Yes, I suck at planning important things like finding time to write over bank holidays. With apologies to all those hanging on in suspense for the final part of the Easter Sunday chart of 1989, here comes the Top 10, as revealed on Radio One on March 26th 1989.
The one and only UK hit single for a duo from Canada who spent the late 80s having a series of moderately successful hits in their native land. An incredibly cleverly made tune and in a sense quite innovative for its day, I Beg Your Pardon was an otherwise original hit song but with the selling point of being based around a direct sample of the chorus of Rose Garden, an old C&W hit for Lynn Anderson which had been a Number 3 hit for the star back in 1971. Whilst much was made of the Anderson connection, a more detailed analysis of the track reveals that it borrows from a variety of old disco hits to create the distinct aural collage which set this single apart from just about any of its contemporaries. Really the huge shame was that Kon Kan had nothing else to match it, their follow-up single Harry Houdini missing the charts altogether and leaving them one-hit wonders on what is in truth an all but forgotten 80s classic.
9: Bananarama/LaNaNeeNeeNooNoo - Help!
Having been launched in 1986 with a charity concert and most famously the Cliff Richard and the Young Ones remake of his own Living Doll, the Comic Relief charity expanded its operations rapidly during the late 1980s. The first-ever Red Nose Day took place in February 1988 and was so much of a runaway success that the demand for the small plastic probosces far outstripped supply, leading Blue Peter to suggest manufacturing your own out of cut-up egg cartons. I shit you not.
12 months later the event was back again, this time with slightly more in the way of pre-preparation and an adequate supply of nasal appendages to go around. To accompany the event, this single was released, continuing the theme set by both Living Doll and the 1987 festive single Rocking Around The Christmas Tree in merrily dicking about with a classic old hit. Taking on The Beatles for comic purposes was fraught with danger, so this cover version was perhaps slightly more respectful of the original than had previously been the case. Bananarama played their part perfectly straight, leaving the comedy parts from French and Saunders to the gaps in between the verses. Odd in a way then, this was perhaps the least deliberately comic comedy record ever released, but it made little difference to the chart prospects of the single as it made a comfortable Number 3 in early March just in time for the charity telethon. The producers of the track were Stock/Aitken/Waterman at what was essentially the height of their effortless hitmaking powers, making this one of no less than four of their creations to be propping up this week's Top 10.
...this of naturally being the second. Was there ever a one-off hit single which was the subject of so much critical analysis and so ingrained into pop mythology as this record? The Reynolds Girls are a quite extraordinary story simply because the way they are remembered and the reaction to them is almost totally at odds with the number of records they actually sold during their brief flowering of fame.
Here's how it works. Liverpudlian-Irish sisters Linda and Aisling were plucked from obscurity by Peter Waterman after picketing his weekend local radio show with dogged determination and handed over to the SAW hit factory for grooming and the recording of their first single. Coming off the back of events such as the 1989 Brit awards which had almost totally ignored mainstream pop music in favour of showering gongs on superannuated rock acts, the Reynolds Girls were seen as the perfect empty vessel into which the producers could pour their pent up rage at an industry which was going out of its way to belittle and ignore the legacy of music they were hard at work creating. Hence I'd Rather Jack is a musical polemic wrapped up in a bubbly little pop record. The teenage girls rail against the music industry and radio stations like Radio One, pouting at musical snobbery and openly questioning the age and tastes of music radio presenters - to whit "why the DJ on my favourite station/is always more than twice the age of me". Acts such as Pink Floyd, The Rolling Stones and Dire Straits were namechecked as the kind of thing their generation did not want to hear (cynics noted that the likes of Paul McCartney and The Beatles were not dissed, thanks to Pete Waterman's long-standing desire to produce for his musical hero). The instantly rather annoying single went Top 10 and the teenage duo were all over Smash Hits and the like, full of excitement over the journey of fame they were embarking on.
Except that the fame never materialised. For some reason, they were held up for ridicule by more credible parts of the press, even after just one single. Never mind that the words were not their own but those of a trio of thirty and forty-something producers. The song was arrogant, presumptuous and incredibly annoying despite the uncomfortable truths expressed in the lyrics. Suddenly the Reynolds Girls were the embodiment of everything that was wrong with plastic pop, and more highbrow writers sneered at the fact that these young upstarts were poking fun at acts with far more talent than they had. Plans for a second single were cancelled and the whole project never went any further, accounts as to why varying from Waterman sacking the girls for going on holiday rather than recording, to the more logical explanation that attempting to make further records with the pair would be an exercise in futility. To this day, I'd Rather Jack is held up as a musical nadir despite, lest we forget, being a Top 10 hit. Over the years, the story of what actually happened to the Reynolds Girls spiralled into ever greater heights of ludicrousness. For years the rumour that one of the duo had died in childbirth, giving the whole tale an irresistibly tragic edge, circulated on newsgroups and message boards until it was cheerfully debunked.
