Frances Ruffelle

TOTP 14 APR 1994

Posted on by 80stastic

Well, it’s finally happened and it’s only taken just over six years. Yes, this post is my 500th if you combine both my 80s and 90s TOTP blogs. 500! I stopped looking at the word count after I passed the 1 million mark some time ago but it’s big. I started writing when the TOTP repeats got to 1983 which was the year my interest in pop music went into overdrive and the BBC’s flagship music show became unmissable viewing for me. After reviewing that year I really thought I might leave it at that as it was taking up a lot of my time but I persevered and somehow made it to the end of the decade. At that point I had another decision to make. Should I bother with the 90s repeats or leave it there? In the end I carried on mainly based upon the premise that as I’d spent most of that decade working in record shops, I’d surely be familiar with many of the tracks featured on the shows and they might trigger some memories for me. That theory hasn’t always worked out I have to say. Anyway, I seem to be stuck with this what…? Labour of love? Yeah, I guess so. I do love to write but sometimes the relentless schedule of the BBC4 repeats means I get behind and if I get too far behind, I fear I might give up. So I write and I write. Usually between five and six thousand words a week. The number of people reading my posts have grown to a amount I could never have imagined and I thank everyone of you who has ever taken the time to read any of my ramblings. Back in the early days I was getting as few as 17 views a month. I’m now averaging 1,500. From tiny acorns and all that.

Anyway, the TOTP gods have, by happy coincidence, got a rock star guest presenter in for the show that marks my milestone post. Meatloaf was enjoying a massive career rejuvenation following his mega hit album “Bat Out Of Hell II: Back Into Hell” and its single “I’d Do Anything For Love (But I Won’t Do That)” so it made sense I guess for him to be asked to host the show. Plus, of course, he dominated the screen with his dramatic persona and physicality and knew how to deliver a line. His first job is to introduce opening act Terrorvision with their single “Oblivion”. Was this their debut TOTP appearance? I think it may have been. They were on as a Breaker for their previous hit “My House” earlier in the year I think. “Oblivion” was the lead single from their album “How To Make Friends And Influence People” which was a Top 20 hit and helped raise the band’s status from also rans to (perhaps unlikely) bona fide chart stars. They were always a curious beast though. What sort of band were they exactly? How would you describe the music they made? Yes, clearly they fall under the umbrella of rock music but that’s a broad church. Take “Oblivion” for example. It’s got an almost doo-wop chorus in it! It didn’t stop them winning the Kerrang! Award for Best Newcomer in 1994 though and you can’t get more rock than Kerrang! Then there’s the way they’re set up on stage with the drummer up front and vocalist Tony Wright on a raised platform at the rear. Sure Genesis had the same arrangement but it was hardly the classic band set up. Despite being at the back here, Wright would very much be the public face of the band even making appearances on the panel show Never Mind The Buzzcocks. With a twinkle in his eye and a cheeky grin, he was sort of like the rock version of Take That’s Mark Owen.

“How To Make Friends And Influence People” would generate five hit singles for the band, all peaking in the charts between Nos 25 and 21. I’m guessing we’ll be seeing more of Terrorvision in these TOTP repeats.

Next a record whose run on the charts feels comparable to the length of time I’ve been writing about these TOTP repeats for. Reel 2 Real (featuring The Mad Stuntman of course) spent a total of 17 weeks inside the UK Top 40 with “I Like To Move It”. Of those, 11 were inside The Top 10! Its presence in the charts started in Feb and carried on until June! Even in 1994, such longevity was becoming a rare event. By the end of the decade it was almost unheard of. You have to admire such durability even if you didn’t like the song (and I certainly didn’t). However, lots of people did and such was its popularity and accessibility that it was licensed for use in multiple adverts. Look at some of those brands that have made use of it:

  • Chewits – “I like to chew it, chew it”
  • McDonalds
  • Durex – “I like to do it, do it”
  • Toyota
  • United States Postal Service

Then there’s its presence in the cinematic world most obviously in the Madagascar franchise and of course it has also featured in many a dance themed video game plus it was adopted as a dance emote* in Fortnite in 2022.

* Clearly I only know about this because of my game playing son

Despite the song’s extensive run on the chart, I think this was Reel 2 Real’s first time in the TOTP studio. It’s a bit of a mess, all backing dancer arses and a ludicrous cane being wielded by I presume The Mad Stuntman. Apparently his stage name was inspired by the TV series The Fall Guy, the theme tune of which was a song called “The Unknown Stuntman” sung by its star Lee Majors. Wanna hear it again? Sure you do!

