man pulls out one that appears to be replicating him washing his armpits in the shower with his microphone substituting for a bar of soap! He then follows it up with a Jarvis Cocker Michael Jackson baiting bum waft – not sure if that qualifies as explicit or just plain silly. “Come Baby Come” would peak at No 3 in the UK.

The Bee Gees are up to No 4 with “For Whom The Bell Tolls” giving them their highest chart placing since their No 1 “You Win Again” in 1987. The song’s title references the phrase originally written by metaphysical poet John Donne and the novel by Ernest Hemingway but there was another band that beat the Gibb brothers to using it to name a song by nearly a decade. I have to admit to not having a clue that this track even existed before now but exist it does and it comes from one of the biggest rock bands ever. Metallica (for it is they) recorded a track called “For Whom The Bell Tolls” for their second album “Ride The Lightning” in 1984. In the name of musical exploration, I listened to it earlier and guess what? It did absolutely nothing for me! Lots of crunching rock guitar and strangulated vocals does not make yours truly a happy boy. Apparently the song is a huge fan favourite but seeing as I’m not a Metallica fan, that influences me as much as Rishi Sunak telling me that he cares about the working class (ooh, bit of politics there as Ben Elton used to say).

Anyway, the rather surprising success of the Bee Gees song meant that the group now had a UK Top 5 single in four consecutive decades (the 60s, 70s, 80s and 90s) – that’s approaching Cliff Richard levels of chart achievement. They would even bag themselves two more before the decade was out. Quite remarkable.

Now here’s a curious but rather charming Christmas tune. This seemed to come out of nowhere just as the big day approached but maybe it was released too late to make any real impression on the Top 40. Certainly its chart peak of No 37 seems to reflect that. Or maybe it was just too out of leftfield for the mainstream Christmas market with its non traditional shoppers for whom the festive season is the only time they would venture into a record shop all year looking for Cliff Richard or that nice Elton John and Kiki Dee song or even the Bee Gees. It was unlikely their shopping list included the record by Saint Etienne and the bloke from The Charlatans.

I’d forgotten that “I Was Born On Christmas Day” was actually just one song from a four track EP called (rather bluntly) “Xmas 93” but it was the only one to feature the now national treasure that is Tim Burgess. The other tracks included a Billy Fury cover and two instrumentals none of which I’ve ever heard as the lead song was presumably the only one played.

As Christmas tunes go, it’s an odd one but pretty groovy. Mostly devoid of the usual festive music baubles (sleigh bells, references to Santa Claus, snow, trees, presents etc), it instead has a driving house beat and an unusual melody. In fact, apart from its title which is sung on repeat in the coda, there’s very little to distinguish it’s a Christmas song. The lyrics seem to be about someone missing their absent partner throughout the course of the year awaiting their return at Christmas and thinking of everything that has happened in the world they left behind whilst away.

Tim Burgess and Sarah Cracknell have definite chemistry up there on stage, holding hands, draping a shared feather boa around each other’s shoulders…is there even a little kiss between them at one point? Well, the lyrics do refer to a Tim and Sarah tying the knot!

As host Mark Franklin says in his intro, 1993 had been a great year for Saint Etienne with a Top 10 album (“So Tough”) and their highest ever charting single (to that point) in “You’re In A Bad Way”. The Charlatans on the other hand failed to release any material but would return in 1994 with their own Top 10 album “Up To Our Hips” and the excellent single “Can’t Get Out Of Bed”. As for “I Was Born In Christmas Day”, you don’t hear it that often on the radio despite its obvious time slot each year. Incidentally, neither Tim nor Sarah were actually born on Christmas Day though Saint Etienne’s Bob Stanley was. Other rock/pop stars born on the 25th December include Annie Lennox, Dido and Shane MacGowan whilst Lemmy came into the world on Christmas Eve.

One of the nastiest things about 1993 (amongst many) was the breakthrough success of the revolting Shabba Ranks. After a rereleased “Mr Loverman” took him to No 3, there was a small procession of follow up singles in its wake of which “Family Affair” was the third. Pretty much a remake of the Sly And The Family Stone classic with some rapping and toasting over the top (including inevitably a few shouts of ‘Shabba!’), this was from the soundtrack to the Addams Family Values film. I’d quite enjoyed the silly but likeable “Addams Groove” by Hammer from the original 1991 The Addams Family film but this was just horrible. It featured Patra, Terri and Monica (I’ve no idea) and made No 18 in the charts but I’m glad to say I don’t remember it at all – I’ve never seen any of the Addams Family films either. Shabba Ranks would only have one more UK Top 40 hit after this. Good riddance to his homophobic ass!

Dina Carroll now with “The Perfect Year”, a single that perfectly encapsulates her annus mirabilis. One of the comments most made by people commenting on the Twitter hashtag #TOTP during the 1993 repeats has been “Whatever happened to Dina Carroll?” and it’s a fair question. After this single, we didn’t hear any new material from her for nearly three years. When it did arrive, it was successful but just not anywhere near as much as her earlier stuff. Debut album “So Close” went four times platinum. By comparison, the follow up “Only Human” sold a quarter of that; not insubstantial by any measure but a definite decline. Why did it take so long for that sophomore album to appear? Well, she suffered from burn out after that initial runaway success and took a break from touring and recording and when she returned she walked into a contract mess. The guy who signed her for A&M had left for Mercury Records but his new label weren’t keen on him taking Dina with him initially. By the time it was all resolved and Dina’s first single on Mercury appeared (“Escaping”), it was 1996!

