TOTP 20 SEP 1990
We’re pushing on through 1990 now and find ourselves entering the final third of September. The year has brought us a dramatic World Cup, a Summer heatwave and a seemingly endless conveyor belt of awful, awful records in the Top 40…but all of those things would pale into insignificance for me as I was exactly one month away from getting married! Yes, my girlfriend and I had been reunited over the Summer when I secured some temporary employment in her hometown of Hull and now we had decided that we weren’t going to be separated again. We were only 22 by this point and none of our friends and peers had got married or were even talking about such a happening that I was aware of but we were determined and confident in each other and our relationship.
We had decided we would move to Manchester. We had very little connection to the city other than we both knew one person each who lived there. To this end, I had applied for jobs in record shops there to have some employment set up for our arrival. Why record shops? I loved music and thought that I would be working in a field that engaged me. I also figured that somehow it would be a springboard into some sort of career in the music business, that I would be headhunted to some record company position and end up running a record label or some such other fantasy. In my defence of this folly, I was very young, just starting out in life and I didn’t have a f*****g clue! The first record shop that I heard back from was the Our Price chain and they invited me to interview for a temporary Xmas sales assistant position. So it came to pass that in this very week of September 1990, I travelled over to Manchester and rocked up at the offices above the Manchester Piccadilly store where I was interviewed by a very pleasant guy (whose name I forget), sat a music quiz and was told that I would be a suitable person to work for Our Price. I remember him asking me if I though the money they were paying was enough (£100 a week as I recall) and I said absolutely! I wasn’t going to talk myself out of the opportunity before I’d even begun. Success!
My other brief whilst I was over in Manchester was to try and find some accommodation for us to live in once we’d moved across the Pennines. On this point I was less successful and I returned to Hull with nothing in place on that subject. Still, one out of two wasn’t bad. I had a start date for late October agreed and had familiarised myself with Manchester a little at least whilst I was staying with one of the two people we knew there for a couple of days. I recall travelling back to her flat on the bus on the Saturday afternoon and wondering how my beloved Chelsea had got on that day. This was before the days of mobile phones, live score apps and the rest. I was unsure about outing myself as a Chelsea fan on public transport in the centre of Manchester but fortunately they had been playing Man City that afternoon so I simply asked somebody on the bus who had a pink ‘un (remember them) sports paper the City result*. Bingo! I was already getting used to this living in Manchester lark!
*It was a 1-1 draw by the way.
As a consequence of all this grown up stuff, I had taken my eye off the ball as to the pop charts and am pretty sure I didn’t even watch this particular TOTP. Let’s see what I missed….
….we start with one of those awful, awful records I referred to earlier. Twenty 4 Seven featuring Captain Hollywood were one of those Eurodance outfits that we’d seen so much of in this year like 49ers and Bizz Nizz. The Captain himself was a guy called Tony Dawson-Harrison who earned his nickname when stationed with the US Army in Germany. Hang on! Wasn’t that the same back story as Turbo B from Snap!?
*checks Wikipedia*
Yes, it was! And didn’t Sydney Youngblood of “If Only I Could” fame follow the same route to chart glory?
*checks Wikipedia again*
Yes! What the hell was the deal with American army soldiers based in Germany becoming pop stars in the early 90s?! Anyway, he was joined by vocalist Nancy “Nance” Coolen (not hard to work out where her nickname came from) and a couple of dancers and hey presto! A massive hit called “I Can’t Stand It”. After that single hit big, Captain Hollywood left to pursue a solo career (he had a couple of minor hit singles in the UK in the mid 90s but was a much bigger deal in the rest of Europe) and was replaced by Stacey “Stay-C” Seedorf (they really needed to work on those nicknames a bit more!). From that point on it became a carousel of band members and line up that would put The Fall to shame (well, The Sugababes at least). Apparently they are still a going concern to this day. As for me, I couldn’t stand “I Can’t Stand It” which peaked at No 7 over here.
Wait a minute! What’s going on here? The Stone Roses in the charts with “Fools Gold”? Again? It had already spent 14 weeks in the Top 100 between Nov 1989 and Feb 1990 – why was it re-released so quickly afterwards? Well, after the band’s commercial breakthrough in 1989 with “Made Of Stone”, “She Bangs The Drums” and of course “Fools Gold”, there was a rush to get more of their product out into the marketplace, not all of it with the endorsement of the band. Early single “Sally Cinnamon” on their ex-label Revolver came out again with a video that the band hated. They tried to stop the release and when they couldn’t, it led to the legendary office trashing incident when the band, on route to the recording studio, stopped by the FM Revolver headquarters and trashed the offices by hurling paint all over them and former manager Paul Birch. The inevitable court case followed with the band fined £3,600 each.
