After the deluge of boy bands in the early 90s and then the gender switch to all girl groups in the mid to later years, suddenly, right in the death throes of the decade, another movement emerged which infiltrated both sexes – boy bands and girl groups who could play their own instruments! We get to see two examples from the first category on this particular TOTP and in many ways it was a blueprint/warning (delete as appropriate) for what was to come in the new millennium with the likes of Busted and McFly but we’ll get to all that later.

Kate Thornton is our host tonight and we start with last week’s No 1 – “Maria” by Blondie. In the first eight charts of 1999, we had eight different No 1s. This was a time when record company first week discounting and the record buying public’s awareness of the practice met dead on causing huge sales for new releases in their first seven days in the shops. The impact of this was displayed in this weekly changing of the guard at the very top of the charts. In my view, it did undermine the integrity of the charts and it also made reordering of new singles in that first week of release very tricky for those of us working in record shops at the time. Punters were wise to the fact that the CD single was only £1.99 for the first seven days and would rise to £3.99 when it entered the chart the following week and so unnatural buying patterns were created. The trick was to never sell out during the discounted period but not have loads of stock left over when its price rose. It wasn’t always that easy to pull off.

Anyway, Blondie had secured a No 1 with “Maria” before falling to No 2 and this meant that they’d had chart toppers in the 70s, 80s, and 90s. Not a unique feat but impressive all the same. Debbie Harry was 53 at this point. Twenty-seven later and she is still performing live and recording with her band in 2026 aged 80! A new album called “High Noon” is scheduled for release later this year.

So to this new movement of boy bands (and girl groups) who played their own instruments…I say ‘new’ but perhaps the first example and OGs of the genre came two years before with the emergence of Hanson. The three brothers were only 11, 14 and 16 years old when they hit with the irresistibly catchy “MMMBop” and yet they actually played on the record (at least that’s what their publicity machine told us anyway). In the wake of that success, it seemed that every pop music record label was on the look out for the next Hanson and in Next Of Kin, Universal thought they’d found the UK version. This lot really were following the Hanson blueprint – three brothers who were aged 13 to 18 who played guitar, bass and drums who had a hit that was half pop song, half ear-worm. Hell, they even had the Hanson floppy hair down to a tee!

Their backstory was that they were spotted by the manager of the Musical Exchanges music shop in Birmingham who put them directly in touch with Universal who signed them immediately and whisked them off on the Smash Hits tour and then as support act for Boyzone. It can’t have been that easy can it? Their debut single was “24 Hours From You” and it was ridiculously similar to “MMMBop”. The vocals in it were almost exactly the same. Its peak of No 13 was a reasonable start to their pop career but when follow up “More Love” peaked 20 places lower, the game was up before it had even started.

An attempt at gatecrashing the pop world again was made in 2013 when they successfully auditioned for the tenth series of the X Factor but they were rejected at the Bootcamp stage. Wikipedia tells me that they are still together but have renamed themselves as Essex County (they’re from Braintree) and changed their sound to alternative country. We’ll see another instrument playing boy band later in the show but not to be outdone, the girls would show their hand later in 1999 with the likes of Hepburn and Thunderbugs seeing chart action.

“Time now for something a tad more dangerous” says Kate Thornton in her intro to the next act. Who could she mean and was she right? Well, I guess compared to Next Of Kin then Unkle featuring Ian Brown could at least be considered as unsafe; after all, Brown had not long been released from Strangeways prison for a two month stretch for that air rage incident.

As for Unkle, all my hip colleagues at Our Price would have been into them and DJ Shadow who was a member of the electronic outfit at one point and gets his own mention in Thornton’s intro here (although as far as I can tell he was not officially credited on the single) and, in fact, anything released on their Mo’Wax label. Guess what though (and this will come as no surprise!)? I don’t like “Be There” at all. Not one little bit. Slow and lumbering, Brown’s deadpan, monotone, low register vocals didn’t help to raise my interest levels either. Maybe if I’d been achingly hip like some of my colleagues I’d have loved it but the truth is I’ve never been even half way hip. The other truth is that I don’t actually remember it. What the Hell was I doing all day in the record shop? Certainly not listening to any music it seems. Surely, given I was living in Manchester at the time, I should have recall of a hit featuring one of the city’s more famous sons? Bah. I might as well have been selling tins of baked beans! Anyway, I’m going to own my pop sensibilities and stand up proudly for them by stating that if I want to listen to a song called “Be There”, then this is what I would choose…

