Another day, another TOTP repeat to write about. I am worn out physically, mentally and creatively by this now nine year old blog. Who’s on this particular show then? Well, another dance track based on an old Bee Gees song, another showing of the Bryan Adams/Melanie C hit, another boy band at No 1 with a cover version and Another …Level. It’s also another stint as presenter for Jayne Middlemiss (at least she’s not Jamie Theakston!) who does another pointless ‘interview’ in the backstage area with one of the artists. Tedious.

We start with that Bee Gees inspired dance track by Blockster which is actually just a repeat of the performance from last week’s show. “You Should Be…” had actually dropped five places from its chart debut and peak position of seven days prior but that wasn’t enough reason for executive producer Chris Cowey not to show it again. He’d have probably argued that it was still in the Top 10 and so still a popular record with an audience. Added to that, there weren’t many new releases to showcase. Why couldn’t we have had another showing of the (award winning) Fatboy Slim video for “Praise You” though? As it was, we only got to see it once. Anyway, it was Blockster who got the Cowey nod and therefore another chance to see another guy fronting an old Bee Gees tune in a white suit. Why did they all have white suits? Yes, I know why – to approximate the look created for the character of Tony Manero played by John Trovalta in Saturday Night Fever. Plus the Bee Gees original of “You Should Be Dancing” was in the film’s soundtrack but I guess what I’m trying to say is it’s not very inventive is it?

It’s another hit for Another Level. This one was called “I Want You For Myself” and it’s the usual R&B, bump ‘n’ grind ballad nonsense that we’d already come to expect from this lot despite only being four singles into their career. I could never see what their appeal was. From what I can work out, they were mainly a UK phenomenon with limited success elsewhere. Were they good looking? Sort of. Was there a gap in the market for an R&B boy band? Maybe. Wikipedia says their debut eponymous album never got higher in the charts than No 13 despite containing all those hits but that it was also certified platinum. Those two stats don’t seem synonymous with each other somehow. Their second and final album “Nexus” would only sell a third of the amount of copies as its predecessor meaning that it wasn’t able to take the band to…ahem…another level of success.

From the banal to the downright quirky. Sheffield electronic trio All Seeing I had bagged themselves a hit the previous year with their take on the Buddy Rich version of “Beat Goes On”, originally a hit for Sonny & Cher. For the follow up, they sought out two other sons of Sheffield from differing music eras. A chance meeting with Jarvis Cocker when Pulp appeared on an episode of TOTP the same week as All Seeing I led to Jarvis co-writing “Walk Like A Panther”. The track was put together specifically with legendary crooner Tony Christie in mind. The master of hits like “I Did What I Did For Maria” (which is referenced in “Walk Like A Panther”), “(Is This The Way To) Amarillo” and The Protectors theme tune “Avenues And Alleyways”, Christie’s career was dormant by 1999 with no chart entry since 1975. Despite the potential opportunity offered to him, Christie was originally reluctant to take up the offer until his son talked him into it. The result was a slinky, prowling track that, if nothing else, provided the charts with an antidote to all the generic dance and R&B fodder they seemed to be full of.

Despite the success of “Walk Like A Panther”, Christie’s career went back into hibernation until the intervention of comedian Peter Kay whose Phoenix Nights sitcom featured “(Is This The Way To) Amarillo” heavily promoting a renewed interest in the singer. In 2005, the track was used as the Comic Relief single for that year going to No 1 for seven weeks, the longest running chart topper since Cher’s “Believe” in 1998. A retrospective Best Of album was also a No 1. As for All Seeing I, one further minor hit with Human League’s Phil Oakey followed before they called it a day in 2002. The various members still work in the music business though with one of them having a brief cameo as one of the Weird Sisters rock band in Harry Potter and the Goblet of Fire.

P.S. This is who Tony Christie has been reminding me of…(sorry Tony)

Another 70s disco track reworked for the 90s! This time it’s Donna Summer who provides the source material (at least it’s not the Bee Gees again!) as her 1979 hit “Bad Girls” is covered by Juliet Roberts. Now, I’m not sure what the reasoning behind this release was other than the classic ‘need-a-hit-do-a-cover-version’ record company tactic but if it was all about that, then it worked taking Juliet to No 17 for what would be her final hit completely under her own name*.

*She would have a No 11 and dance chart No 1 hit in 2001 alongside David Morales.