It’s time for another look at that groundbreaking video by Pet Shop Boys next. We saw a bit of the promo for “Liberation” last week when Neil and Chris performed in the TOTP studio with the video running in the background. It takes centre stage this time though and watching it through 2023 eyes it is rather underwhelming. I’m sure 29 years ago though it was quite the event but now it’s like the director was showing off with a new bit of software. That’s not his nor the available technology’s fault of course but inevitably we’ve grown accustomed to ever more mind blowing visuals both on the big screen and in the comfort of our own homes.

The director in question is Howard Greenhalgh who was responsible for loads of pop videos back in the 90s working with Spice Girls, Placebo, Ash, OMD, Elton John etc on multiple occasions. He especially seemed to love working with Pet Shop Boys having directed a dozen or so of their videos over the years. He would also end up directing the promos for the first two singles from Meatloaf’s 1995 album “Welcome To The Neighbourhood”. I wonder if our host tonight clocked the “Liberation” video and liked the idea of working with its director in the future?

It’s just over two weeks to the Eurovision Song Contest 1994 so there’s room in the TOTP schedule for another viewing of the UK’s entry “Lonely Symphony (We Will Be Free)” from Frances Ruffelle. She’s toned down the patriotism this time after she wore Union Jack underwear for her debut performance on the show. Maybe there’d been a lot of stern letters of complaint written to Anne Robinson at Points Of View? They’d probably be letters of congratulations in these current post-Brexit, flag shagging days.

Frances would come a lowly tenth in the contest (though that would have been seen as very respectable in recent years until our 2022 resurrection via Sam Ryder). The winners for a record third consecutive year were Ireland with an entry called “Rock ‘n’ Roll Kids” by Paul Harrington and Charlie McGettigan. However, they quickly became the lost Eurovision winners as the memory that stayed with the watching millions was the interval act. Ladies and gentlemen…Riverdance!

Yes, 1994 was the first time the world witnessed what would become a stage phenomenon that has been performed in 450 venues across the world to 25 million people and made a superstar of principal dancer Michael Flatley. It also, of course, got widely parodied by the likes of Michael Myers and Stavros Flatley but I think this one is my personal favourite:

One of those tracks that I have zero recall of now. “Let The Music (Lift You Up)” by Loveland vs Darlene Lewis anyone? Or is it Loveland featuring Rachel MacFarlane as the single’s cover proclaims? Certainly Meatloaf gives Rachel a name check in his intro. I was never a fan of all these acts that included a ‘vs’ in their title. All very confusing. There seemed to be a glut of them around the Millennium.

Anyway, as far as I can tell, Rachel released records as part of The Family Foundation, Loveland, as a solo artist and most famously LMC who took their Whitney Houston sampling hit “Take Me To The Clouds Above” to No 1 in 2004. As for Darlene Lewis, she was an American soul singer who performed the original version of “Let The Music (Lift You Up)”. Loveland (who were affiliated to the achingly trendy Manchester record shop/ label Eastern Bloc) released their own version of the track without copyright clearance and so, to avoid expensive litigation, both parties agreed to release a version together. Oh, so that’s where the ‘vs’ thing comes from! You live and learn. Despite all that back story though, the track does nothing for me now that I’ve listened to it. Oh well.

It’s not quite the aforementioned Riverdance but there’s quite a crowd up there on stage with the next artist and there is definitely some fiddle playing at one point. The ‘Garth Brooks into the UK’ marketing campaign was in full swing in 1994. After securing a first Top 20 hit earlier in the year with “The Red Strokes”, here he was actually in the country for a TOTP appearance promoting follow up single “Standing Outside The Fire”.

As with Terrorvision earlier, Brooks’s music was quite hard to pin down. Sure he was a country artist but he was no Din Williams. So what was he? Country rock? Country pop? New country? This song has an almost calypso style breakdown in the middle eight for chrissakes! Whatever he was, it was working slowly but surely in the UK. With “Standing Outside The Fire” securing a chart peak of No 28, this was two consecutive Top 40 hits for him. However, this would be the extent of his penetration of the UK Top 40 and he would never again return. His albums continued to sell throughout the 90s but they all suffered from a case of diminishing returns after the pinnacle of the gold selling “In Pieces”. The misjudged Chris Gaines alter ego project was the final nail in his commercial coffin over here. Still, he looked like he was enjoying himself up there on stage in his hideous half blue, half red shirt back in 1994. Maybe he should have stuck with that Chris Gaines moody rock star look after all.

