It’s 1991 and that grand old institution that was TOTP is having an identity crisis. Ratings had fallen and the show was struggling to retain its relevance to a Top 40 chart which had become increasingly dominated by dance music the stars of which were the tunes themselves rather than those making them. The programme’s traditional format and the way it delivered flamboyant pop stars into the nation’s living rooms every Thursday night functioned rather less well when its content was anonymous looking DJ types stood behind some keyboards or a mixing desk. Adding to its dilemmas was the competition it faced from other music shows. Having gone head to head with TOTP in the late 80s with its own version of the show in The Roxy, ITV had usurped that traditional format and came up with The Chart Show whose video only / no presenter format on a Saturday morning was increasingly popular. Then of course there was MTV which had been serving the UK via its MTV Europe network since 1987 although its penetration into UK homes was hardly universal. Still, its style and programming was starting to make TOTP look like a TV relic. Rallying against this, the show employed what was then cutting edge technology (presumably) in green screen backdrops for the presenters, changes to the Top 40 countdown (the show’s whole modus operandi since its inception), an ill judged Top 5 albums feature and cramming more and more videos into its 30 minutes of screen time. The 30 minutes time limit was beginning to look very restricting. I’m sure The Chart Show lasted at least an hour and of course MTV broadcast all day long.

As we approach the mid-point of the year, the show has reduced its regular hosts to a shallow pool of names, those being Gary Davies, Bruno Brookes, Jakki Brambles, Mark Goodier, Nicky Campbell and tonight’s presenter Simon Mayo. Anthea Turner had already been relieved of her duties a few weeks prior. Come the end of September, all of these names would be jettisoned in favour of new, younger and mainly unknown faces as part of the ‘Year Zero’ revamp brought in by new executive producer Stanley Appel. For now though, the show is limping along trying to convince us all that everything is fine and that there’s nothing to see here (literally true in the case of some of those pesky dance acts).

So, as stated, it’s Simon Mayo’s turn at the wheel for this particular instalment and he brings his usual smug sense of his own importance to proceedings. I’m finding Mayo especially grating in these repeats although to be fair, all of the aforementioned names had their own intrinsic foibles. If Mayo was smug then we also had Goodier (plain boring), Davies (overly chummy), Brambles (disinterested) and Brookes (just creepy). Mayo begins the show by asking the audience to name any Belgian “singing superstars” – I say ask, it’s more like he’s goading us in a ‘see I can name more than you’ way as he references The Singing Nun and Plastic Bertrand before advising us that we can “add this lot to the pile” as he introduces Cubic 22 with their hit “Night In Motion”. They’re hardly singing though are they Simon? No, because Cubic 22 were one of those dance acts meaning some faceless bods behind keyboards and a couple of dancers. The only voices you hear are some sample vocals shouting ‘Party time’ and ‘Let me hear ya!’. That really doesn’t qualify Cubic 22 as singing stars in my book Mayo. The performance here though is a prime example of the challenges TOTP faced in reflecting the nation’s dance music choices. Watch it without the track playing and the visual element is woeful. Lots of shots of hands playing keyboards and the two dancers doing some very ordinary synchronised moves. At least with a video you might get some clever graphics or distracting images. Why on earth did they have such an act in the studio open the show?!

Next, Mayo comes across like wannabe football fan David Cameron (‘call me Dave, I’m a football fan but is it Aston Villa or West Ham?) with his remarks about “Rush Rush” by Paula Abdul being an ode to Welsh striker Ian Rush. I know he’s a Spurs fan (he goes on about Terry Venables later on in the show) but did he have to try so hard to get his football credentials over?

This was the lead single from Paula’s “Spellbound” album and I’m sure we had an import CD of it in the Market Street, Manchester Our Price I was working in ahead of its UK release. I can’t believe anyone would have coughed up the £18 or whatever it was just to be able to say they had it a couple of weeks before anybody else!

Playing across the bottom of the video is the Top 40 countdown which Mayo didn’t think worthy of a mention in his intro (though of course his pathetic Ian Rush quip was) and they’ve even tweaked that as they have gone back to referencing everything in the Top 40 whereas they had previously omitted anything going down the charts. As I said earlier, identity crisis.

It may be a new decade but that didn’t put any sort of brakes on Erasure‘s imperial phase. Here they are with their first new material since 1989’s “Wild” album and “Chorus” would confirm that their popularity was a strong as ever when it went straight in at No 3 in the charts. Admittedly, it was hardly a major change of musical direction for Andy and Vince but hey, if it ain’t broke and all that. The lead single from their fifth studio album of the same name, would it have sounded out of place on any of three previous albums? I liked it though. It fair whipped along with a hooks a plenty and the most unlikely use of a word in the chorus (‘fishes’) since George Michael managed to get ‘feet’ into “Careless Whisper”. It was also perfect for any Radio 1 daytime playlist.