After “Elephant Stone” was also released from their iconic debut album came the much heralded single “One Love”. Tipped to be No 1, the band’s mythical aura had slipped after the debacle of the Spike Island concert and it stalled at No 4, unable to dislodge Elton John or indeed get the better of Craig McClachlan! Given its relative failure, was “Fools Gold” re-issued to remind us of their former glories? Its original release had seen it double A-sided with “What The World Is Waiting For” but was it just a standard A -side this time? Or was it just the original release propelled back into the charts by demand? I’m not sure. he waters are muddied further by the fact that it has been re-released at least a further two times since. I’m pretty sure that the debut album was re-released with “Fools Gold” included as an extra track at some point in the early 90s as well.
The 1990 release made it to No 22 in the charts whilst the 1989 original release made it all the way to No 8. I have to say it’s not my favourite Stone Roses tune by some distance, whilst Ian Brown seems to be making quite the fool himself these days without any recourse to gold.
I had to jinx it by mentioning Snap! before didn’t I? Here’s Turbo B and co with their third hit of 1990 “Cult Of Snap”. After “The Power” and “Ooops Up”, this one at least had a differential to it in the form of the African sounding drumbeats and chanting. Indeed, it proved to be popular in that territory as it peaked at No 2 in Zimbabwe. When this TOTP repeat aired, a few social media commentators said that it reminded them of that “In Zaire” song by Johnny Wakelin which I just about remember from my childhood. Let’s see if they had a point then…
…ooh yeah, maybe. Anyway, back to “Cult Of Snap” and I found this one a little less irritating than their previous efforts (maybe it was Johnny Wakelin subconsciously drawing me in from the 70s). It turns out though that Snap! didn’t have the very first release of this track. Here’s @TOTPFacts:
The ever generous Turbo B (who had already been involved in a homophobic instigated nightclub incident by this point) declared of Hi Power’s version in a Smash Hits interview:
“These people, they’re ridiculous. If he was a good rapper, it would be OK but he was a shit rapper, he has no timing. “
What a pleasant man! It’s a bit rich anyway given that “The Power” included the unauthorised sampling of vocals by Jocelyn Brown which led her to commence legal action. The legally complex world of sampling eh?
“Cult Of Snap” peaked at No 8 in the UK.
One of the constants of this blog throughout the 80s and now the 90s has been the persistent existence of hard rock acts within the UK Top 40 whatever the current musical milieu dictated. House music? Not a problem? Overblown ballads from film soundtracks? Out of our way, we’re coming through! Boys bands and teeny bop idols? We give zero f***s! We’re here to play loud rock music and nobody will stop us! The likes of Megadeth, Skid Row and Whitesnake had steadfastly refused to budge from the Top 40, presumably propelled their in the first pace by a sizeable, loyal fan base. Another such act were AC/DC for whom “Thunderstruck” was already their 14th UK Top 40 hit and followed the likes of “Who Made Who” and “Heatseeker” into the Top 20. As I’ve said many time previously, I never got the boat going to AC/DC island and this did nothing for me. I can’t be doing with their song titles for one thing – they all seem to just constant variants on the whole ‘power’ theme.
The song inspired a whole movie called Thunderstruck which was released in 2004 and was a comedy about five guys who go to an AC/DC show in 1991 and agree to bury the first one who dies next to Bon Scott. No really. Look, here’s the trailer….
…yeah. It looks well shit doesn’t it?
Some Breakers next and we start with the return of S’Express. Despite cornering the market as the commercial face of house music when arriving with a bang back in 1988 with the No 1 single “Theme from S-Express”, Mark Moore and co had suffered from a case of diminishing returns ever since with each subsequent single release peaking lower than its immediate predecessor. Their fortunes were not helped by a two year gap between album releases with sophomore long player “Intercourse” not arriving until a whole three years after the bomb that was “Theme from S-Express” had exploded into the charts.
