I’m getting married in two days time! Well, back in 1990 I was – I’ve been married for 30 years now but yes, on Saturday 20th October of that momentous year, my wife and I tied the knot at the tender age of 22. Consequently, I’m not entirely sure that I would have had the time to watch this particular episode of TOTP on the Thursday, less than 48 hours before the big day. Wedding preparations and all that. However, I was still sufficiently engaged with the charts back then to know most of the songs featured here although a couple do escape me. Let’s see what I missed out on….

Goodier had over done it in the Green room pre show and it finally caught up with him

First of all, it should be noted that, for some reason, tonight’s host, Mark Goodier, has decided to come dressed looking like a redshirt from Star Trek – you know, those disposable characters that wore red tunics to signify they were security personnel that would almost always end up dying within the first few minutes, usually after transporting down the the surface of an alien planet and probably before the opening titles had played. Let’s hope Goodier doesn’t make any howlers that leads to him dying on stage as it were. 

Tonight’s first act are A-ha, not seen in the charts for nearly two years and by the point that they made it back, it seemed that maybe their time had passed. Their cover of the Everly Brothers’ “Crying In The Rain” was the lead single from their fourth album “East Of The Sun, West Of The Moon” but unlike their previous three albums which had all peaked at No 2, this one topped out at No 12. Not a disaster but definitely going in the wrong direction. “Crying In The Rain” was the only cover version on the album with the rest being either Pål Waaktaar or Magne Furuholmen originals or collaborations between the two. Did the fact that they had chosen to announce the album with a cover version indicate a lack of faith in their own songs or am I reading too much into that?

I think they actually make a fine job of “Crying In The Rain”, imbuing it with some Nordic atmospherics and a fjord full of drama. Morten Harket was born to sing this sort of stuff. However, as with the album, the public’s reaction was lukewarm and it failed to make the Top 10. Again, not a catastrophe  – only the title track of the four singles lifted from previous album “Stay On These Roads” had made the Top 10 – but it was a far cry from the days of their ’85 to ’87 peak when pretty much every single release went Top 10. 

I spent a lot of those A-ha glory years paying close attention to what Morten was doing with his hair with many an unsuccessful attempt to recreate his look befalling my bonce. Here though he looks like he’s got what we would call today ‘lockdown’ hair, all overgrown and loosely styled. Had I caught the show at the time, I’m not sure I would have been convinced. 

A-ha would not have another Top 40 hit for three years. 

A marmite song next or at least it seems to be for many people, you either love it or hate it. I fall into the former category but I know people (my mate Robin for one) who think it is beyond awful. Aztec Camera had enjoyed a remarkable and unexpected upturn in commercial fortunes at the back end of the 80s with their sleek, well polished soul-pop album “Love” which brought them (I mean Roddy Frame really of course) their biggest ever hit single in “Somewhere In My Heart” which was also their worst in my book but we don’t need to go there.

However, in a move reminiscent of ABC recording the rock-influenced sophomore album “Beauty Stab” when the smart money would have been to come up with “The Lexicon Of Love”  part II (which they ultimately did in 2016), Frame retreated from putting out another overly commercial album as the follow up to “Love” and instead came up with “Stray”. Not that “Stray” was a straight up rock record despite it including their best Rolling Stones impression on “How It Is” ; no, it was more….’organic’? I hate that word but what I mean is that it was lacking in the big production sheen of its predecessor and was a bit more back to basics, the Roddy Frame of those early 80s years. The album is pretty eclectic actually with most musical genres on display including smoky jazz ballads (“Over My Head”), doomy rock (“Get Outta London”) and the sparkling indie-pop of lead single “The Crying Scene” (which I bought but everybody else seemed to ignore).  

However, it’s second single “Good Morning Britain” that everyone thinks of, for better or worse, during this phase of the band’s career. Quite why people seem to hate it so much I’m not sure. In the case of my friend Robin, it seems to be about Roddy choosing to wear bondage trousers in the video (presumably as some sort of acknowledgement of his collaborator Mick Jones’s punk past) that offends so. Mind you, Robin was massively offended by the Steve character (played by Campbell Scott) in the 1992 Seattle based rom-com film Singles because Steve, urban planner by day but DJ by night, kept his record collection in see through PVC sleeves! The horror! Once that scene played out early on in the film, Robin was done and paid little attention to the rest of it. Ironically, I think the record that caused Robin to nearly self combust with rage was “London Calling” by The Clash. 