It’s that second example of an instrument playing boy band now as we are introduced to Canadian group The Moffats. This lot were four brothers (why were all these bands siblings?) but making them stand out was the fact that three of them were triplets with two of them identical twins. Unlike Next Of Kin, I do remember this lot mainly because there were two school girls who used to come into the Our Price where I worked in Altrincham who were crazy about them. I remember once I was late for work due to my bus not turning up and as I was in charge that day with the keys to the shop, we opened up late. Not my fault, it happens. However, it happened to be on the Monday The Moffats were releasing a single and these two girls wanted to be the first to get their hands on it. I think they’d cut school to come and buy it and so were waiting outside, giving me down the banks for not opening up on time as per our advertised hours. It was at this point that I developed a string dislike for The Moffats!

Anyway, “Crazy” was their first and biggest of two UK Top 40 hits peaking at No 16 (those sales to those two schoolgirls must have really helped!) and it’s a slightly more robust sound than Next Of Kin (it would have been hard not to be in fairness) but it was hardly offering anything new nor original. Banal lyrics and a ‘woah woah’ chorus and generic title. In fact, they didn’t seem blessed with creativity when it came to song titles. They also released singles called “Miss You Like Crazy”, “Girl Of My Dreams” and “I’ll Be There For You” (at least two of which have been also been the titles of big hits for other artists. Then there’s their image. Just like Next Of Kin, the lead singer and drummer have both copied the Hanson, slacker dude, long hairstyle whilst the two identical twins have rather sensibly gone for a shorter crop. What was it about these guys that those two school girls just couldn’t resist?! Despite Kate Thornton’s claim that we would all be screaming for them soon, The Moffats didn’t amount too much and although they are still together, haven’t released an album in over 25 years. I have no info on whether they liked to eat curds and whey nor whether they were scared of spiders.

Staying with Canadian bands, here’s Barenaked Ladies and their hit “One Week”. Having been in existence for over a decade and having already released three major label studio albums by this point, I’m willing to bet that most of us didn’t actually know much about this lot and their brand of alternative pop or ‘geek rock’ as some of the press labeled their sound. I know I didn’t. Sure, being employed in a record shop I might have come across their name but when it came to actually listening to them…well, as I’ve already established, I clearly wasn’t doing a lot of listening to any music much whilst at work.

Suddenly though, this mad track full of skittering energy and sounding like it had too many words to fit into its structure was everywhere. How had this happened to a band which if not a cult, were definitely on the fringes of the mainstream? Well, the band had promoted “One Week” hard in America by playing a series of radio station concerts which had resulted in massive airplay and, perhaps against all odds, a US Billboard Hot 100 chart topper!* No doubt that achievement would have meant a full on marketing drive on its UK release and sure enough, it debuted at No 5 over here.

*Rather poetically it would spend just one week at the top.

So that’s how it became a massive hit but what about the ‘why?’. OK so, firstly it has a killer chorus that could have been jarring against the overly verbose verses but actually works perfectly as a way of resolving all that wordplay. Ah yes, those words. Why were they full of pop culture references and whatever did it all mean? According to the band’s Ed Robertson, he’d worked out the track’s chorus but hadn’t a clue what to do about the verses until fellow band member Steven Page told him to just “Freestyle it”. And so Robertson did which means, I guess, that it was all made up nonsense with no meaning at all? Sometimes things just work though and it all hung together in a madcap display of improvisation. You do have to acknowledge the blending of the lyrics. My favourite rhyming couplet is this I think:

“Like Harrison Ford I’m getting frantic
Like Sting I’m tantric”

Source: Musixmatch
Songwriters: Ed Robertson
One Week lyrics © Wb Music Corp., Treat Baker Music Inc.

