Tim Smith anyone? I don’t remember this guy at all. He’s (sort of) co-hosting this TOTP with the dependably over excited Anthea Turner and has got the gig presumably to introduce him to the UK’s pop fans as he’s just joined the Radio 1 roster of DJs as their latest recruit. I say ‘sort of’ because Anthea proceeds to do all the links after Smith is formally introduced at the top of the show. He’s finally given something to do when he runs through this week’s Breakers for us. A quick search of the internet reveals that he presented the weekend early show from 5 to 7 am on Radio 1 for about a year before hosting the UK Top 20 Chart Show on the BBC World Service for nearly 14 years! He’s co hosted the Steve Wright In The Afternoon show as well apparently. I wouldn’t know as I can’t stand Steve Wright and haven’t listened to him on the radio since about 1987. Let’s see how Tim’s TOTP debut went then….

Now I know that there was a third hit from Holly Johnson in 1989 and I also remember it being called “Atomic City”. Could I tell you anything about what it sounded like without watching this latest TOTP repeat first? Not a chance. Time to correct that then. See you in about three minutes…

…hmm. Well, it ain’t no “Love Train” (nor “Americanos” for that matter). Where was that easy flowing, lush pop production of those first two singles? It’s all a bit frenetic and desperate sounding to my ears and, dare I say it, comes over like a poor man’s Frankie Goes To Hollywood. The bass line (written by Dan “Instant Replay” Hartman apparently) seems to borrow very heavily from “Livin’ In America” by James Brown whilst Holly’s lyrics are still very preoccupied with game shows although I think the song’s main theme is some sort of anti-pollution, pro -environment message so probably ahead of its time. Presumably that’s why the guy on keytar is wearing a bio-hazard hazmat suit. Noble sentiments but the whole thing just comes across as a bit of a mess to me.

Also in a bit of a mess were Holly’s chart fortunes. After the double No 4 salvo that were his first two singles, “Atomic City” only made it to No 18. Worse was to follow. a fourth single from his “Blast” album called “Heaven’s Here” failed to make the Top 40 at all and Holly’s solo career was pretty much dead in the water. He would return to the UK charts once more time in 2012 as part of the Justice Collective single “”He Ain’t Heavy, He’s My Brother” which was a Xmas No1.

Queen are back in the charts with a second track pulled from their “The Miracle” album. Whereas previous single “I Want It All” had been of a much more traditional rock sound, to me, “Breakthru” was much more like the Queen style that the band had been pedalling since “The Works” in 1984. In fact, it reminded me of the “It’s A Hard Life” single from said album in that both start with a slow vocal harmony before the rest of the track kicks in. In the case of “Breakthru”,  that intro was actually from a different song altogether called “A New Life Is Born,” an unreleased piece written by Freddie Mercury whilst the rest of the song is a Roger Taylor composition.

I recall a lot of fuss about the video at the time and I suppose it is quite memorable with the steam engine bursting through that brick wall with the band onboard atop it. According to Wikipedia:

‘The group was dissatisfied with this part because polystyrene could not stand the enormous air pressure buildup in the tunnel from the incoming train and the wall started breaking before the physical impact’.

If you watch it closely you can see why the band were miffed with the effect but I don’t recall anybody pointing it out at the time.

For me though, the band seemed to be treading water with “Breakthru” (which peaked at No 8) but then, in retrospect, it was astonishing that the band were releasing any new material let alone putting the effort into making visually memorable videos given the deteriorating state of Freddie Mercury’s health.

“Well we like these guys. It’s their third time on TOTP…” warbles  Anthea as she introduces Double Trouble And The Rebel MC next and their single “Just Keep Rockin”. A third time?! And the song still hadn’t even made it into the Top 10?! Something doesn’t seem right about that. Their record plugger must have been very persistent. “And the single is still climbing..” protests Anthea just a little bit too much methinks. They should have been renamed ‘Triple Trouble And The Treble MC’.

Despite this over exposure, “Just Keep Rockin” failed to improve on its No 11 position where it found itself this week and never did crash the Top 10. I blame the white guy on keyboards who looks ridiculous with his pieces to camera*. I assumed he was saying ‘riddim’ but the official lyrics have it as ‘breathed in’. Hmm. Not sure about that. Undeterred, they did breach the Top 10 when follow up single “Street Tuff” did the business for them by peaking at No 3.