Back to “Good Morning Britain”, and another person who cannot stand the song is 6 Music DJ Shaun Keaveny who I’m pretty sure made a commitment on air once that he would never allow it to be played on his show. For me though, it fair throbs along and the interplay between Frame and Jones singing alternate lines adds another layer to it. The politicised lyrics calling for better equality and treatment of citizens from all four corners of the United Kingdom seems a rallying call worth making. It’s pretty damn catchy as well of course. 

It would prove to be Roddy’s last ever trip to the Top 40 when it peaked at No 19. 

“The No 1 dance record in the UK at the moment” is up next according to Mark Goodier. Wow! Who could that be?! The KLF? Bass-O-Matic maybe? MC Hammer even? No, it’s Innocence with “Let’s Push It”. Really?! This was the No 1 dance record?! OK, I was never a massive dance fan so I don’t really know what I’m talking about but was this meandering, chill-out, soul/jazz confection really that much of a big deal?! I mean it’s inoffensive enough but that’s the problem, it doesn’t really go anywhere or cause any sort of reaction (well, not in me at least). I didn’t and still don’t really get it. I didn’t mind their next single, the more melodic “A Matter Of Fact” but this one? Nah, not for me. 

Some more soul incoming but this was much more bold and brassy sounding to my ears. Behold the return of Whitney Houston! “I’m Your Baby Tonight” was the name of her new single and album and was apparently a deliberate attempt by her record label Arista to reconnect her with her black fan base. As such, after the all out pop sound of her “Whitney” album, her third studio album had more of an R&B edge. If there had been any fear at Arista about her success continuing after a record-breaking string of seven consecutive No 1 singles on the Billboard Hot 100 prior to this release, then they would have been allayed by the title track making it eight on the trot. The second single of the album (“All the Man That I Need”) would extend the run to nine.

However, although the album sold well, it only did half the business that her first two LPs did. Furthermore, the newly emerged foe who was Mariah Carey meant that laurels could not be rested upon, especially when she beat Whitney to the Grammy for Best Female Pop Vocal Performance for her “Vision Of Love” single which trumped “I’m Your Baby Tonight”. 

Fast forward two years though and Whitney would return with the biggest selling album of her career – “The Bodyguard: Original Soundtrack Album” which would sell a whopping 45 million copies worldwide. For now though, back in October 1990, she was doing OK just about. She was however, just weeks away from a pre-recorded vocals controversy when she sang the national anthem at Super Bowl XXV. Controversy and Whitney would be forever entwined throughout her life it seemed. 

Mondays in the area! Yes, with my own move to Manchester happening just 9 days on from this TOTP, here were one of the kings of ‘Madchester’ back in the Top 40. Happy Mondays were bona fide charts stars now after the huge success of “Step On” earlier in the year. “Kinky Afro” though was the first big hit that they would have that was their own tune (“Step On” had been a cover version). 

A Happy Mondays original it may have been but its sound was certainly shaped by some exterior influences. Apparently, the bass line was inspired by Hot Chocolate’s Brother Louie” whilst the ‘yippie yippie ya ya yeah yeah’ chorus was their take on ‘voulez-vous coucher avec moi’ from the Labelle hit “Lady Marmalade”. And check this out from @TOTPFacts about the song’s title:

That new album that Goodier makes reference to in his intro is of course the band’s iconic long player “Pills ‘n’ Thrills And Bellyaches”. It was released just as I was starting in my position of Xmas temp at Our Price in Manchester and I can still see the seemingly endless amount of copies of the vinyl for it behind the counter and thinking ‘are they really going to see all those?’. I think they did. 

“Kinky Afro” matched its predecessor “Step On” by peaking at No 5. 

Right, who’s this lady? Well, Rita MacNeil was a Canadian country singer who very briefly was one of the genre’s biggest names. Her international hit was “Working Man” which was a tribute to the endeavours of coal miners in Nova Scotia (hence Goodier’s pathetically weak quip “Yep, that song is suitable for minors”). On the back of the success of the single, she embarked on a European tour including one night at the Royal Albert Hall. 