However, there’s loads more to admire. For example, name checking Japanese filmmaker Akira Kurosawa, German orchestra leader and easy listening legend Bert Kaempfert and American teenage singer LeAnn Rimes in the same song takes a special kind of imagination. Sadly, the live vocals in this TOTP performance don’t quite do it justice.

The final reason for its success? Well, the UK charts have always been accommodating of a single that not a novelty but a bit out there. Off the top of my head there’s “Mmm Mmm Mmm Mmm” by Crash Test Dummies, “Camouflage” by Stan Ridgeway, “O Superman” by Laurie Anderson and later on in these 1999 repeats we’ll be hearing Baz Luhrmann’s “Everybody’s Free (To Wear Sunscreen)”. “One Week” could find a place quite comfortably in such a list. Barenaked Ladies would manage one more minor UK chart entry but are still together recording new material with their last album being 2023’s “In Flight”.

An exclusive preview of a massive song next. Literally epic. Or just overly long depending on whether you like it or not I guess. Having emerged bruised from 1995’s Battle of Britpop, Blur regrouped and came back with a platinum selling No 1 album and two of their most iconic singles in “Beetlebum” and “Song 2”. In the meantime, it was their nemesis Oasis who had suffered the brickbats and barbed criticisms of their third album “Be Here Now” and promptly disappeared for the rest of the decade. The field, therefore, was clear for Blur to unleash their sixth studio album without the omnipresence of the Gallaghers and the comparisons that had tripped them up in the past. The lead single was “Tender”, a 7:40 long lament to Damon Albarn’s broken relationship with girlfriend Justine Frischmann of Elastica. With its hopeful refrain of “Come on, come on, come on, get through it” and a gospel choir backing, it gave off heavyweight vibes literally on first hearing. And yet, it also had that lo-fi guitar opening – it was a masterclass in how to slowly build a song. I was convinced it would be the band’s third No 1 single and it would have been but for the commercial wrecking ball that was Britney Spears’ “…Baby One More Time”. Despite having to settle for No 2, its first week sales of 176,000 copies was more than many actual No 1 singles that year. Whatever its numbers said, it was a demonstrably braver and more interesting direction than the one taken by Oasis as the end of the 90s came into view.

Just as we started the show with an act that had just secured an unexpected No 1 single seemingly out of the blue in Blondie and “Maria”, this week’s chart topper was also a surprise – well, it blindsided me anyway. My first engagement with Lenny Kravitz came courtesy of his 1991 album “Mama Said” (I’d been blissfully unaware of his debut collection “Let Love Rule”) during my early days of working for Our Price. I’d really enjoyed that album with tracks like “Fields Of Joy”, “Stand By My Woman” and hit single “It Ain’t Over ‘Til It’s Over” all impressing me. I couldn’t really get into his next album “Are You Gonna Go My Way” mostly because I wasn’t that taken by its hit single title track and after that I completely lost sight of him. Then, in 1999, he was back and how. “Fly Away” was the third single from his fifth studio album “5” and, despite the first two singles taken from it failing to pierce the UK Top 40, it soared straight to the top of the charts in week one of its release. How had this happened? It’s not that big a mystery really – behold the everlasting power of a song being used to soundtrack a TV advert:

Yes, a car advert for the Peugeot 206 was enough to give Lenny his first and only UK No 1. Obviously it wasn’t the first time we’d seen this phenomenon in action but it sure was effective. A last minute addition to the album, Kravitz had originally thought “Fly Away” could maybe have been used as a B-side but its inclusion on that advert changed its destiny. Apart from one minor entry in 2004 with a song from the Bad Boys II soundtrack, “Fly Away” would be Lenny’s final UK chart hit.

We’re still going with this Great British Song Contest malarkey and this week it’s the turn of a duo called Sister Sway and a track called “Until You Saved My Life”. They finished third in the final (out of four) and apparently they were sisters. Here, they give an energetic performance of their very uptempo, high bpm song that was clearly trying to sound a bit like Steps. It’s very repetitive and ground my gears after not too long to the point where I couldn’t wait for it to stop. Never mind saving my life, it nearly killed my ears.

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/m002q94f/top-of-the-pops-19021999