It’s time for the live by satellite performance now and it comes this week from Toni Braxton who also did the direct to camera message at the top of the show this time around. In a continuing theme, there’s yet another gold disc presentation to an artist, this time for Toni’s eponymous debut album. We then get a performance of her new single “Another Sad Love Song”. I say new but it’s actually a rerelease of her first single which got no further than No 51 in 1993 in the UK but which has been shoved out again following the success of “Breathe Again”. It’s all very accomplished and sultry but it doesn’t have the ebb and flow appeal of its predecessor and only made No 15 second time around.

Yet again there seems little point to this satellite performance from LA given it’s just a stage in an empty theatre. Yes, there’s a bit that’s made up to look like a backstage dressing room but so what? I wondered if all the lights in the auditorium were an audience holding up lighters initially but I think they’re just strategically placed lights. The disembodied arms of a drummer in silhouette is mildly distracting (or do I mean disturbing?) but the whole thing is as dull as Toni’s song. Her choice of title for the track was unfortunate given that it left it open to ridicule if you interpreted ‘sad’ as meaning pathetically inadequate rather than unhappy or feeling sorrow. I know my rather indiscreet manager at the Our Price store I was working at favoured the former definition as he told me gleefully “this is truly sad” whilst serving a customer with the single. Oh dear.

Ooh! There’s some new Top 10 countdown graphics! There seem to be in the style of those old fashioned movie countdown images which makes sense but seems a little unimaginative. Anyway, the No 1 this week is “Everything Changes” by Take That which means we get to see the actual Mark Owen as opposed to the rock version supplied by Terrorvision’s Tony Wright at the top of the show. Is it me or does Robbie Williams have a look of Jim Carrey in this performance? Maybe, it’s just the camera angle or his pencil thin sideburns?

“Everything Changes” was the band’s fourth No 1 single on the bounce though that run would be ended by “Love Ain’t Here Anymore” which peaked at No 3. It restarted with “Sure” which beckoned in another succession of six chart toppers which stretched into their second era as a band with 2006’s “Patience” and 2007’s “Shine”.

There’s no play out music this week as inevitably our host gets to perform his latest single. Now, according to your musical reasoning, this is either one of the greatest power ballads of all time and Meatloaf clearly endorses that view with his intro in which he states that Jim Steinman believes it to be the best song he ever wrote; or…it’s an overblown, over long, ridiculously titled Bruce Springsteen wannabe song that should never be spoken of nor listened to again. Or maybe somewhere in the middle. For me, it’s certainly not one of Meatloaf’s best and it does go on rather clocking in at 10:16 on the album and 5:55 in the single edit. And, of course, there is that title. As of 2007, “Objects In The Rear View Mirror May Appear Closer Than They Are” is the chart hit with the longest un-bracketed song title at 52 characters.

This sprawling epic supposedly outlines a middle aged man reminiscing about his lost youth via a three pronged narrative using the metaphors of the seasons of Spring, Summer and Winter. Not sure what happened to Autumn. Surely ‘the Autumn of My Life’ is an established phrase? It’s certainly a song by Bobby Goldsboro. Meatloaf would return in 1995 with the similarly ludicrously entitled song “I’d Lie For You (And That’s The Truth)”.

And that’s it! Post No 500 done and dusted. For the record Post No 1 from January 1983 included some panpipe music from Incantation, some utter drivel from Keith Harris and Orville, the theme tune from ET and Phil Collins. Maybe 1994 wasn’t so bad.