The album would give the duo their third consecutive No 1 when it was released later in the year. I’m pretty sure that on that day, our deliveries of new releases didn’t turn up until well into the afternoon which meant we missed out on loads of sales as everyone who wanted it on the day of release popped over the road to HMV who had racks of it. By the end of the 90s, retailers had agreed with the record companies that new releases could be delivered on the Friday before the release date to allow shops to get them ready for sale first thing Monday morning on the strict proviso that they could not be sold before then. The rule was pretty much totally observed in my experience although there must have been the odd title that slipped through the net company wide.

Back to Erasure though and what was the deal with the Vince and Andy mannequins in this performance? They weren’t a feature of the official promo video so presumably they were made just for this TOTP appearance. Seems a bit extravagant but then I guess Erasure were (well Andy anyway).

More inane attempts at wit from Mayo next when he introduces “Hey Stoopid” by Alice Cooper and tries a line about getting a thick ear if you go into a record shop and saying ‘Hey Stupid’. Well, I worked in a record shop at the time Simes and never did I have the licence to assault a customer who happened to annoy me.

As for Alice, after his unlikely monster hit “Poison” in 1989, he managed to eke out a few more in the 90s though none were as successful as “Poison”. As with Erasure before him, this lead single was also the same title of his album which featured guest contributions from some of rock’s biggest names including Slash, Ozzy Osbourne, Joe Satriani, Steve Vai and Nikki Sixx. Given the deliberate mis-spelling of ‘stupid’, I’m surprised Noddy Holder wasn’t on that list.

As for the song itself, it was fairly dumb as mud stuff and not likely to oust the likes of “School’s Out”, “Elected” or indeed “Poison” as one of Alice’s most famous songs (and yes I know the first two are actually Alice Cooper the band tracks).

“Hey Stoopid” peaked at No 21 in the UK.

Now most of us may know Omar just for “There’s Nothing Like This” but there was far more to him than just that one song. He has worked with some legendary names like Stevie Wonder and Lamont Dozier and is still making music to this day. His career is actually remarkably similar to that of another British soul singer Roachford. See how their stories resemble each other:

Now I’m no soul aficionado but even I could appreciate that “There’s Nothing Like This” was slick, smooth and perfectly sung. Oh and get this from @TOTPFacts:

The insertion of that bit of trivia will make sense later on.

After weeks of cramming in up to four acts in the Breakers section, this week we only have two. First off is Chesney Hawkes with a song called “I’m A Man Not A Boy”. You could almost hear the music press laughing in Chesney’s face at the title. Its No 27 chart peak sounded the death knell for the poor lad’s pop star career which was over before it had even started. No 27? That was an awful attempt at following up a record that had topped the charts for five weeks. It did however do one thing which was to disprove the theory that Chesney, like the aforementioned Omar and Roachford, was not a one hit wonder.

In truth, “I’m A Man Not A Boy” was nowhere near as good a pop record as its predecessor. It was a weak tune with a risible title. Maybe there was a different track on the Buddy’s Story album that his label Chrysalis Records (them again!) could have released instead that might have done the trick? It was all too late now though. A third and final track off the album was released as a single called “Secrets Of The Heart” which was a fairly terrible ballad. It did nothing to reverse Chezza’s fortunes and it peaked at No 57.

Fast forward to 1993 and a comeback single called “What’s Wrong With This Picture?” was released but its soon became apparent that Chesney was now persona non grata in the world of pop and it couldn’t get any higher than No 63. The parent album disappeared without trace. Hawkes seems to have come to terms with his time as a pop star though and now lives happily in Los Angeles with his American wife Kristina and their three children.

Now if it hadn’t been for the next single, I could have said that Chesney’s song was ‘The One And Only’ Breaker this week but here’s Incognito with “Always There” to stop that happening (damn it!). Now I had never heard of this lot before 1991 but I turns out that they were actually part of the UK Jazz Funk movement of the early 80s with their first album released in 1981. However, it would be another 10 years before their next long player by which time, like Omar earlier in the show, they had been signed to Gilles Peterson’s newly formed acid jazz label Talkin’ Loud. Impressed by their arrangement of “Always There”, it was picked out as a single but there was a problem. The band’s vocalist was sick so the replacement was the legendary R&B singer Jocelyn Brown (of “Somebody Else’s Guy” fame). The impetus that Jocelyn gave the record turned it into a Top 10 smash.

I also hadn’t been aware that “Always There” was actually a cover version with the original having been a minor hit for an act called Side Effect in the mid 70s. Incognito would repeat the cover version trick for their next hit the following year, a version of Stevie Wonder’s “Don’t You Worry ’bout A Thing”.

The increasingly tiresome Mayo indulges himself in some more dreadful attempts at humour as he introduces “It Ain’t Over ’til It’s Over” by Lenny Kravitz by stating that it was inspired by some football commentary by John Motson. OK, Simon well not only was that lame but it didn’t make any sense. I presume you were trying to make a link to the legendary line from the 1966 World Cup final commentary “some people are on the pitch, they think it’s all over…it is now!” but that was, of course, by Kenneth Wolstenholme and not John Motson. This is schoolboy error stuff.