There really wasn’t much here for me I have to say although she is a big favourite of my country music loving Dad and he has even been known to belt out a version of “Working Man” himself. 

Rita MacNeil died in 2013, from complications of surgery.

Some Breakers now and so much was the appetite for songs from film soundtracks in 1990 that even those that had been No 1 just four short years before were able to rise up the charts again. Yes, not content with one song from a Tom Cruise movie already being No 1 in this week’s chart courtesy of “Show Me Heaven” by Maria McKee, it seemed that we needed two as “Take My Breath Away” by Berlin from Top Gun had a second Top 40 life after it had already scaled the summit of the charts back in 1986! Talk about doubling down!

So what the crap was this all about?! Well, apparently Top Gun had its UK TV premiere earlier this month back in 1990 and such was the reaction to this happening that “Take My Breath Away” was re-released. I had just been starting my time as a student when it was first a hit and I was now about to begin another phase of my life as a married man when it reappeared. Had I had time to take this in back then, it would probably have freaked me out. Not only did it tick the film soundtrack box but it also represented the TV advert methodology of scoring a hit by being on the latest Peugeot promo for their 405 model range. You know, that one with the burning, exploding row of trees? Come on, this one…

The reissue of “Take My Breath Away” made it all the way to No 3 which seems faintly ridiculous for a song that had already been No 1 in recent memory. It was backed by “Danger Zone” by Kenny Loggins on the b-side. When I started at Our Price a couple of weeks later, the wall of the men’s toilet in the store I was working in was daubed with graffiti of hilarious poo related musical artists. I can’t recall them all but they included Deacon Poo, The Ruthless Crap Assassins, Iggy Plop and of course, Kenny Loggins. 

Another Tina Turner single? Didn’t she have one out just the other week? Yes she did! “Look Me in the Heart” had only been released in mid August and yet a few weeks later here she was back for more with something called “Be Tender With Me Baby”. Like its predecessor, this was also taken from Tina’s “Foreign Affair” album (this was the fifth single lifted from it to be released in the UK!). I don’t recall this one at all so when I saw the title of it I thought it might be a cover version of that soul classic that always seems to be sung by Ruby Turner on Jools Holland’s Hootenanny  but it turns out that is called “Stay With Me Baby” and is a different song altogether. 

“Be Tender With Me Baby” is more of a rock ballad and not a very good one in my opinion. It peaked at No 28 but incredibly, Tina will be back in the charts the following month with “It Takes Two”, a duet with Rod Stewart. FFS!

After one music icon, here comes another. Like Tina Turner, Paul MccCartney had also spent some of 1990 still flogging his last studio album to death. “Flowers In The Dirt” had arrived in June of 1989 but he was releasing singles from it into the new decade with the fourth and final one being “Put It There”. “Birthday” was nothing to do with that particular project though being, as it was, a Beatles song that had originally been on the “White Album”.

So why was Macca releasing his own version of it some 22 years after it was originally recorded. There’s no great mystery really – it was a live version to promote his “Tripping The Live Fantastic” album which documented The Paul McCartney World Tour which was the first tour under his own name. It seems an odd choice of single given the 37 songs that could have been selected from the album’s track listing. Even the “Tripping The Live Fantastic: Highlights!” single album with just the 17 tracks on it included some legendary stuff like “Hey Jude” and “Let It Be”. Maybe they would have been too much of a crowd sing-a-long? OK, then how about “Get Back” or “Back In The U.S.S.R.” or even “Coming Up”? 

The video for this is also a bit strange. If you want to promote your live album wouldn’t it be a good idea to just have the video showing you… erm…live in concert? Yes there is some of that but what’s with all the staged vignette scenes that pad it out? They are all very obvious themes around having a birthday that add little in my book and actually the scene with the all male party of braying toffs (clearly Tories) and a young woman (potentially a stripper?) bursting out of a birthday cake looks distinctly unpalatable at best through todays eyes.  

Paul McCartney’s live version of “Birthday” peaked at No 29. 

Still with those bleedin’ turtles?! “Spin That Wheel (Turtles Get Real)” was originally released at the start of 1990 and failed to get anywhere near the UK Top 40. Back then, there had been no tie-in with the Teenage Mutant Ninja Turtles film – the (Turtles Get Real) suffix was added for the re-release – and had included references to drug taking in the lyrics. These were all removed and a sanitised version was included on the movie soundtrack.