Order of appearanceArtistTitleDid I buy it?
1TerrorvisionOblivionNo
2Reel 2 Real featuring The Mad StuntmanI Like To Move ItI didn’t
3Pet Shop BoysLiberationNo but I think I have it on their Pop Art Best Of
4Frances RuffelleLonely Symphony (We Will Be Free)Nah
5Loveland vs Darlene LewisLet The Music (Lift You Up)Nope
6Garth BrooksStanding Outside The FireNegative
7Toni BraxtonAnother Sad Love SongAnother no
8Take That Everything ChangesNever happening
9MeatloafObjects In The Rear View Mirror May Appear Closer Than They AreAnd 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/m001jn46/top-of-the-pops-14041994

TOTP 31 MAR 1994

Posted on by 80stastic

It’s the end of March 1994 and new TOTP producer Ric Blaxill is implementing his ideas for the show slowly but surely. Unlike the ‘year zero revamp ‘ of 1991 which seemed to want to change everything all at once, this was more of an organic approach. Yes, he’d brought back some of the Radio 1 DJs overnight and ditched Tony Dortie and Mark Franklin without flinching but some things remained the same. The logo, theme tune and titles were unchanged and so was the day of broadcast. All of these elements would be replaced or shifted in time but for now it was essentially the same show. However, Blaxill did take the decision to ditch the Breakers section meaning there were less Top 40 singles showcased but there seemed to be more emphasis on getting artists into the actual TOTP studio in person. Of the 10 acts on this show, seven were in studio performances. He’d also started putting a personal, direct to camera message from the ‘exclusive’ artist at the top of the show beforethe titles had even got underway. Last week it was Salt ‘N’ Pepa and this time around it was the Bee Gees. Little alterations but alterations nonetheless.

We start though with Haddaway and his fourth consecutive UK hit single “Rock My Heart”. I think I’ve said this before but it seems like a real anomaly to me that this guy was in the charts in 1994 despite the fact that we’d only first become aware of him less than a year before. He was definitive 1993 in my head. After, switching to a ballad for his previous hit “I Miss You”, he was squarely back with the Eurodance formula for this one and it’s all very repetitive stuff. Not even his overly energetic backing dancers can liven this up. Haddaway was just about done after this No 9 hit. He did manage two further minor UK hits but his second album released in 1995 – “The Drive” – stalled completely and tanked over here though he did retain some of his European fanbase.

I should mention that tonight’s host is Bruno Brookes and that his hair by this point was taking on a life of its own. He’d always had a bit of a mullet back in his 80s heyday but the dawn of a new decade hadn’t persuaded him to go for an into the 90s haircut. No, Bruno went the other way and doubled down on long hair to the point that it seemed to be trying to form an enclosure around his face. Never mind Haddaway being an anomaly, Brookes was an uber – outlier.

Anyway, back to the music and sometimes it’s easy to think you know a song but you really don’t. What am I talking about? Well, you can identify a song when it comes on the radio easily enough because you’ve heard it enough times to be buried in your memory banks but do we know how it came about, its origins, the motivations behind its composition, what are the lyrics actually about? Here’s an example…”Say Something” by James. Now, I might hear it and think “yes, that’s James. Unmistakably them from around the mid 90s I would imagine when they were having lots of hits”, tick myself as being correct and refile the song in my brain until the next time I hear it. Yet the hours and process that might have gone into bringing that song to the public maybe deserve more than that brief acknowledgment.

Why am I picking on James for this narrative? Well, after touring their fourth album “Seven” extensively it was time to return to the recording studio to begin work on their fifth “Laid”. Desperate to work with the legendary Brian Eno, their wish was granted and he duly agreed to act as producer. The band had historically always had song-storming sessions whilst jamming in their Manchester rehearsal rooms out of which the seeds of new tracks would be germinated. Eno observed this and thought that this organic (there’s that word again!) practice was just as valid for recording as the finished product and got the band to agree to letting him record said sessions as a second album, a companion piece to “Laid”. Originally meant to be released simultaneously or as a double album, reticence from their label meant it didn’t see the light of day until August 1994 when “Wah Wah” was released nearly a year after “Laid”. At 23 tracks and 68 minutes long, it divided opinion. To the casual fan who liked their big, anthemic hit singles, it wasn’t what was required but for the strong devoted it was a great insight into how the band worked and their motivations. Now, “Say Something” was actually track five on the “Laid” album but it was paired with a track called “Jam J” for release as a double A-side single which was track 3 on “Wah Wah”. There is a song on “Wah Wah” called “Say Say Something” but it bears no resemblance to its “Laid” counterpart. To further hammer home this point about song composition and not usually getting to know the full gestation period of a track, “Wah Wah” includes an early take of “Sometimes” which would become the second single released from 1997 album “Whiplash”.

