TOTP 05 APR 1990
In the world of TOTP Rewind, it’s 1990 and the month of March is now behind us as we enter into April and unlike in the case of poor Julius Caesar, nobody had murder committed against them on the Ides of March…unless you count Jive Bunny committing musical murder of the charts by scoring yet another massive hit single in that month.
After weeks of such shite, this particular show starts off almost unbelievably with two of the biggest songs of the year and possibly the decade. Having seen the ‘Madchester’ movement emerge at the end of 1989, its annus mirabilis is now in full swing. After Inspiral Carpets the other week, here comes another of the baggy triumvirate with their biggest and most widely known hit – it can only be Happy Mondays and “Step On”. So much has already been written about and indeed so much is already known about this track that I don’t know where to begin really.
OK, so the basics. We now all know that “Step On” is a cover version (sort of) – the original version of the song was called “He’s Gonna Step On You Again” by South African singer and songwriter John Kongos and was retitled “Step On” by the Mondays who turned it into a baggy dance anthem. Did I know this at the time? No, of course not. What I also didn’t know until now is that the band only recorded it to keep their US label Elektra happy. They wanted their roster of artists to contribute a cover version for a compilation album called “Rubáiyát” to commemorate the 40th anniversary of the label*. The idea of the album was to have present-day Elektra artists cover songs from the label’s historical catalogue of recordings. Factory boss Tony Wilson had to convince the Mondays to do it as their initial reaction to the idea was ‘nah – fuck that!’ (probably) and so they bashed out “Step On”.
However, once they’d finished recording it, they liked the results so much they decided to keep “Step On’ for a UK single release and gave Elektra their version of another John Kongos song “Tokoloshe Man”. And the results of their efforts on “Step On” were remarkable. From the rush of that initial Italo House keyboard flourish to that relentless irresistible groove allied with Shaun Ryder’s idiosyncratic delivery of the lyrics, it was mesmerising. Ah yes, those lyrics. The Mondays version actually sticks pretty closely to the originals with two obvious exceptions / insertions. The phrase “You’re twistin’ my melon man, you know you talk so hip man, you’re twistin’ my melon man” was lifted by Shaun from a documentary called Steve McQueen: Man On The Edge that he had seen. Here’s @TOTPFacts with the inspiring clip:
I had no idea about any of this until I caught the documentary when it was screened on TV years later and had a light bulb moment. I distinctly remember thinking “Hang on, did he just say ‘Your’e twisting my melon man’…but…but…that’s the lyric from ‘Step On’…Ohhhhhh”.
Then of course there is the now legendary “Call The Cops” line that Shaun added to the song’s opening. I’m not sure of the origin of this line but if we were in any doubt as to the longevity of it and indeed ‘Twistin’ My Melon’ in 2020, then check this out….
Nothing says 2020 more than face mask. Back in 1990 though and this song seemed to be everywhere. I even recall it infiltrating into the world of Coronation Street when Steve and Andy MacDonald set up an illegal pirate radio station and play it as the first song on their show.
“Step On” peaked at No 5 and would be the forerunner of their iconic “Pills ‘n’ Thrills And Bellyaches” album.
* Ever wondered what else was on that Elektra 40th anniversary album? How about The Cure doing “Hello I Love You” by The Doors? No? OK, Tracy Chapman covering “House Of The Rising Sun” by The Animals? Still no? Right, here’s one you can’t resist surely? “Hotel California” by The Eagles as performed by The Gipsy Kings…come on!
After taking a sabbatical in 1988, Madonna retuned the following year to conquer the pop charts all over again with her mega successful “Like A Prayer” album. In 1990, she diversified with one foot in the pop world and the other in the movies. After the relative success of her role in Desperately Seeking Susan came the howling flops that were Shanghai Surprise and Who’s That Girl but that didn’t stop Madge securing the role of Breathless Mahoney in the Dick Tracy project starring Warren Beattie in the title role. I recall there was a similar buzz for this flick as there had been for Tim Burton’s Batman the year before and so dutifully trotted off to the cinema to see it when it hit these shores in July. I cannot recall one thing about it and have never seen it since. Indeed, has it ever being shown on terrestrial TV? I guess it must have been at some point? Anyway, Madonna and Beattie famously got it on off camera as well and were a Hollywood super couple for a while.
Meanwhile, Madonna was also plate spinning with her musical career and managed to, rather tenuously and in a ham-fisted manner I would suggest, merge Dick Tracy together with her latest album. “I’m Breathless: Music From And Inspired By The Film Dick Tracy” – see even the title of it reeks of shoe horning the two worlds into each other – included three songs written by Stephen Sondheim and sung by Madonna which were used in the film with the rest being made up of Madge originals that were ‘inspired by’ but not included in the film. Just to add to the confusion there were two other soundtrack albums released in conjunction with the film – one which included diverse artists from K.D.Lang and Erasure to Brenda Lee and Jerry Lee Lewis (but not Madonna) performing songs in the style of the music of the 1930s, the era in which the film is set. There was also Danny Elfman’s orchestral score.