“Nothing To Lose” was actually the second single to be lifted from “Intercourse”, the first had been “Mantra For A State Of Mind” nearly a year before – see what I mean about them not being fussed about maintaining momentum with regular release schedules? Indeed, the four singles that were released from the album covered a period of three years!
I have to say that I didn’t mind “Nothing To Lose” though and my wife liked it so much she bought the 12″. However, their appeal was definitely on the wane. It peaked at No 32 and became their last ever Top 40 hit until a remix of “Theme from S-Express” retitled as “Theme from S’Express – The Return Trip” made the Top 20 in 1996.
Is this the same DNA who were just in the charts with Suzanne Vega with that remix of “Tom’s Diner”? It is apparently. I had no idea they had more than one hit. A quick check of their discography shows that they had five Top 40 entries although this one, “La Serenissima”, seems to be the only one in their own right. Including “Tom’s Diner”, all the other ones were with additional artists with the most successful and famous being Kylie Minogue whom they remixed “Shocked ” for as “Shocked (DNA Remix)” (it did what it said on the tin) in 1991 which peaked at No 6.
Featuring that ubiquitous James Brown “Funky Drummer” sample, “La Serenissima” was actually a cover of a piece by Rondò Veneziano who Wikipedia tells me are ‘an Italian chamber orchestra, specialising in Baroque music, playing original instruments but incorporating a rock-style rhythm section of synthesiser, bass guitar and drums’. That sounds…erm…like an Italian version of ‘Hooked On Classics’?
“La Serenissima” – the Byzantine title for Venice if you’re asking – peaked at No 34.
Who’s up for some Monie Love? Last seen in the charts at the back end of 1989 with her Top 20 single “Grandpa’s Party”, she was back there again with “It’s a Shame (My Sister)” which was her hip-hop take on “It’s a Shame”, the old 70s hit by The Spinners. Is it my imagination or was Monie Love briefly tipped to be the next hip-hop superstar? Well, there’s still a lot of love for Monie online where she is routinely referred to as a hip-hop icon. Interviewed by http://www.pbs.org and asked what her greatest contribution was to hip-hop, she replied:
“Oh, wow, that’s easy for me. My greatest contribution to Hip-Hop was allowing the United States of America to know and understand exactly how far they reach, and how influential they are to children in completely different countries because I am the import. I’m one of the first successful imports on the Hip-Hop tree of life.”
Import? Ah, you see Monie was born Simone Johnson in Battersea in 1970 before relocating to the US permanently where she carved out a successful career in radio. Oh, and I’ve no idea who True Image are/were who are also credited on the record. Sounds like one of Louis Walsh’s X Factor boy bands to me.
After The Stone Roses earlier in the show, we get another of those acts closely associated with the baggy sound of Manchester (although they were actually from a combination of the West Midlands and Northwich in Cheshire). The Charlatans were bona fide pop stars by this point but this was actually their debut appearance on TOTP never actually having made it on the show for previous single “The Only One I Know” despite it going Top 10 (the promo video had to suffice instead). “Then” was a worthy follow up and very nearly made it two Top Tenners on the bounce, peaking just outside at No 12.
Lead singer and now near National Treasure Tim Burgess has obviously been to the barbers with his bowl cut look replaced with something altogether more sharp. The decision to lop off his locks was made because Tim felt that too many people trying to copy his floppy fringe look apparently. These days of course, he has adopted a hairstyle that seems to be a mash up of Andy Warhol and Purdey from The New Avengers. Haircuts aside, he remains a rather wonderful human being.
If this TOTP was a football match, it would be between the indie/dance baggie sound and heavy rock and this would be the match report:
“After The Baggies (no, not WBA!) went 1-0 up early doors via a strike from The Stone Roses, Heavy Rock equalised via the ever reliable AC/DC. Shortly after the break(ers) however, The Baggies were back in front via a good follow up from The Charlatans. Not to be out done, Heavy Rock fired a second equaliser from veterans Iron Maiden.”
Yes, just like AC/DC earlier, Iron Maiden were still rampaging up the charts as the 80s became the 90s. We could have been forgiven for thinking they were on a sabbatical given the solo career of Bruce Dickinson earlier in the year but they were back with new single “Holy Smoke” which was the lead single from their “No Prayer For The Dying” album. By this point, the band’s fan base was so big that they could guarantee a high chart placing for anything they released as demonstrated by “Holy Smoke” which entered the charts at No 3. The band (or possibly their record label) saw a way to exploit this to the max with their next single “Bring Your Daughter… to the Slaughter” which was released in the week after Xmas when there was traditionally a lull in sales after the Xmas rush. This meant that far fewer copies need to be sold to have a massive hit and so it came to pass that Iron Maiden would score their first and only No 1 single as 1991 dawned.