Hi Tek 3 featuring Ya Kid K were, of course, all part of the Technotronic family tree which was quite the tangled oak with branches everywhere – significantly its roots weren’t solid and it would succumb to powdery mildew disease (I had to look that up for the purposes of the metaphor)….

Technotronic was essentially just one person Jo Bogearet who had the original seed of an idea for the group, owned their record company and produced their records. It all got more complex when it came to promoting their releases. Bogeart was a recluse who spoke to nobody so he was never going to be the public face of Technotronic. That turned out to be a singer with blue lipstick called Felly (who didn’t actually sing on the records at all) – no, the singer was Manuela Djogi aka Ya Kid K who didn’t join the group initially because she didn’t want to sign a contract. Then she did and Felly was ousted  but vowed to get some singing lessons and rejoin the group. She never did. Enter Welshman MC Eric as the rapper on third single “This Beat Is Technotronic”. While that was being a hit, “Spin That Wheel'” was released becoming a hit in the US and Australia but not over here. Then a support slot on the Madonna tour was announced  – however Ya Kid K wanted to sue Technotronic’s record company for unpaid monies. A fourth single “Rocking Over The Beat” was released with next to no promotion from the group presumably because of the Madonna tour commitments though this seems unlikely as Ya Kid K and MC Eric had pulled out of the European tour dates as they didn’t want to promote the Technotronic name anymore. Then Ya Kid K announced she was pregnant – the father was MC Eric, obviously. There followed a counter court case against Ya Kid K and MC Eric brought by Jo Bogearet to stop them using the Technotronic name even though they said they didn’t want to use it anyway and that was the reason for them pulling out of the Madonna tour in the first place. Then…oh bollocks to it….who cares?!

“Spin That Wheel (Turtles Get Real)” peaked at No 15 in the UK.

A final week then at No 1 for Maria McKee with “Show Me Heaven” which also makes it the record that was No 1 when I got married. Or was it? I always got a bit confused about this as when we got back from our honeymoon the following Saturday, The Beautiful South were No 1. I’m trying to recall on what day the new charts were announced back then. Was it still on a Tuesday? Or had it moved to Sunday by then. The officialcharts.com website shows that for the week 14 October to 20 October (our wedding date), the No 1 record was indeed “Show Me Heaven” whilst for the week 21 October to October 27th it was The Beautiful South. So, I think that proves it was Maria Mckee. Either way, I’m just glad it wasn’t the song in the No 2 position which was  “The Anniversary Waltz – Part 1” by Status Quo. 

The play out video is “(We Want) The Same Thing” by Belinda Carlisle but before we get to that, what’s going on with Trekky Gooider? Surrounded by studio audience members for the final cut away shot, he seems disturbed, looks to his left and announces ” What’s going on here? I love it –  it’s so warm” WTF?! That sounds wrong on so many levels.

Anyway, back to Belinda and this was a hit that made no sense at all. Why? Well, also like Tina Turner before her, she was still releasing tracks from an album that was 12 months old but apart from lead single ‘Leave A Light On”, none of them had pulled up any trees chart-wise. See?

• Leave A Light On – No 4
• La Luna – No 38
• Runaway Horse – No 40
• Vision Of You – No 41

Then, “(We Want) The Same Thing”, with its bizarre use of brackets, released as a fifth single from a year old album, goes all the way to No 6! How do you explain that? Well, apparently the single mix was very different from the album version so maybe Carlisle completists would have bought it for that reason? Plus, there was a deluxe 12″ vinyl boxed set with free stickers and a picture disc single on CD (according to Wikipedia) for the real Belinda obsessives but even so. 

I’ve just listened to that album version and it is indeed very different. Where are the ‘Hey!’ shouts at the beginning for a start? Ah, that must have been its USP and the reason behind its success – you can’t beat some good old ‘Hey!’ yelps can you? 

For posterity’s sake, I include the chart run down below: 

Disclaimer

OK – here’s the thing – the TOTP episodes are only available on iPlayer for a limited amount of time so the link to the programme below only works for about another month so you’ll have to work fast if you want to catch the whole show.

https://www.bbc.co.uk/iplayer/episode/m000t884/top-of-the-pops-18101990

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.

Some bedtime reading?