Her new label seemed unsure what to do with her – was she a slick, soul balladeer or a club diva? Or both? She’d successfully straddled both camps with her eclectic debut album but somehow Mercury didn’t seem reassured by that. A third album was never released and a case of otosclerosis (hereditary bone disease of the ear) was clearly not helpful for a recording artist. As the millennium dawned, Dina just seemed to disappear. A Best Of album fulfilled her contractual obligations to Mercury in 2001 and her only release since then was 2016’s “We Bring The Party” with the Dig Band.

Meanwhile, back in 1993, Dina became the only British female artist to have two simultaneous Top 10 hits during the whole of the decade. In the week 12th to 18th December, “Don’t Be A Stranger” was at No 8 whilst “The Perfect Year” was at No 10. I think I’m right in saying A&M had deleted the former to make way for the latter so we had loads of the No 10 but hardly any of the No 8. Funny the things you remember isn’t it?

Even though this is officially the Christmas chart, there are still room for a couple of Breakers. One though is utterly dreadful and the other is last year’s Christmas No 1! Yes, despite being the best selling single in the UK of 1992, it’s back in the Top 40 twelve months on. I refer, of course, to Whitney Houston’s version of “I Will Always Love You”. Now remember that the charts were a different beast back then to the one that functions (sort of) these days. You couldn’t just get a song (any song) into the charts via a concerted social media campaign by coercing people into streaming it loads. It had to be officially released which means that “I Will Always Love You”, despite its ubiquity over the last twelve months, must have been rereleased. Why would that have happened? Well, it was all to do with the VHS of The Bodyguard coming out in November of this year.

This was such a big marketing event back then that it presumably made perfect sense to record label Arista to give the soundtrack and the most famous single from it another promotional push. As a result, “I Will Always Love You” managed a peak of No 25 the second time around. Of course, this wasn’t an entirely new phenomenon. In 1985, both “Last Christmas” by Wham! and “Do They Know It’s Christmas?” by Band Aid returned to the charts after being the festive No 2 and No 1 respectively the year before. Even so though, it did feel like overkill.

Now to that second and abhorrent Breaker. Probably long forgotten as the other novelty record in the chart of Christmas 1993, overshadowed by the spotted, pink dickhead at No 1 but the combination of Hulk Hogan and Green Jellÿ doing a cover of “I’m The Leader Of The Gang” is potentially even more heinous than the blobby one’s effort, given what we now know about Gary Glitter. Hulk Hogan had been a wrestling star throughout the 80s with his 1988 WWF match with Andre the Giant holding the record for the highest TV audience for wrestling ever. In 1993, Hogan broke away from WWF to sign for rival federation WCW which maybe is the reason for this single release? Bit of promotion for WCW? After all, the WWF Superstars had bagged themselves two UK hit singles in the past twelve months so…

Green Jellÿ had achieved the same chart feat with two hits of their own in 1993 with “Three Little Pigs” and “Anarchy In The UK” and it was they that Hogan was paired with to deliver this execrable record. I mean, it’s literally unlistenable. Who the hell bought enough copies to take it to No 25?

The penultimate tune before we get to the Christmas No 1 comes from EYC. This lot of chancers were put together to take the US by storm but did diddly squat over there. They did, however, gain moderate chart success both here and in Australia. Debut hit “Feelin’ Alright” reached No 16 but listening to it back now, it just sounds like a lot of horrible shouting. Maybe I’m just too middle aged to be able to engage with this sort of stuff now but I probably felt the same about it nearly thirty years ago.

They were the first act to win the Best Roadshow Act award at the Smash Hits Poll Winners Party but that sounds like an award that was designed purely for them to win – a bit like the award I got from my works 5-a-side team for Most Improved Player (a back handed compliment if there ever was one). They also picked up six UK Top 40 singles during their brief career so I fear we may not have seen the last of them by a long chalk.

“So this is Christmas and what have you done?” sang John Lennon and in 1993 this line rang truer than ever for it was indeed Christmas and what the British public had done was to make Mr Blobby the festive chart topper. How on earth could we have let this happen?! I’d foolishly believed that the “Mr Blobby” single had peaked too early after being No 1 two weeks ago but the deposed chart topper somehow rallied and regained the crown just in time to be announced as the Christmas No 1. How often did that sort of chart trajectory occur? Apparently “She Loves You” by The Beatles was No 1 for four weeks in 1963 before dropping down for a whole seven weeks and then miraculously returning to the top for a further two weeks. The Fab Four then knocked themselves off the pinnacle with “I Want To Hold Your Hand”. So not without precedent but that was The f*****g Beatles we’re talking about not some tit in a pink latex suit! Aaaarrrgh!!