I don’t really recall “Holy Smoke” at all and on hearing it on this TOTP repeat iI did wonder if it was an instrumental. It isn’t but the reason for my confusion was that the show’s producers started the playback of the track from the point of a guitar solo which I’m guessing was a strategic move to omit some of the song’s more profane lyrics which occur early on such as ‘Flies around shit/bees around honey’ and ‘I’ve lived in filth/I’ve lived in sin/and I still smell cleaner than the shit you’re in’. Ooh, they were scary rebels weren’t they Iron Maiden?
Breaking News! There’s a last gasp winner in The Baggies v Heavy Rock match as the former seal the win with a goal from late substitute The Farm. Hang on, it’s gone to VAR! There’s a debate about whether the goal should stand as Stockley Park look at evidence that The Farm were not actually a baggie band and therefore they should be disqualified from playing. According to a Smash Hits interview with Tim Burgess of The Charlatans, he had this to say about the “Groovy Train” hitmakers:
“I saw them live five years ago and they were a crap R’n’ B band.”
Damning stuff. The decision is in though and the goal stands on the basis of this angle from @TOTPFacts:
If holy trinity indie /dance member Happy Mondays were concerned about The Farm, then they must have been baggy! However, I’m pretty sure that I saw an Expedia advert on the TV the other day that used “Groovy Train” as the soundtrack to it which kind of undermines its indie credentials a bit in my book. Apparently, Duran Duran have turned down multiple lucrative requests over the years from various food outlets asking to use “Hungry Like The Wolf” in an advertising campaign but they have always refused. So there you have it – Duran Duran have more credibility than The Farm. Maybe.
Steve Miller Band are still at No 1 with ‘The Joker” holding off Deee-Lite’s tilt at the top for a second week. The previous week of course had raised the whole chart controversy of the two acts being tied for the No 1 position. Using a clearly unfair ruling, “The Joker” was given the number one as its sales had increased more from the previous week. To diffuse chart rigging accusations, the compilers Gallup subsequently announced that “The Joker” had actually sold 8 (EIGHT!) copies more than “Groove Is In The Heart”. How convenient. Did someone have to look for those 8 sales a bit like Donald Trump going looking for missing votes in the US presidential election?
Wanna hear Homer Simpson singing “The Joker”? Of course you do…
Confirming that he wasn’t a one hit wonder, the play out video is “Tunes Splits The Atom” by MC Tunes and 808 State. This track also confirms, Geoff Hurst in the final minute style, the victory for The Baggies over Heavy Rock with both MC Tunes and 808 State hailing from ‘Madchester’. As if that wasn’t enough, “Tunes Splits The Atom” samples a bass riff from “I Am The Resurrection” by The Stone Roses. Done and indeed dusted.
For posterity’s sake, I include the chart run down below:
eqwrt
| Order of appearance | Artist | Song | Did I Buy it? |
| 1 | Twenty 4 Seven featuring Captain Hollywood | I Can’t Stand It | …and therefore I didn’t buy it |
| 2 | The Stone Roses | Fools Gold | No but I must have it on something |
| 3 | Snap! | The Cult Of Snap | I was not a member of this cult |
| 4 | AC/DC | Thunderstruck | Clusterfuck more like! No |
| 5 | S’Express | Nothing To Lose | No but my wife bough the 12” |
| 6 | DNA | La Serenissima | Nah |
| 7 | Monie Love | It’s A Shame (My Sister) | Nope |
| 8 | The Charlatans | Then | No but it’s on my Melting Pot Best Of CD of theirs |
| 9 | Iron Maiden | Holy Smoke | They could blow their smoke out of their arses for all I cared -no |
| 10 | The Farm | Groovy Train | No but I easily could have |
| 11 | Steve Miller Band | The Joker | It’s a no |
| 12 | MC Tunes / 808 State | Tunes Splits The Atom | No |
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/m000st47/top-of-the-pops-20091990
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?
TOTP Rewind - the 90s 