The first single to be released from “I’m Breathless” was “Vogue” which had nothing whatsoever to do with the film. Nowt. Nada. Nothing. That said, it was also a brilliant pop/dance crossover track that had the added (and crucial) gimmick of the ‘vogue’ dance craze. With the promotion of Madonna behind it, suddenly the whole world was ‘vogue’ crazy it seemed. How had we all managed before we knew to throw our hands around our faces before framing them in a snapshot pose? Supposedly Madonna had first come across the craze at The Sound Factory nightclub in New York where it was popular amongst its gay clientele. A quick phone call to her producer Shep Pettibone later and plans were afoot for “Vogue” to be unleashed on the world.
The song would become the world’s best-selling single of 1990, selling over six million copies and will be at No 1 in the UK soon enough.
From all conquering pop to quirky, indie goofiness as we catch up with They Might Be Giants and their surprise hit single “Birdhouse In Your Soul”. The amount of online discussion about the meaning of this song is staggering. Reams of comments and posts from would be interpreters of the band’s intentions in writing it, spewing forth theories about Greek mythology (the Jason and the Argonauts reference), religious metaphors (it’s all about God really) and teenage geeks trying to establish their own identities. The band have refuted these theories saying it’s just a song about a night light – nothing else. My theory is that if so many people have been intrigued about the song and continue to be 30 years on then they must have been doing something right. Oh, and that it’s a great tune.
And guess what? By curious happenstance, They Might Be Giants were also on the aforementioned Elektra label and therefore also appeared on the “Rubáiyát” 40th anniversary compilation album. This track by US protest singer Phil Ochs is the cover they submitted for it…
By my reckoning this is the third TOTP appearance for “Mama Gave Birth To The Soul Children” by Queen Latifah and De La Soul – not bad going for a single that peaked at No 14. And it’s third time lucky for Queen Latifah’s name not being fluffed by the TOTP presenter. After both Gary Davies and Nicky Campbell proved themselves not up to the job, it fell to Anthea Turner to prove that, whatever else you said about her, at least she could pronounce a three syllable name correctly. Well done Anthea!
As with Madonna earlier, Queen Latifah has successfully juggled a career in both music and film for three decades now and at one point was so famous that she even had her own chat show. I found this almost unbelievable clip from it….
Dolly may be the queen of country, have her own theme park, inspired countless children to read with her literacy programme and now, it transpires, has donated huge amounts of money to help fund the research that produced the Moderna’s vaccine to combat the COVID-19 pandemic. However, there is one thing she cannot do and that is rap.
Eurovision Song Contest time again next and the 1990 UK entry came from Emma with a little ditty called “Give A Little Love Back To The World”. After consecutive second place finishes in the previous two contests, hopes must have been high that the UK could go one step further (ooh nice Bardo reference!) this time around and the responsibility for this fell onto the shoulders of Emma Booth who, at an Adrian Mole style 15 and a two thirds, was the youngest ever singer to have represented the UK in the contest. Emma was from Wales and sang a song written by one Paul Curtis. Well, Mr Curtis, hang your head in shame because it is an abomination. Look at these hackneyed, junior school lyrics with an environmental theme…
We’ve come so far on this great planet
We should be proud of all the great things we’ve achieved
But in our search for life’s great knowledge
We go on takin’ out and never plant new seeds
We’ve got to stop, think of tomorrow
One day our children may have nothing left to share
Let’s do it now, then in the future
They will look back at us with pride and know we cared
Holy ozone layer! Poor Emma didn’t stand a chance having to sing such limp words. Almost set up to fail. And fail she did trailing in 6th. Too harsh? OK, she did the best with what she had and managed a creditable 6th place finish. Quite why the UK entry organisers felt she needed a single name performer identity Madonna style though, I’m not sure.
I remember this year’s contest as my girlfriend was visiting me at my parents home and being skint we stayed in on the Saturday night and watched it with my Mum and sister. As the votes came in and it became obvious Emma wasn’t going to win, they became increasingly more patriotic (dare I say jingoistic even?) and it all made for a very uncomfortable night’s viewing.
As for Emma, at least she had the satisfaction that her single was the first UK Eurovision entry to make the Top 40 (peaking at No 33) since Belle and the Devotions with “Love Games” back in 1984. “Love Games” was also written by Paul Curtis who tried his luck again the following year when he wrote “A Message To Your Heart” for our entry, a pre-Eastenders Samantha Janus. It came in 10th. Welsh female singers continued to fly the UK Eurovision flag a couple of times more with Jessica Garlick (ex-Pop Idol) in 2002 and the gravelly voiced Bonnie Tyler in 2013.