Order of appearanceArtistTitleDid I buy it?
1K7Come Baby ComeI did not
2Bee GeesFor Whom The Bell TollsNah
3Saint Etienne and Tim BurgessI Was Born On Christmas DayProbably should have but no
4Shabba Ranks with Patra, Terri and MonicaFamily AffairNever happening
5Dina CarrollThe Perfect YearNope
6Whitney HoustonI Will Always Love YouNot the first nor second time
7Hulk Hogan and Green Jellÿ I’m The Leader Of The GangAs if
8EYCFeeling’ AlrightNo
9Mr BlobbyMr BlobbyDid I bollocks!

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/m001g4xh/top-of-the-pops-23121993

TOTP 04 NOV 1993

Posted on by 80stastic

Finally it’s that time of the year. No, not bonfire night that was upon us in 1993 but that cherished but fleeting period that us synchronists look forward to – when the BBC4 TOTP repeats and the present day month match. November 1993 meet November 2022. We can watch these old shows safe in the knowledge that the tunes featured were from almost exactly 29 years ago. Indeed, when the second TOTP was aired on the Friday just gone they synchronised to the very day – 11th November. Perfect! I’m getting ahead of myself though. Let’s trawl through the 4th November show to see what fireworks and bangers await…

We start with the first of two Scottish electronic dance bands featured tonight (what were the chances eh?). I speculated in a previous post about why The Time Frequency felt the need to include the definite article in their name. Reading up on them some more, it seems founding band member Jon Campbell was in an 70s synth band called Thru The Fire and when they broke up, he kept the initials of the name as a template for his next project. Well, that’s what Wikipedia tells me but it seems a bit of a lame reason to me. Anyway, after scoring a Top 20 hit earlier in the year with “The Power Zone EP”, the decision was taken to rerelease their debut single “Real Love” which had missed the charts the previous year. A remix was made of it and it was shoved back out into the market under the title of “Real Love ‘93” – there was very little imagination around in record label offices when it came to naming rereleases it seems. Lacking in imagination they may have been but their business case was sound and the rerelease became the band’s biggest ever hit when it peaked at No 8. To me though, it sounded like the poor relation to “Insanity” by Oceanic.

The performance here with the two dancers dressed in full metal robot outfits brought back memories of a rather cheesy but somehow endearing chart hit from 1985…

Next a song that I would have thought was a much bigger hit than it was. However, its chart peak of No 7 doesn’t tell the whole story. I’m talking about “Hero” by Mariah Carey which was the second single taken from her “Music Box” album. We sold loads of this over Christmas ‘93 when I was working in the Our Price in Altrincham, Cheshire and if you check out the single’s chart run, it backs up my claim. It just wouldn’t go away. Yes, it only had three weeks inside the Top 10 but it had another seven where it ricocheted around the Top 20 between positions 18 and 11. It actually stood solid for three consecutive weeks at No 18 before going back up the charts. It reversed its decline in sales another time during its chart life to move back into the Top 10 having fallen out of it the previous week. These were not normal chart manoeuvres. It eventually fell out of the Top 40 around mid January ‘94. Why was it so durable? It could be that ballad at Christmas time always being a winner theory in action again. Maybe it was to do with the lyrics about self-belief, inner courage and finding the hero within oneself that struck a chord with record buyers.

Its durability would lead to longevity. After the 9/11 terrorist attacks of 2001, Mariah re-recorded the track as a medley with a song from her “Glitter” album called “Never Too Far” and released it as a charity single. In 2008, the X Factor finalists covered the song to raise funds for the Help For Heroes and Royal British Legion charities. It would become a sales phenomenon selling 100,000 copies in its first day of release and becoming the best selling single of that year. They performed the track with Mariah in one of the live shows.

Proper rock legends next though their list of UK chart hit singles up to this point belied that status. Not counting their collaboration with Run-D.M.C. on 1986’s “Walk This Way”, “Cryin’” was only the fifth ever Top 40 hit for Aerosmith up to that point in time. It was, however, their third hit on the bounce (all from the “Get A Grip”) album). “Livin’ On The Edge” (like ex-Home Secretary Priti Patel, the band had a habit of dropping their ‘g’s at the end of words) had made No 19 and “Eat The Rich” No 34 earlier in the year. “Cryin’” would be the biggest of all three when it peaked at No 17 over here though it was more successful in the rest of Europe going Top 10 just about everywhere and even topping the charts in Norway.

This was the band in proper power ballad mode but with that bit of Aerosmith cheek thrown in for good measure. Or as Steven Tyler described it:

“It was country – we just Aerosmith’d it.”

“The 20 Songs That Can Represent The Career Of Aerosmith”. Society of Rock. Retrieved May 23, 2022.

I have a distinct memory of a young Zoë Ball, early in her TV career, interviewing Tyler on some music programme about how to be a rock music fan (or something) and her finishing the piece by wandering off camera singing “Cryin’” whilst performing the Chuck Berry duck walk though her version of it made her just look like she was constipated.

Though the TOTP producers have pulled off a coup here by having the band in the studio, it means we don’t get to see the award winning video that promoted the single. Featuring a sixteen years old Alicia Silverstone plus pre fame Stephen Dorff (Backbeat) and Josh Holloway (Sawyer from Lost), it won three MTV video awards in 1994.