An interesting one this as it was the single that marked the final phase in the transformation of Gloria Estefan from the chubby singer of the Miami Sound Machine to sophisticated solo artist, in spite of the fact that she continued to record and perform with the same musicians throughout. Can't Stay Away From You actually appeared on the final Miami Sound Machine album Anything For You and had been its first single release back in May 1988 only to bomb out well short of the Top 75. Several hit singles later it was reactivated and became a comfortable Top 10 hit and in the process began the phasing out of the Miami Sound Machine Brand. Officially credited to her and the group both on the single and in chart listings, all the marketing for it suggested that this should be considered a solo single, nothing less. Not the greatest record or most memorable Miami Sound Machine single ever then, but it served as an advert for what we could expect from Gloria Estefan's first "solo" album Cuts Both Ways when it emerged later that summer.
The journey of Guns 'N' Roses from cult rock press heroes to multi million-selling mainstream stars had been a long and slow one. Their first single had been Welcome To The Jungle which made Number 67 as far back as October 1987 but even after they had made a Top 40 breakthrough in 1988 with Sweet Child O' Mine and a re-release of their first single, they had landed no higher than Number 24 on the charts. The success of Paradise City in the spring of 1989 was therefore a rather pleasant surprise, entering just outside the Top 20 and then swiftly rocketing into the Top 10. GnR had arrived as mainstream stars to finally justify the hype they had been receiving up to that point. and within months Sweet Child O' Mine had also been re-released and attained the Top 10 position its status as a classic deserved. My own memories of Paradise City centre around seeing the video on the original ITV Chart Show. The programme featured pop-up info boxes about each single played which traditionally appeared during the instrumental of each track. Of course, the only instrumental break in Paradise Cit' appears at roughly ten seconds in, resulting in the Chart Show infoboxes making a premature appearance every time the single was aired. To think I wondered why girls wouldn't talk to me.
Sacred cow slaughtering time. I absolutely hated Soul II Soul. They made dull, plodding, unbelievably tedious records that you couldn't even dance to even if you wanted to. Back in 89 however Jazzie B and posse were treated as the musical second coming, the rebirth of British cool and a brand that could take them to the 21st century such was the way their music was ahead of its time. The summer of Back To Life and the presumptuously titled album Club Classics Vol.1 clogging up the top of the charts was still to come. In the meantime, this was their debut hit with Caron Wheeler handling lead vocal duties just as she would on the summertime smash. This wasn't a bad record as such, but to ears schooled on the frantic noise of the Acid House craze of the winter just passed, this more mellow form of floor-filling came across as nothing more than crushingly dull.
During the halftime show of the 2008 Super Bowl, Paula Abdul (by then rather better known as a TV talent show judge) attempted what turned out to be a rather ill-fated musical comeback. Nonetheless, when her performance commenced with a quick blast of the opening bars of the title track of her debut album Forever Your Girl, there was a good reason why the crowd greeted it with warm cheers. For a brief period in the early 90s, the former cheerleader (and lest we forget the lady who taught Michael Jackson most of his best moves) was one of the hottest stars in America, the resultant buzz spreading to most of Europe at the same time. True, on the face of it she had a rather thin voice and somewhat unusual exotic looks, but virtually every one of her singles flew to the top of the US charts in an era before Mariah Carey redefined the words "foregone conclusion". The UK release of her debut hit gave her an easy Top 5 hit single to launch the expert choreographer as a chart star in this country as well. Several more hits would follow over the next few years, her most famous offering being Opposites Attract which would wind up as a Number 2 hit in early 1990. Her comeback single may have been pitifully bad, and her judging contributions on American Idol and US X Factor bordering on the bizarre at best, but two decades ago she was touted as a real challenger to Madonna's crown as the Queen of pop and most importantly had the massive sales to back the claim up.
So you are a one-time disco star who is ten years removed from the hits that made you famous. Your last album All Systems Go was released to rather a muted reception yet you did squeeze out a hit single from it in the UK, Dinner With Gershwin which at least served to show to the world that you are still around and still able to perform. What is your next move? In Donna Summer's case it was to hook up with (you guessed it) Stock/Aitken/Waterman who lavished loving attention upon the fallen star, handing her an entire album of some of the best songs they ever wrote together. The lead single was the sparkling and instantly appealing This Time I Know It's For Real which not only hit Top 3 here but also gave her a Top 10 single back home in America for the first time in very many years. Its status as a classic is open to some argument as it can hardly stand as the greatest ever work of a performer who fronted I Feel Love and Love To Love You Baby, two of the greatest disco records ever made. Putting such contextual concerns to one side however, and the single is actually a pop masterpiece, three and a half minutes of genuine uplifting joy and a towering example of just how good Stock, Aitken and Waterman could get when they were properly motivated and had a genuine superstar to craft music for.