“It Ain’t Over ’til It’s Over” was written by Kravitz as he attempted to save his marriage to actress Lisa Bonet (who found fame playing Denise Huxtable in The Cosby Show). Despite his attempts, the two divorced in 1993 and she would later play the role of singer Marie De Salle in the wonderful High Fidelity with John Cusack and Jack Black. If you merge those two characters together you just about get Denise La Salle who had a hit with the execrable “My Toot Toot” in 1985. You can tell I’m flagging a bit here can’t you?

“It Ain’t Over ’til It’s Over” peaked at No 11.

And the moment has arrived. The moment you all dreaded. It’s the first week of Bryan Adams and “(Everything I Do) I Do It for You” and he hasn’t even got to No 1 yet! It’s strange to think that as this TOTP went out with the song entering the chart at No 8 that we had no idea at that point how ingrained it would become in our psyche not just in 1991 but forever more. Taken from the soundtrack to the Kevin Costner film Robin Hood: Prince of Thieves, it proved to be irresistible to UK audiences famously staying at the top of the charts for a record breaking 16 weeks.

Look, this song is going to be on show after show after show which means I’ll have to write about it a lot so I don’t propose to dump everything I have to say about it on week one. So to start with, here’s some statistics about its chart performance:

• No 1 in the UK for 16 weeks from July 7 to October 27
• Topped the Europe-wide sales chart for 18 continuous weeks, still an all-time record
• Topped the European-wide radio airplay chart for 10 weeks
• No 1 for 7 weeks in the US, Billboard Hot 100, which combines radio airplay and sales,
• No 1 for 8 weeks on the US Adult Contemporary Chart ,the longest run atop that chart since 1979
• No 1 for 9 weeks in Adams’s native Canada
• No 1 for 11 weeks in Australia
• No 1 for 12 weeks in Sweden
• No 1 in 18 countries being try best sell of the year in 7 of them
• Sold 15 million copies worldwide

Phew!

More gibberish from Simon Mayo next as he introduces “I Touch Myself” by Divinyls. “I don’t know if you’ve noticed but there’s an awful lot of touching going on; touching this, touching that, touching cameramen. I don’t know whether I approve actually. Mind you, it hasn’t done the Divinyls any good at all has it? There at No 12 this week…”. What?! No Simes, there isn’t a lot of touching going on, it’s just that there is a song in the charts with the word ‘touch’ in its title and surely you meant to say “it hasn’t done the Divinyls any harm at all has it?” to make any sort of sense of your nonsense.

This week it’s the infamous studio performance where singer Chrissy Amphlett spends a lot of time seemingly fondling her breasts. The sexual tension is added to by her guitarist playing his instrument in an erect, phallus like position. Blimey! Wilkipedia informs me that the B-side to the single was a track called “Follow Through”. Oh God! Don’t bring any toilet humour into the already overcrowded proceedings.

Despite taking “I Touch Myself” to No 10, they were unable to repeat the trick and it became their only UK chart hit. Chrissy Amphlett sadly passed away in 2013 from breast cancer but her legacy was the I Touch Myself project promoting breast cancer awareness and encouraging women to check themselves regularly.

Hallelujah! Color Me Badd have been toppled and we have a new No 1! The bad news is it’s Jason Donovan. Yes, in some sort of twisted version of a Faustian pact, we had traded the obvious material benefit of getting rid of those berks who wanted to sex us up for our pop music souls by placing “Any Dream Will Do” at the top of the pile. Look, it’s not that I hate musicals (I don’t at all) but I can’t really be doing with Joseph and the Amazing Technicolor Dreamcoat and certainly not the insipid and twee “Any Dream Will Do”. I wasn’t the only one. Look at this tweet from an actual Jase fan:

Quite. No wonder Omar turned his offer of touring with him down!

The play out video is “Sheriff Fatman” by Carter The Unstoppable Sex Machine and it’s finally time for my claim to fame story. This single appeared on the duo’s album “101 Damnations”. The album closes with the track “G. I. Blues” which is an anti-war song inspired by John Savage’s character in The Deer Hunter. Now, look at the personnel listed as having contributed to the making of the album in the screenshot below. See that arrow pointing to someone called Rob Sheridan? Rob was Best Man at my wedding!

This has been my go to claim to fame indie story for years. How Rob knew Jim Bob and Fruitbat I really can’t recall but knew them he did and there is his name, recorded in history for all to see. And then…during the first wave of the pandemic last year, when joining in on Tim Burgess’s Twitter Listening Party “101 Damnations”, Jim Bob tweeted this:

What! You mean that isn’t Rob playing on the album after all?! Noooo!

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/m000ypc8/top-of-the-pops-27061991