As host Tony Dortie says, 1993 saw loads of solo female artists break through with the likes of Dina Carroll, Gabrielle and Michelle Gayle all having big chart hits. Add to that list Pauline Henry. Late of The Chimes parish but now striking out on her own, her cover of Bad Company’s “Feel Like Making Love” (note the ‘g’ in making Aerosmith and Priti Patel!) was her second and biggest hit when it peaked at No 12. Just about as far removed from The Chimes’ soulful take on U2’s “I Still Haven’t Found What I’m Looking For” as it could be, Pauline really belted out this raucous rock standard. Fair play to her by the way for daring to take on the mighty vocals of Paul Rodgers – if it was a football match, it would certainly go to extra time.

Sadly for Pauline, her single success didn’t translate into album sales and her debut LP staggered to a high of No 45. A second album of more cover versions resulted in two minor hit singles before Pauline decided on a change of career and studied for a Bachelor of Law degree and a masters in Intellectual Law Property.

After dicking about with the Breakers feature for a couple of weeks, the section is now firmly re-established by the TOTP producers with five acts in it this week. We start with a collaboration between Faith No More and Boo–Yaa T.R.I.B.E. (that’s the second time I’ve had to type a rap act’s name in that format this post!). “Another Body Murdered” was a track from the soundtrack to the film Judgement Night, a crime thriller starring Emilio Estevez, Cuba Gooding Jnr and (joy oh joy for us synchronists again!) Stephen Dorff. The soundtrack followed an idea by Cypress Hill manager Happy Walters that each track should pair a rock artist with a rap act. Alongside the Faith No More Boo-Yaa T.R.I.B.E. (third time!) meet up, there was Teenage Fan Club and De La Soul and Living Color and Run-D.M.C. (fourth time!!) to name but two. Critical reaction to the premise has been mixed. Some saw it as laying the groundwork for bands such as Korn and Limp Bizkit to thrive (was that a good thing?) whilst others saw it as jumping on the Anthrax/Public Enemy collaboration “Bring The Noise” bandwagon. I have to say judging by the twenty-five seconds of “Another Body Murdered” we get here, I’m unlikely to search out the soundtrack album though that meeting of Teenage Fan Club / De La Soul does sound interesting.

Just to prove Tony Dortie’s point about UK female solo artists in 1993, here’s another one and like Pauline Henry before her, she had a solid CV behind her already. Juliet Roberts first came to chart prominence ten years prior with Funk Masters’ Top 10 hit “Its Over” before she became the vocalist for Smooth jazzers Working Week. Critical acclaim but little commercial success led her to move on finding work as a session singer for the likes of Cathy Dennis and rather improbably Breathe before taking the plunge on her own. Having breached the Top 30 with her hit “Caught In The Middle” earlier in the year, she was back with another tilt at it with “Free Love”. It would attain a similar chart peak of No 25.

Sadly for Juliet, also like Pauline Henry, a collection of middling hit singles didn’t convert into a hit album and her debut effort “Natural Thing” could only manage a high of No 65. Her last chart entry came as vocalist on David Morales’s “Needin U II” in 2001, a title that makes Aerosmith and Priti Patel look like linguistic experts.

By late 1993, Soul II Soul had reached the point in their career where diminishing returns were starting to set in. “Club Classics Vol. One” and the track “Back To Life” especially had made the band global superstars but four and a half years on their commercial fortunes, though by no means flatlining, were not what they were as the 80s ended and the 90s began. The remedy? A Best Of album of course and so it was that “Volume IV The Classic Singles 88-93” was put together and released for the Christmas market. I actually liked the fact that they continued with the ‘Volume’ theme even though this wasn’t a studio album and included tracks that had already been part of the previous volumes. Except this one. “Wish” was a brand new track recorded to promote the collection as was the established trend (see also contemporary chart peer “Please Forgive Me” by Bryan Adams). The album sold well enough going to No 10 in the charts but subsequent releases failed to reverse the sales drift.

As for “Wish” itself, I’m no Soul II Soul expert but it seemed to me to promise a lot but deliver little or as a rather posh sounding woman I heard on Radio 4 recently delightfully put it whilst describing Liz Truss, it was ‘all fart and no shit’.

Mariah Carey and Whitney Houston on the same show?! One year on from the sales phenomenon that was her cover of “I Will Always Love You” comes the final single released by her from The Bodyguard soundtrack. “Queen Of The Night” was the fifth track taken from it recorded by Whitney (though seventh including other artists) and it stood alone from the other four in its sound. With three of those four being big ballads and the other a cover of Chaka Khan’s “I’m Every Woman”, there was space for something different and “Queen Of The Night” was. Or was it? A few critics at the time cited its similarities to En Vogue’s “Free Your Mind” and Janet Jackson’s “Black Cat” with its hard rock guitars and Whitney’s growly vocals though personally I think it just about stands up on its own legs.