As for the performance here, Tim Booth delivers a great vocal but it is combined with a strangely static stance with him only loosening up in the middle eight with some snake-hipped shimmying. The single would peak at No 24 and we won’t see/hear from them again for nearly three years when they would release “She’s A Star” as the first single from that “Whiplash” album.

A video now as we get to see the promo for “I’ll Remember” by Madonna again. Like The Beatles and The Clash before her, Madge didn’t really go in for personal appearances on the show. Off the top of my head there’s two from 1984 – her debut performing “Holiday” in the January, all armpits and bangles and then there’s the infamous pink wig appearance in December for “Like A Virgin”. A bit of digging in the internet tells me that over a decade later she was in the studio in November of 1995 to perform “You’ll See” from her ballads collection “Something To Remember” and 1998 saw her on the show twice for run throughs of “Frozen” and “The Power Of Goodbye”. I think that’s it for the 80s and 90s. Not many really when you consider her global reach and the amount of hits she had during that time. The new millennium brought a handful more of appearances before the show was axed in 2006.

Who said Eurodance acts all sound the same?! Well, I’m pretty sure I have at some point in this blog but just as Haddaway shook things up with a ballad for his third single, so Culture Beat lowered the bpm and mood for their fourth hit “World In Your Hands”. This was actually very different to all their previous stuff with an almost trip-hop backbeat and some very sombre raps courtesy of Jay Supreme. The whole track feels pretty dark watching it back. It’s almost Massive Attack-esque. Well, not quite but maybe ‘Medium Sized Rebuke’. Did we really need the very literal stage dressing of a massive spinning globe though? “World In Your Hands” peaked at No 20.

New producer or not, TOTP wasn’t going to turn its back on Eurovision and so here was the UK’s 1994 entrant – Frances Ruffelle with a song called “Lonely Symphony (We Will Be Free)”. Although the song was chosen two weeks earlier by a public telephone vote on A Song For Europe, Frances was already nailed on as the artist to sing it as she was pre-chosen for the gig. She actually performed all eight contending songs over four preview shows during a one week period in March. Although a new name to me, Frances actually came from a very showbiz background. Her Mum is Sylvia Young, founder of the legendary Sylvia Young Theatre School in London and Frances had already made a name for herself in her own right starring in West End productions Starlight Express and Les Misérables. She has furthered that showbiz legacy by being the mother of pop star Eliza Doolittle.

I have to say I don’t remember this song at all (can’t have bothered watching Eurovision that year) but it sounds like Culture Beat weren’t the only people who had been listening to Massive Attack. France’s song had a whiff of the trip hop collective – even the song title bears a resemblance to their most famous song! “Lonely Symphony” is nowhere near as memorable as “Unfinished Sympathy” though and that proved to be its undoing on Eurovision night as Frances trailed in a distant 10th place. It faired better on the UK singles chart where it peaked at a respectable No 25.

Twitter users watching this BBC4 repeat got themselves into a bit of a lather when they realised that Frances was wearing Union Jack underwear beneath her rather sheer dress. I wonder if a then 21 year old, pre-Spice Girls Geri Halliwell was watching back in 1994 and thinking “Hang on a minute. That’s interesting…”

Unlike the Breakers section , Ric Blaxill hadn’t jettisoned the ‘exclusive live by satellite’ slot and continued to keep perhaps misplaced faith with it in the same way that Todd Boehly still believes that Graham Potter is the best person to be my beloved Chelsea’s manager (for now). There’s no denying the size of the name who’s occupying that slot this week but yet again it seems to me to be a wholly uneventful…well…event.

As the onscreen caption states, Bruce Springsteen was enjoying his biggest ever hit with “Streets Of Philadelphia” which was up to No 2 by this point. Not only was the size of the hit impressive but also its longevity. It spent 7 weeks inside the Top 10 alone including a run of 4 where it placed no lower than No 3. Somehow though, The Boss couldn’t manage to topple some Dutch chancers who’d revived the Charleston from the top of the charts. The performance here might be interesting to Bruce aficionados (I know a few) but it’s a tad on the dull side isn’t it? OK, given the sombre mood of the track and the gravitas of the film it came from, you couldn’t expect Bruce to be jumping around stage as if he was singing “Dancing On The Dark” or something but it seems to disrupt the tempo of the show. The fact that it’s in black and white (mostly) doesn’t help. Maybe I’m missing the point. I probably am.