The staging in this performance seems slightly jarring with Juliet positioned at the back on her own mini stage but behind her four backing singers who are front and centre. I know this role reversal has been done before – in their debut TOTP performance Oasis had Liam singing from the back of the stage – but I’m not sure it works that well here. All eyes are drawn to the backing singers in their bright red dresses which kind of undermines Juliet I feel. Maybe she felt more comfortable not completely in the spotlight? Maybe she could have occupied that space between the back of the stage and the front and been, you know, “caught in the middle”? Ahem.

Here’s one of those bands that I knew the name of but was fairly ignorant of how they sounded – at the time anyway. Having listened to Three Colours Red* retrospectively, it seems to me that this single was a bit of a departure from their earlier sound. Hits like “Sixty Mile Smile” and “Nuclear Holiday” were that classic indie rock sound that we’d seen from many a skinny, white boy group down the years. However, “Beautiful Day” was entering epic, rock ballad territory akin to something Muse might have come up with. Not a bad example of the genre as these things go but somehow the band couldn’t sustain and they split in 1999 despite two Top 20 albums and being signed to Creation Records. That old chestnut ‘musical differences’ was given as the reason. A reunion in 2002 would last for three years but without any further commercial success, a second permanent split followed.

*Maybe I was aware of them due to their name also being the concluding part of the Polish film director Krzysztof Kieślowski’s Three Colours trilogy.

It’s time for that Bryan Adams/Melanie C track again now. It’s the fourth time “When You’re Gone” has been on the show with the first being way back on the 11th December 1998. In the intervening weeks, it had not been lower than No 8 in the charts following its No 3 peak on its debut. This particular week it was No 6 again in a run of three consecutive weeks in that position. What was it with Bryan Adams and massively lengthy chart hits?! Did all of the above make a secure enough case for all these repeated appearances? I’m not sure. From a blogging point of view, absolutely not. What am I supposed to keep saying about this one week after week?! Well, we’ll find out as there is still one final appearance to come in a couple of weeks. Bryan and Melanie – I can’t wait until when you’re gone.

Oh god! What’s this? A dance version of Roxy Music’s “More Than This”?! Of course it is! Just what the world needed! The woman tasked with fronting this carbuncle of a hit was Emma Sarah Morton-Smith who was restyled as Emmie for promotion purposes. We’ve seen some horrific dance takes on retro hits in the past such as Rage’s horrible treatment of “Run To You” by Bryan Adams and Nikki French’s woeful cover of Bonnie Tyler’s “Total Eclipse Of The Heart” but surely Roxy Music’s back catalogue should have been sacrosanct? Apparently not as Bryan Ferry himself gave his blessing to the project. Bryan! What were you thinking?! Despite a few near misses, Emmie would never have such a big hit again and would end up as a radio DJ on Heart Yorkshire and a presenter on QVC. Well, she did seem to know a thing or two about selling your soul…

P.S. Is that Duran Duran guitarist Dom Brown up there on stage with Emmie? I think it is you know.

Well, it had been coming. A relentless push over three years and eight consecutive Top 10 hits had led to this moment. 911 finally had their chart topper and it was a nasty cover version. Of course it was. They’d already covered Shalamar (“A Night To Remember”) and the ubiquitous Bee Gees (“More Than A. Woman”) so why not go for the hat-trick by turning to an old Dr. Hook number? “A Little Bit More” had been a No 2 hit in the UK in the sweltering Summer of 1976 and was a perfect choice of ballad for the three pop puppets of 911. They even got to sit down for once to sing it rather than pulling all their usual “Bodyshakin’” dance moves. It was also a horribly cynical move designed to give the trio the one thing their career had been missing. Once achieved, it was as if the spell had been broken or at least the project completed. Only two more hits would follow and a line was drawn on the career of 911, at least as chart stars – two reunions would follow and the group are nominally still together to this day. A little bit more? No, you’re alright thanks lads. As Public Enemy once told us, “911 Is a Joke”.

Order of appearance	Artist	Title	Did I buy it?
1	Blockster	You Should Be…	No
2	Another Level	I Want You For Myself	No thanks
3	All Seeing I	Walk Like A Panther	Interesting but no
4	Juliet Roberts	Bad Girls	Nah
5	Three Colours Red	Beautiful Day	Nope
6	Bryan Adams/Melanie C	When You’re Gone	I did not
7	Emmie	More Than This	Hell no!
8	911	A Little Bit More	Of course not

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/m002plnc/top-of-the-pops-22011999