The video is pretty much the performance of the song in the actual film – the scene where Whitney’s character has to be rescued by Kevin Costner when the security arrangements at her gig are shown to be lacking and a riot breaks out. The Bodyguard film generally gets slated as being substandard with Costner especially being highlighted for a wooden performance but I always quite liked it and thought Whitney gives a decent and convincing turn but then if she couldn’t play a pop star diva then what character could she play?

“Queen Of The Night” peaked at No 14. We wouldn’t see Whitney in the charts again for two years when she would return with songs from another soundtrack for a film in which she starred, Waiting To Exhale.

The final Breaker comes from Culture Beat who are straight into the Top 10 with “Got To Get It”. I’ve shared this anecdote before but I’m going to use it again – well, if Culture Beat can recycle their No 1 single “Mr Vain” and just blatantly release it as the official follow up as if it’s a brand new song then I’m certainly allowed to use a story twice! I was in the last days of working at the Our Price in Stockport when this single came out. On the day of release, a young girl came up to the counter and asked for the single by Culture Beat. As “Mr Vain” had still been selling and had only just dropped out of the Top 40 the other week, I thought I’d better check which one she meant and so asked her “Got To Get It?”. Her reply? “I just really like it”. Lovely stuff.

It’s time for the second of those two Scottish electronic bands now as The Shamen are in the studio with “The SOS EP (Comin’ On)”. This was the sixth single released from their “Boss Drum” album that had been out for nearly fourteen months by this point. Those singles attained the following chart peaks:

6 – 1 – 4 – 5 – 18 – 14

Not too shabby you’d have to say. This was peak era Shamen. They were never as big again with only four more Top 40 hits throughout the entire decade none of which got higher than No 15. I have to say I don’t remember “Comin’ On” (they must have attended that Aerosmith songwriting class) but it sounds better than I was expecting. Sort of starts out a bit like The Prodigy and then spins into an infectious dance anthem but with a pop song structure. By the way, what had happened to Colin Angus’s hair. Were those long tresses real or extensions?

A conversation between Soul II Soul’s Jazzie B and Wet Wet Wet’s Marti Pellow* sometime in early Autumn 1993:

*with massive apologies to anyone reading this who is Scottish

JB: Marty my man! How’s it hanging?

MP: Jazzie! Och, aye, no bad ye ken. How urr ye?

JB: You know me man. A happy face, a thumpin’ bass, for a lovin’ race!

MP: Aye.

JB: Marti man. You look down. What gives fella?

MP: We hae nae got a record oot for Yule. Oor label ur nipping us tae sort it oot.

JB: No worries man. Put a Best Of album out.

MP: Crakin’ yin! Och hing oan, whit aboot a single tae promote it?

JB: Just knock a new track out one afternoon. That’s what we did. Any old shite will do.

MP: Aye Jimmy!

It could have happened like that! Anyway, the Wets Best Of was called “End Of Part One: Their Greatest Hits” and was a big seller over Christmas ‘93 originally peaking at No 4. The following year, the band did a Bryan Adams and were at No 1 for fifteen weeks with “Love Is All Around”. To cash in, their label Mercury added it to the album and rereleased it at which point it returned to the charts straight to No 1. As for that new track, “Shed A Tear” was duly shoved out to promote it. I have zero recall of it but it sounds like it possibly was recorded in an afternoon with band’s collective thumbs up their bums and minds in neutral. It peaked at No 22.

Watching the performance here, the front three Wets (including Marti) all have ponytails whilst the keyboard player looks like he’s trying to grow his hair to catch up but his naturally curly locks are hampering his endeavour. Drummer Tommy Cunningham looked the same as he ever did and continues to do so to this day. Maybe it’s a drummer thing – Blur’s Dave Rowntree has similarly always maintained the same look.

Meatloaf still bestrides the charts like a colossus with the epic rock ballad “I’d Do Anything For Love (But I Won’t Do That)”. As with my Culture Beat anecdote, I’ve told this story before but the big guy’s at No 1 for weeks yet so I’m having to resort to recycling. My mate Robin has a friend who is a musician who has toured with the likes of Westlife. His own band was booked to play at the wedding of one John Hartson, the ex-professional footballer and now pundit. His best man was one of my footballing heroes, ex-Chelsea striker Kerry Dixon. Apparently the drinks flowed and everybody over indulged…including the groom. So pissed was Hartson that when Robin’s friend’s band finished their set, Hartson asked them to play one more song, especially for his new wife. The song Hartson chose to dedicate to her was Meatloaf’s “Two Out Of Three Ain’t Bad” the lyrics of which include:

I want you, I need you, there ain’t no way I’m ever gonna love you

Now don’t be sad, ‘cause two out of three ain’t bad

Source: LyricFind
Songwriters: Jim Steinman
Two Out of Three Ain’t Bad lyrics © Carlin America Inc, Warner Chappell Music, Inc

Oh…my…God.