See, now Blaxill’s gone completely the other way mood wise. Talk about polar extremes! Some might say this was going from the sublime to the ridiculous. Get ready for S*M*A*S*H! Now, I spent the 90s working in record shops and so felt reasonably across what was happening in UK music but I have to admit that the ‘New wave of new wave’ was a scene that I don’t recall but it turns out that it was an actual thing and it wasn’t just some clever/nonsense line that Bruno Brookes came up with. Apparently some sort of Britpop forerunner, it was characterised by new bands who wore their original New Wave artists’ influences on their sleeves. All sounds a bit myopic to me. S*M*A*S*H were just one of the bands in the scene though the ones that I’m familiar with are surely more closely associated with Britpop – Sleeper, Echobelly, Shed Seven, Elastica…

So, S*M*A*S*H then. I’m assuming the name was a play on the title of Korean War based comedy drama M*A*S*H? They came from Welwyn Garden City, they made loud records with provocative, ban-inducing titles (“Lady Love Your C**t” anyone?) and somehow managed to get onto TOTP without having released a single (the first act ever to do so). Here’s @TOTPFacts on how they ended up on the show:

Simples! OK, maybe not that simple. Their story does have a few more details. The song they performed here – “Shame” – was the lead track from an EP that chart regulations excluded from being eligible for the singles chart but which did qualify for the album chart where it reached No 26. They did finally get a proper hit single later in the year when “(I Want To) Kill Somebody” made No 26 but it’s controversial subject matter got it banned. Listening back to “Shame”, I have to say I don’t mind it. A bit derivative but then if you’re part of a scene whose name harks back to to another well established movement what do you expect? They seem like a prototype of the noisier moments of The Libertines. Just like their frontman Pete Doherty, I’m guessing S*M*A*S*H’s singer Ed Borrie had some issues with drug abuse given his wide-eyed, staring performance here. Surely he’d taken something beforehand? Sadly, I think I’m right. Here’s @TOTPFacts again:

Happily, Ed is on better form now and is still doing live gigs having supported the likes of My Life Story in 2019. One last thing, how did they get away with singing “You’re girlfriend’s a bitch” on pre-watershed, prime time TV?

We move from Ric Blaxill shaking things up with a cutting edge new band to yet another extreme of giving a part of the pop establishment a pat in the back. Bruno Brookes stands in front of a huge disc that he’s presenting to the Bee Gees to mark 30 years in the business and 100 million sales worldwide. This bit of staging was another small change – hadn’t Simon Mayo stood with a load of 2 Unlimited gold discs the other week as a prop to introduce them? The massive disc only serves to make Bruno look even smaller than he actually is and seems to have made him stumble over his words in his segue. “With me three members of the Bee Gees…” he begins. Aren’t you missing a ‘the’ there Bruno? How many more members of the Bee Gees did you think there were? In truth, it’s all just a big set up to promote their latest single “How To Fall In Love Part 1” and what a curious thing it is. It never seems to get going properly and is so lightweight that it’s hardly there at all. Nowhere near as accessible as previous Top 5 hit “For Whom The Bell Tolls”, it was also nowhere near as successful peaking at No 30. Another curious thing about this was why does Barry Gibb sing the whole song with his right hand in his pocket?

It’s the final week at the top for Doop with “Doop”. Can we just try to forget that this ever happened and never talk of it again? Great.

The play out music is “How Gee” by Black Machine. Yeah, I haven’t a clue either but it sounds very familiar presumably because it’s made up of a load of samples from other songs? Seems that was the case. Here’s @TOTPFacts again:

Apparently they were an Italian electronic group that had a few hits in the 90s mainly in Austria and The Netherlands with “How Gee” being the biggest in the UK where it got to No 17. They’re the first act on the next show as well so heaven knows what I’ll find to write about them then!

Order of appearanceArtistTitleDid I buy it?
1HaddawayRock My HeartNever happening
2JamesSay SomethingNot the single but I have their Best Of album with it on
3MadonnaI’ll RememberNope
4Culture BeatWorld In Your HandsNo
5Frances RuffelleLonely Symphony (We Will Be Free)Not even patriotic duty made me buy this
6Bruce SpringsteenStreets Of PhiladelphiaNah
7S*M*A*S*HShameI did not
8Bee GeesHow To Fall In Love Part 1As if
9DoopDoopSee 1 above
10Black MachineHow GeeAnd 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/m001jf1w/top-of-the-pops-31031994