For this week however the Donna Summer single was still being outsold by another SAW track, one which had spent time at the top of the charts and which had established the Australian actor once and for all as a major pop name. The release of this single was essentially the relaunch of Jason Donovan's musical career after it was felt necessary to press the reset button and move on from earlier mistakes. Although his first single with the trio Nothing Can Divide Us had been a respectable enough Top 10 hit in the Autumn of 1988 it was clear that the style of song was wrong for him and that a whole album of similar material would be to underplay his teen idol strengths. After the distraction of the inevitably Kylie duet Especially For You which had topped the chart earlier in the year, Too Many Broken Hearts was a bold chart-topping statement to the nation (or at least the pre-pubescent female part of it) that this was the Jason Donovan pop star they were expected to love. Now I'll be honest with you here, even at the time I firmly believed that Too Many Broken Hearts would one day be regarded as one of the greatest pop records of the 80s. Of course, people sneered due to the SAW link but it was the epitome of a mainstream classic - sunshine lyrics, a sentiment that everyone could relate to and the obligatory singalong chorus. Looking back it was a naïve view, nobody would ever regard a manufactured single by an Australian soap star as a musical high point, but it just goes to show the danger of dismissing the music simply because of who is fronting it or who wrote and produced it. It is not a belittlement surely to argue that late 80s pop never got any better than this. Too Many Broken Hearts remains nothing short of awesome.
Whether she meant it or not, shock and outrage appeared to follow Madonna around wherever she went. During the early years of her singing career whatever outrage she caused tended to be confined to the lyrical content of her records, whether it was the censor-baiting ambiguity of Like A Virgin or allegations that she was encouraging underage pregnancies with Papa Don't Preach.
After spending 1987 working on and promoting her latest rather woeful movie "Who's That Girl" and spending 1988 trying her hand at acting in the Broadway play "Speed The Plow" she needed to make an entirely new impact to draw attention to her brand new album and her latest development as a performer. It was time then to confront head-on the Catholic faith which had formed such an important part of her upbringing and given her the distinctive name that she traded on.
Musically speaking the track Like A Prayer wasn't actually all that controversial. Whilst the lyrics of the song which drew a parallel between religious and sexual ecstasy might have had the potential to cause some degree of offence if anyone paid close enough attention, it was the visual accompaniment which had certain sections of the more conservatively minded American press calling for her excommunication. Like A Prayer was debuted several weeks before release as the soundtrack to a multi-million dollar TV commercial for Pepsi, which as the clip below demonstrates was itself promoted as something akin to the second coming.
The advert itself wasn't all that controversial, but it was famously aired just a handful of times before the drinks giant took fright, pulled it from all airings and told Madonna to keep her money. They took fright at the potential backlash from what emerged as the actual video for the Like A Prayer single.
Like all such outrages, much of the fuss about the video was based on a simple misunderstanding. The black "Jesus figure" which Madonna kisses and embraces in the video was actually the animated statue of a Catholic saint, representing Madonna's guilt over her silence which had caused an innocent man to be accused of a murder. One doesn't have to be particularly religious to note that the storyline is simply that of her finding redemption at the hands of a gospel choir and eventually doing the right thing and testifying to secure the release of the imprisoned victim.
Imagery aside, it was hard to fault the music itself. An immediate and perhaps inevitable Number One, Like A Prayer still holds up as one of her best singles, especially as it marked her desire to move away from the conventional dance-pop singles with which she had made her name into rather more exotic musical avenues. Notable at the time for being one of the first Madonna singles you couldn't properly dance to (James Hamilton's BPM calculator in Record Mirror almost throwing a fit as the song dropped to zero during every single verse), the version you sometimes hear in retro clubs today is the remix that appeared on the Immaculate Collection hits compilation rather than the original single mix but both stand firm as one of her best singles of the era and a small clue that the chubby twenty-five-year-old who exploded into superstardom in the mid-80s was maturing as an artist in full control of her destiny and unafraid to innovate at every single turn. As a final footnote, the single famously featured on its b-side the track Act Of Contrition which also closed out the Like A Prayer album. On it Madonna attempts to check into heaven accompanied by a wail of guitar feedback, the track ending with her shrilly insisting "I have a reservation. WHAT DO YOU MEAN IT'S NOT ON THE COMPUTER?"
With that, we draw this Top 40 show to a close, taking time perhaps to note the achievement of Ian Brownhill of Oxford who was the winner of the Top 3 prediction competition on the show that week and so won himself a copy of the entire Top 40 singles, making him the luckiest man in the world until the invention of Spoify when we can all virtually "own" our own copy of many of them. That's technology for you.
Did you know the original posting of this recap never included the packshot? Time to correct that now.