Order of appearanceArtistTitleDid I buy it?
1The Time FrequencyReal Love ’93Never happening
2Mariah CareyHeroNah
3AerosmithCryin’Nope
4Pauline HenryFeel Like Making LoveI did not
5Faith No More / Boo-Yaa T.R.I.B.E.Another Body MurderedNo
6Juliet RobertsFree LoveNegative
7Soul II SoulWishDefinitely not
8Whitney HoustonQueen Of The Night
It’s a no
9Culture BeatGot To Get ItI didn’t unlike that young girl I served
10The ShamenThe SOS EP (Comin’ On)Like it, didn’t buy it
11Wert Wet WetShed A TearNo. not a patch on their earlier work
12MeatloafI’d Do Anything For Love (But I Won’t Do That)And 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/m001dzyf/top-of-the-pops-04111993

TOTP 29 JUL 1993

Posted on by 80stastic

It’s late July 1993 and the BBC’s musical output has gone stale. The seismic changes of the TOTP ‘year zero’ revamp happened twenty-two months ago and many are no longer with us most obviously the majority of the slew of new presenters that were introduced. In fact, the only two remaining are Mark Franklin and Tony Dortie who have been presenting solo on alternate weeks since October 1992. The show’s audience has plateaued at a level of 6.5 million which was less than it was attracting pre the revamp.

Meanwhile, over at Radio 1, whilst it seems like the ‘Smashie And Nicey’ image propagated by the likes of Simon Bates, Dave Lee Travis and Gary Davies will carry on forever, change is a-comin’. The era of Matthew Bannister as controller of Radio 1 is nearly upon us and he will action a root and branch transformation that will strip away the old, rotting wood. The culture of change would prove to be contagious. Within months, TOTP would also change head producer and the incoming Ric Blaxill would reverse most of the ‘year zero’ changes. For now though, it was the calm before the storm. Let’s see who was afloat before the sea of change appeared over the horizon…

We start with an act that was having some success under the current regime but who would flourish under the new. “Unforgiven” was D:Ream’s third of four consecutive Top 40 hits in 1993 though none would get any higher than No 19. Solid but not spectacular. Come early 1994 though they would go off like a rocket with the re-release of “Things Can Only Get Better” soaring to No 1.

Like most people I’m guessing, I don’t remember “Unforgiven” but on listening back to it, I was pleasantly surprised. It’s OK. A bit more grit to it than their most famous tune, the most impressive part of it is the bridge into the chorus which Peter Cunnah almost growls – quite the feat in a dance record. Linda Perry from 4 Non Blondes seems to have started a trend for tall hat wearing given the millinery of one of the backing singers. Where will it all end? Well, I’ll tell you where it won’t end – with me making the almost obligatory reference to Professor Brian Cox on keyboards…oh shit.

“Unforgiven” peaked at No 29.

“Show Me Love” by Robin S was not just one of the biggest dance tunes of 1993 but of the whole decade and beyond. How do you follow a hit line that? Easy! Just release virtually the same song again but change its title. “Luv 4 Luv” is “Show Me Love”, not just sonically but linguistically with the same three syllable title and chorus but with a slight change of spelling. Money for old rope? This was, to reference the film maker Stanley Kubrick, money for pieces of string too short to be useful*. Even Tony Dortie can’t resist a jibe by stating tongue-in-cheek that it’s “nothing like her first single”.

*Kubrick was a massive hoarder and when his family were sorting through his estate after his death, they found a box labelled ‘pieces of string too short to be useful’. His archives now reside at the London College of Communication .

Amazingly, enough people bought the single to send it to No 11 in the UK charts. I don’t get this. Presumably if a punter liked it enough to buy “Luv 4 Luv” then said punter must have felt the same about “Show Me Love” and also bought that so essentially you have the same record twice. Surely there can’t have been people who only bought “Luv 4 Luv”?! “I wasn’t bothered about “Show Me Love” but this new one by Robin S is great and I must have it”…said no-one ever.

When Freddie Mercury died in November 1991, Queen’s most iconic song “Bohemian Rhapsody” was rereleased and almost inevitably became that year’s Xmas No 1. Four months later, The Freddie Mercury Tribute Concert for AIDS Awareness took place at Wembley Stadium with the remaining members of Queen all involved. Such was Freddie’s popularity though, there was still a clamour for his recordings and so the band’s label raided his back catalogue as a solo artist. For a name as big as Freddie’s, there wasn’t actually that much solo work to raid. He only recorded two studio albums (and one of those was the “Barcelona” collaboration with Montserrat Caballé) plus the standalone single “The Great Pretender”, a couple of tracks for the Dave Clark musical Time and “Love Kills” from Giorgio Moroder’s restoration of Fritz Lang’s Metropolis. That didn’t stop Parlophone coming up with the unimaginatively titled “The Freddie Mercury Album” compilation in 1992 which included elements of all those recording projects. That album had already seen the release of “In My Defence” from Time and a rerelease for the aforementioned “The Great Pretender” which had both charted.