*This, from @TOTPFacts, explains everything…

Talking of three-peats, is this the third time that Donna Allen has been on the show? I think it is if you include her spot in the Breakers. Unlike Double Trouble, Donna’s appearances did the trick in terms of bagging her a Top 10 hit although it was a close run thing as “Joy And Pain” peaked at No 10.

I’ve got nothing left to say about this one except that it was heavily sampled by nineties electronic dancesters Strike for their 1995 No 4 hit “U Sure Do” …which I despised.

Finally it’s time for Tim Smith to have his moment in the spotlight as he introduces the Breakers starting with Monie Love and “Grandpa’s Party”. This then 18 year old was briefly a rap / hip hop sensation when she racked up a handful of Top 40 singles as the decade closed and the 90s opened. The ‘Grandpa’ of her single was apparently Afrika Bambaataa, “The Godfather” of hip hop…err…so not actually a grandfather but a godfather and I’m guessing not strictly speaking her grandfather either. Genealogy aside, was it any good? Well, I quite liked it but it wasn’t really my thang thing.

Monie described hip -hop at the time in a Smash Hits article as being “a school  – the teachers are Public Enemy, my classmates are the likes of The Jungle Brothers, De La Soul, Boogie Down Productions, MC Lyte, MC Mellow…”. Nah, you’ve lost me now Monie.

“Grandpa’s Party” peaked at No 16.

Now I would have sworn that this lot were just a couple of ‘here today gone tomorrow’ purveyors of limp, anodyne pop like but it turns out that Waterfront were a much bigger deal than that but mainly in the US. This Welsh duo had been knocking on the door of the charts for a while with a couple of single releases that the likes of Smash Hits magazine had carried adverts for but which had failed to dent the Top 40. The release of “Cry” hit paydirt for them though. It was a respectable but medium sized No 17 hit in the UK but over the water (front) it was a much bigger deal. The single went Top 10 there and they became the first Welsh duo to achieve this feat in the US. At performing rights organization Broadcast Music Inc’s 50th Anniversary Celebrations, “Cry” was recognised as one of the ‘most played singles on US radio’ with nearly one million plays clocked up. And I just thought it was a pretty feeble, soppy pop song.

After Stock, Aitken and Waterman had done the seemingly impossible by making certified chart stars out of two unknown teenagers in The Reynolds Girls, we might have been forgiven for thinking that the whole Hit Factory phenomenon couldn’t get any more ridiculous but then we hadn’t bargained on Sonia. Appearing from nowhere, this diminutive Liverpudlian took the whole ludicrous story onto another chapter and this one included yet another No 1 single. The story of how she got her big break is well known  – rocking up unannounced at a Radio City show at the Liverpool Hippodrome and insisting that Pete Waterman hear her sing and then being invited onto his radio show and given the chance to perform live. She did though already have an Equity card and had appeared in the sitcom Bread which she informed Waterman of according to Sonia so “he knew I wasn’t messing or a lunatic or anything like that…”. Well, quite.

As was their way, her debut single was written and recorded in a matter of hours and then before we could process who this bouncing, red haired, giggling Scouse lass was, “You’ll Never Stop Me From Loving You” was bounding its way up the charts on its way to No 1. More (but less successful) hits followed and Sonia became the first female UK artist to achieve five top 20 hit singles from one album. These were very strange times indeed.

Next up is yet another re-release of an old song that I don’t remember being in back in the charts nor why. I remember the song “Pop Muzik” by M of course as it was played constantly on the radio it seemed when it was originally a No 2 hit back in 1979. I would have been 11 or so and not fully converted to the weekly ritual of TOTP and therefore couldn’t have told you exactly what Mr M (or Robin Scott to give him his real name) looked like before his return to the TOTP studio 10 years on. On reflection, he looked a bit like John Waite  but I’m guessing the “Missing You” singer never performed in a suit made of CDs. It probably seemed very decadent back in ’89 as I’m not sure what CD penetration levels were like in UK households at the time. Seen through 2020 eyes it all looks a bit naff with the then cutting edge format now reduced to an historical artefact almost.

The whole performance is a bit naff actually. Not sure what the deal with the woman in the day-glo pink and yellow swim suit and tutu skirt was all about whilst the giggling backing singers seem to be doing their own thing entirely somewhere left of stage. As for the song itself, I’m not sure that this ’89 remix sounded much different to the original and in any case, the latter was am almost perfectly formed illustration of how pop music could be. I think it still stands up as a marker in the timeline of pop.

“Pop Muzik ’89 Remix” peaked at No 15.