UB40 are back in the charts and its with another cover version (of course it is). “Kingston Town” was originally by Trinidad and Tobago reggae star Lord Creator but the Brummie lads recorded their own version for their “Labour Of Love II” album. Despite the album going three times platinum in the UK, the singles released from it didn’t perform that well with the exception of lead single “Homely Girl” and this one, both of which went Top 10. The other four singles taken from the album did hardly anything at all.
“Kingston Town” did very little for me I’m afraid. It all sounded a bit twee to my reggae-layperson ears. My abiding memory of this song though is that of my future mother-in-law who remarked upon hearing it played on local radio, when I was visiting my girlfriend (now wife) in Hull, whether the man on the radio was singing about Hull. That would be Kingston-Upon-Hull to give the city its full title.
“Kingston Town” peaked at No 4.
Next, a solid gold Pointless answer if you find yourself on the quiz show and are asked to name any Jason Donovan Top 40 single. “Hang On to Your Love” anyone? No, me neither. This was the second single from his “Between The Lines” album and although it was another sizeable Top 10 hit peaking at No 8, it was clear that Jason’s sheen of invincibility was starting to wane. How so? The evidence m’lud:
His previous five singles had peaked at the following chart positions:
1 – 1 – 1 – 2 – 2
No 8 just wasn’t cutting it. Worse was to follow when his next four single releases peaked at:
18 – 9 – 22 – 17
There was one final hurrah when his version of “Any Dream Will Do” from Joseph and the Amazing Technicolor Dreamcoat in which he was starring hit No 1 but it was pretty much gave over after that. So badly had his popularity dipped that his third album release was a Greatest Hits compilation. His third album! What happened to our Jase then? It may have been self inflicted. Apparently he felt that he was too over exposed and that his face was everywhere and that he wanted to dip out of the limelight for a while. Bit like that other SAW poster boy Rick Astley then? Yeah, maybe except that in a Smash Hits interview around the time of “Hang On to Your Love” he was asked:
“Do you fear failure? You were on 37 TV programmes over Christmas…”
His answer was:
“It’s called promoting your record!”
Hmm, can’t have it both ways Jase.
“Hang On to Your Love” was diabolically awful by the way, just so you know where I stand.
Snap! are still No 1 with “The Power”. The genesis of the track involved a New Jersey hip hop artist called Chill Rob G and a fair amount of skullduggery. In 1989, Mr G (or Chill if you prefer) released a track called “Let the Words Flow” an a cappella version of which was illegally sampled by Snap!’s producers for inclusion on “The Power”. Snap’s rapper Turbo B added a few lines of his own including “I will attack” and in an epic show of shithousery the “copywritten lyrics so they can’t be stolen” line. Not to be outdone, Chill Rob G released his own version of “The Power” in America but it got completely outperformed by Snap!’s version due to the much bigger promotional resources of their record company Arista compared to Mr G’s small label Wild Pitch.
Supposedly Chill Rob G never got paid for the use of his source material in Snap!’s huge worldwide hit although some online commentators suggest he got a handsome out of court settlement. Whatever the truth of the matter, here’s Chill Rob G’s version which I think I actually prefer…
The play out video is “Black Velvet” by Alannah Myles. This slinky country rock song would go to No 1 in the US where it has racked up over four million radio plays and No 2 in the UK. It sold over a million copies in Myles’ home country of Canada and her LP was the fastest ever selling debut album in Canadian history. Given all of that, you would think that Alannah was set up for life. You’d be wrong as, echoing Chill Rob G’s experience above, she got shafted by her record company who got her to sign a crappy contract which meant that she had to pay $7 million in expenditures for her first three albums and she didn’t get her first ever royalty check for “Black Velvet” until 2008!
For posterity’s sake, I include the chart run down below:
| Order of appearance | Artist | Song | Did I Buy it? |
| 1 | Happy Mondays | Step On | Not the single but I have the album Pills ‘n’ Thrills and Bellyaches it comes from |
| 2 | Madonna | Vogue | Not the single but it’s on my Immaculate Collection CD |
| 3 | They Might Be Giants | Birdhouse In Your Soul | Not the single but it’s on a Q – The Album compilation LP that I bought |
| 4 | Queen Latifah and De La Soul | Mama Gave Birth To The Soul Children | No |
| 5 | Emma | Give A Little Love Back To The World | Of course not |
| 6 | UB40 | Kingston Town | Nah |
| 7 | Jason Donovan | Hang On To Your Love | I’d rather hang on to my dignity – big no |
| 8 | Snap! | The Power | Not for me thanks |
| 9 | Alannah Myles | Black Velvet | Nope |
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/m000pjdq/top-of-the-pops-05041990
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?
https://michaelmouse1967.wixsite.com/smashhits-remembered/1990-issues
TOTP Rewind - the 90s 