What came next though, nearly two years after Freddie’s death, was a surprise. A posthumous No1 record with a single that had stumbled to a peak of No 50 when originally released eight years prior? How did that happen? Well, it was all down to a team of remixers called The No More Brothers who took the track “Living On My Own” which had been on Freddie’s 1985 solo debut album “Mr Bad Guy” and that 1992 compilation and turned it into a dance hit. A chart topper all over Europe including the UK, it was a sales sensation. Me though, I didn’t get it. I hadn’t been aware of the 1985 original but this 1993 version didn’t make me want to seek it out. It just sounded so bland and I hated the lines ‘Dee do de de, Dee do de de, I don’t have no time for no monkey business”. What?! Written down, the first part looks like a script for a Harry Enfield’s The Scousers sketch whilst the monkey business bit was just hackneyed. How was this a No 1 record? The video is the same one used for the 1985 release and uses footage of Freddie’s 39th birthday party in Munich where he recorded the “Mr Bad Guy” album.

The general perception amongst the fanbase of Manic Street Preachers is that their second album “Gold Against The Soul” is also their worst. There is also an agreed opinion that the one stand out track on it is “La Tristesse Durera” which was released as its second single. I disagree on both counts. I love this album and though “La Tristesse Durera” is a fabulous track, it’s not my favourite from it. That honour switches between “Roses In The Hospital” and “Life Becoming A Landslide” on a regular basis.

Actually, I need to correct myself here and give the song its full title which is “La Tristesse Durera (Scream To A Sigh)”. No brackets, no points. I make this clarification not just for the sake of accuracy nor to be a pedant but to highlight a peculiar oddity about the track that has a tie in with another song I love that has brackets in the title. For some reason, when released in the US, the the song’s title was changed to “Scream To Sigh (La Tristesse Durera)”. Why? I have no idea but nearly a decade earlier, The Icicle Works’ single “Birds Fly (Whisper To A Scream)” had its title changed to “Whisper To A Scream (Birds Fly)” for the US market. What was it about US record labels and brackets and the word ‘scream’?

As for the performance here, would there have been outrage at Nicky Wire wearing a dress? There shouldn’t have been. It’s not as if we hadn’t seen it before. There was Bowie on the cover of his “The Man Who Sold The World” album and that bloke from Mud who wore one on the actual show.

“La Tristesse Durera (Whisper To A Scream)” peaked at No 22.

“Live from the Dominion Theatre in London’s West End…” Don’t get too excited it’s just Craig McLachlan in a revival of Grease the Musical and I have to say that, based on this short clip of “You’re The One That I Want” he doesn’t seem too convincing as Danny Zuko. Maybe it’s his curly hair, or his average singing voice or maybe it’s just that he’s not John Travolta which is not his fault of course. Debbie Gibson on the other hand belts it out and wears that iconic leather outfit well.

As Tony Dortie says, the cast included Shane Richie who played the role of Kenickie but as for him being “very funny” – if he performed anything like he did when on 3–2–1 in 1987…Perhaps he should have changed his name to Shame Richie…

Five Breakers again this week (bastards!) starting with Juliet Roberts and “Caught In The Middle”. I had no idea at the time but this wasn’t Juliet’s first Top 40 record – she was the vocalist on “It’s Over” by Funk Masters way back in 1983. She then joined smooth jazzers Working Week whose single “I Thought I’d Never See You Again” I quite liked though nobody else seemed to much when it peaked at No 80. Fast forward eight years and Juliet finally had a hit in her own right.

There’s a couple of parallels between Juliet and Shara Nelson who was on the show the other week. Both were having success under their own names after supplying the vocals for other artists (Shara sang on Massive Attack’s “Unfinished Sympathy”) and both were on the Cooltempo label. Also like Shara, Juliet’s solo career seemed to peter out rather. “Caught In The Middle” made No 24 though a David Morales remix the following year peaked ten places higher. A couple more Top 20 singles followed before the decade was out but that didn’t translate into album sales with her debut long player “Natural Thing” only making No 65. She continues to be in demand as a backing singer though.

The first of two huge stars now who are experiencing a drop off in singles sales as their latest offerings fail to tempt UK record buyers. After her last single “That’s The Way Love Goes” went to No 2 over here, Janet Jackson might have expected the follow up to perform similarly. It didn’t. “If” was the second single from her “Janet” album which I thought was meant to be a more smooth, sensual sounding soul record but this single could have been on the more strident previous album “Rhythm Nation 1814” with its hard beats and rock guitar riff. Yes, the lyrics aligned with the album’s sexual theme touching on fantasy and voyeurism but sonically it was nothing like the previous single.

The video plays on the voyeurism subject with scenes involving touch screen monitors and web cams, seemingly jumping on the bandwagon of Sliver, the erotic thriller starring Sharon Stone that was popular at the time. Maybe the racy video worked against the single’s commercial potential – was it too racy for anything other than a short Breaker spot on TOTP? Whatever the reason, “If” only made it to No 14 in the UK.

Oh crap! It’s “River Of Dreams” by Billy Joel. Now I like Billy and some of his back catalogue (especially the earlier stuff) is great. Even his last album prior to this (“Storm Front”) had some good singles on it. This track though rivalled “Uptown Girl” for sheer, undiluted awfulness. The title track off his only studio album of the 90s and the last to be comprised of pop songs*, it was and remains shockingly bad.

*His 2001 set “Fantasies & Delusions” contained only classical compositions.