A confusing link from Anthea Turner now as she introduces Guns N’ Roses by saying       “They’ve managed the hat trick. They’ve got two singles in the charts in the same week…”. Eh? A hat trick with two songs? How does that work then? I’m assuming she means that this is the band’s third hit single in a row after “Paradise City” and “Sweet Child ‘O Mine” had both made No 6 but even then, to be strictly accurate, “Patience” was their fifth hit single on the spin if you include “Welcome To The Jungle” and the original release of “Sweet Child ‘O Mine” back in ’88. Or does she mean their third in ’89? Oh FFS Anthea, you could have made your links clearer for the pedantically inflicted amongst us.

As for “Patience” itself, this was quite a departure after the all out ‘rawk ‘n’ roll’ sound of their previous hits. Taken from the mini album “G N’ R Lies”, its acoustic nature showed that the band had a sensitive side (sort of!) as well. I found this all a bit confusing, not just this softer sound but also the band’s release timeline.I’m guessing that the record company wanted to capitalise on their huge profile at the time and were keen to get any product into the market place but I’m not sure I was aware of the “G N’ R Lies” album so wondered where this track had come from. To add to my disorientation, they then went back to the “Appetite For Destruction” album for one final single release (“Night Train”) before the calendar year was up. Two years later they kept up the release schedule shenanigans by putting out two albums on the same day!

Apparently “Patience” is a karaoke favourite but maybe shouldn’t be. Here’s the songfacts.com website:

“Kimberly Starling of The Karaoke Informer says it’s one of the top 5 songs that tends to bomb: “It just eludes the average ear and when you get off key on this one it sounds to the ear like a turd in a punch bowl looks to the eye.”

How do you follow up an unexpected Hi-NRG Euro disco hit? Well if you’re London Boys you just put out the same song out again with a different title and bingo! Seriously though, “London Nights” was just about exactly the same as their first hit “Requiem” wasn’t it? Not content with recreating their formula sound, the duo then rocked up at the TOTP studio and did a near identical performance from the outfits to the dance steps. What a swizz as Smash Hits might have commented. Inevitably the UK record buying public fell for this shit all over again in their droves despite the fact that “Requiem” had only just fallen out of the Top 40 and it did even better than its predecessor by peaking at No 2. For the love of God!

Top 10

10. Donna Allen – “Joy And Pain”

9. D-Mob – “It Is Time To Get Funky”

8. Gladys Knight – “Licence To Kill”

7. Cyndi Lauper – “I Drove All Night”

6. Sinitta – “Right Back Where We Started From”

5. Jason Donovan – “Sealed With A Kiss”

4. U2 – “All I Want”

3. The Beautiful South – “Song For Whoever”

2. Prince – “Batdance”

1. Soul II Soul – “Back To Life”: In a bizarre quirk of fate, the band at No 3 in the charts this week would go on to have female vocalist in their line up with the surname Wheeler just as Soul II Soul owe a massive debt to the uncredited Caron Wheeler on this track. Alison Wheeler joined The Beautiful South in 2003 after the departure of Jacqui Abbott and stayed with them until they disbanded in 2007. She is currently a member of “The South” (formerly “The New Beautiful South”).

Caron Wheeler on the other hand left Soul II Soul in 1990 to pursue a solo career and released her LP “UK Blak” and semi successful single “Livin’ In The Light”  in 1990. However, she returned to the fold in 2007 just as her namesake Alison’s time in The Beautiful South (original version) was coming to an end. None of this is especially interesting but I’m running out of things to write about “Back To Life”!

The play out video is by Monie Love’s teachers otherwise known as Public Enemy with “Fight The Power (Do The Right Thing)”. Have I already used my Flavor Flav story up? Damn I think I have. OK, different tact then…

I was a white UK kid just finishing three years of higher education at the time of its release so I’m not going to try and make out that Public Enemy spoke to or for me at the time but there is no denying the irresistible force that they were and continue to be. “Fight The Power (Do The Right Thing)” was as it sounds from the soundtrack to the film Do The Right Thing and indeed features prominently in the film. Written at the request of director Spike Lee who wanted an anthem to reflect the racial tensions of the time in the US, it is publicly acknowledged by Chuck D as “the most important record that Public Enemy have done”. And you have to say its power is blistering. An incredible song in any age.

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/m000h3d6/top-of-the-pops-29061989

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 bed time reading?

http://likepunkneverhappened.blogspot.com/2019/06/june-28-july-11-1989.html