Not everyone agreed with my assessment though. It was a huge global hit and was nominated for the Grammy Award for Record of the Year for 1994 losing out to, by coincidence, the next artist to feature on the Breakers. Why couldn’t I stand it? It was just so twee and I hated that harmonised intro that goes “In the middle of the…I go walking in the…”. I think ultimately though it reminds me of a time when I wasn’t that happy at work but that’s for a post in the near future.

Long after I’d finished working in record shops and stopped listening to Radio 1, I found myself at the radio home for the newly middle aged and listening to Terry Wogan’s breakfast show and he used to play this constantly. It nearly broke me.

“River Of Dreams” peaked at No 3.

Now to that second artist (alongside Janet Jackson) suffering an unexpected downturn in sales of their latest single and also the winner of that 1994 Grammy for Record of the Year. “Run To You” was the fourth single released by Whitney Houston from The Bodyguard soundtrack and was basically a retread of the third single “I Have Nothing” in that they were both towering ballads executed with precision by Whitney over a shiny production. So similar were they that Natalie Cole performed a medley of them at the 1993 Academy Awards (I’m guessing Whitney was indisposed).

Presumably due to the fact that the so many people already had the song due to buying the soundtrack album, “Run To You” failed to work itself into a sprint up the charts peaking at No 15 in the UK and No 31 in the US.

The video looks a bit crap by today’s high CGI standards with Whitney running against a backdrop of clouds although maybe it was a homage to the film of the aforementioned Grease when Danny and Sandy’s car takes off into the sky and they fly off into the clouds?

Neither “Run To You” nor Janet Jackson’s “If” were shown in full on TOTP which you maybe wouldn’t have expected for two such huge names.

Another huge name who had already had her video shown in full on the show is the final Breaker this week. Madonna is up to No 7 with “Rain” from her “Erotica” album. The tickets Tony Dortie refers to are for the two concert dates in September that Madonna played at Wembley Stadium as part of her The Girlie Show world tour.

“Rain” ended the first act of the show and was interspersed with “Just My Imagination (Running Away With Me)” by The Temptations and “Singin’ In The Rain”. Want to hear it? Here you go but having sat through the whole thing myself, I must warn you that you won’t get these 9 minutes and 48 seconds of your life back…

Back in the studio we find Dannii Minogue performing her rendition of Melba Moore’s “This Is It”. You know I said earlier about Juliet Roberts being an in demand backing singer after her solo career ended? Well, she must have been moonlighting back in 1993 as she provided backing vocals on Dannii’s previous single to “This Is It” which was called “Love’s On Every Corner”.

Twenty years after she had a hit with “This Is It”, the track supplied the title for a Best Of Dannii album which included a duet with sister Kylie of the ABBA standard “The Winner Takes It All” – I wonder which of the two of them that was then?

“This Is It” peaked at No 10.

There’s only one Bee Gees song I remember from 1993 and it ain’t this one. “For Whom The Bell Tolls” was a surprise Top 5 hit over Xmas that year that just seemed to keep on selling even when you thought it must have run out of steam. “Paying The Price Of Love” though? Nah, I’ve got nothing. Their previous hit to this had been the shameless rewrite of “Chain Reaction” that was “Secret Love” in 1991. Did this one sound like any of their other songs? A slight hint of “You Win Again” maybe? Maybe not.

Barry Gibbs’ falsetto here is quite remarkable. That’s not a compliment though – a better descriptor would be ridiculous. I know it works somehow on most of their back catalogue especially their disco era peak but taken in isolation it’s quite mad. If he turned up on a talent show like The Voice for example and did that, would the judges turn around or would they look at each other and break out into a fit of uncontrollable giggling? What if they did turn around and then saw his mane of hair?! I can only really think of Barry Gibb and Queen’s Brian May that have always maintained the same hairstyle throughout their careers. Honourable mentions should also go to Rod Stewart and Paul Weller for sustaining comedy haircuts but they have tweaked them down the years.

“Paying The Price Of Love” peaked at No 23.

You can’t really argue with Tony Dortie’s assessment that Take That were “simply the biggest pop band in the UK” at this time as “Pray” notches up a third week at No 1. The boys are back in the studio this week and what I’m noticing from this performance is the clear division of hairstyles between them (and yes, I know I seem to be obsessed with pop star barnets yet again this week). Mark, Howard and Robbie all have that classic mid 90s long at the the sides curtains style while Jason and Gary have a more classic crew cut. I think I know which has aged the better.

Order of appearanceArtistTitleDid I buy it?
1D:ReamUnforgivenNope
2Robin SLuv 4 LuvNever
3Freddie MercuryLiving On My OwnI did not
4Manic Street PreachersLa Tristesse Durera (Scream To A Sigh)Not the single but I had the album
5Craig McLachlan and Debbie GibsonYou’re The One That I WantNo
6Juliet RobertsCaught In the MiddleNegative
7Janet Jackson IfNah
8Billy JoelRiver Of DreamsHell no!
9Whitney HoustonRun To YouNo thanks
10MadonnaRainIt’s a no
11Dannii MinogueThis Is ItNo it isn’t
12Bee GeesPaying The Price Of LoveI didn’t pay the price
13Take ThatPrayAnd 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/m001c948/top-of-the-pops-29071993