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she/her
In the C5 doc footage, he looks off his face most of the time. Although he'd probably say it was "adrenaline".

My cousin was on Hitman & Her when they did it at Tokyo Jo's in Preston (RIP). She asked to say hello to her daughter and he shrieked "daughter? how old are you?!" to which she replied 18 (which was a lie - she was 17) and then "how old is your daughter?!" to which she replied 18 months (that part was true). He was evidently shocked at the levels of teenage motherhood running rife in Preston.
 
My cousin was on Hitman & Her when they did it at Tokyo Jo's in Preston (RIP). She asked to say hello to her daughter and he shrieked "daughter? how old are you?!" to which she replied 18 (which was a lie - she was 17) and then "how old is your daughter?!" to which she replied 18 months (that part was true). He was evidently shocked at the levels of teenage motherhood running rife in Preston.
I think there's been some prudishness historically with SAW – which I'm sure will be covered in the podcast when they get to 'Better The Devil You Know', Kylie's video for which (filmed with no PWL control, as I understand) prompted a major meltdown … and I think Mike Stock may have been even more prudish in recent years?
 
Finally caught up with last night's editions – not many highlights and a reminder of how bad 'Sure' is … Take That could have got to Number One with pretty much everything at that point – and duly did! It really sounds like a blatant bid for the US market and I was expecting to find UK New Jack Swing producer/remixer Steve Jervier's name on there, but instead it's Brothers In Rhythm?!? Working to a strict brief, I suspect – that's not their sound at all.

Buzzcut Robbie looked really like he'd rather be anywhere else in those performances – a foreshadowing of dramas to come …
 
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Well, that was about the shockingly low chart position, rather than the look Kylie was sporting in the video, wasn't it? … unless I'm misremembering?!?
Well, that aside, they were NOT happy about that video. The managing director of PWL at the time really had a problem with it and he dined out on a talking head interviews about Kylie circa 2001 just saying so.
 
Was Word is out's video really her playing a prostitute? To me it just looks like jazz dancing in a couple of sexy outfits. It's so tame compared to today's standards.

It's 100% her dressed as a lady of the night on a street with her Davina as her pmadam.
Five or so years too late but definitely influenced by Private Dancer, Open Your Heart, I Surrended (To The Spirit Of The Night), Another Weekend (nn) in a 'kids will think she's having a street party, older people will get it' way.
 
Finally caught up with last night's editions – not many highlights and a reminder of how bad 'Sure' is … Take That could have got to Number One with pretty much everything at that point – and duly did! It really sounds like a blatant bid for the US market and I was expecting to find UK New Jack Swing producer/remixer Steve Jervier's name on there, but instead it's Brothers In Rhythm?!? Working to a strict brief, I suspect – that's not their sound at all.
They switched management in early 1994 didn't they, or there was some kind of reshuffle at RCA which was designed to push Take That in the US. I remember reading not long ago in one of the old Music weeks from 1994 that they/their manager was unhappy with the lack of progress in America.
 
America had said enough to NKOTB, Color Me Badd had fizzled out, numerous boybands had failed (I remember buying US mags and there were so many trying - remember The Osmonds, The Boys etc) but sure (lol), Brenda and Tiffinni would have seen Gary Barlow and stanned dd.
 
Back for good went top 10 in the US though didn't it? But that was because it's an incredible song and would have been playlisted on AC stations as well as pop.
Yeah it wasn't a boyband hit, that song would have been a smash even any lad off Baywatch sung it.

I remember reading East 17 did well on a lot of regional radio in different cities in the US but never enough or at the same time to result in a chart hit. Poor EYC also deserved some hits, they were great - at least the UK noticed.
 
Those two eps last night were either songs that have been on multiple times these last few weeks (Sweetness, Always) or best kept in 1994 crap like Let It Rain and Some Girls (although the little kid from Ultimate Kaos did a decent live vocal - I was always more of a Hoochie Booty kind of guy though). The Green Day song seemed to go on forever. Maybe short songs in the streaming era has affected my attention span!

And I agree that Sure sure is terrible. The Nobody Else album is ok though. You could tell they were going for a US market on some tracks (Every Guy, Sunday To Saturday, Hate It, Lady Tonight) but it was Back For Good that gave them their only success there, and that's not the least bit new jack swingy.
 
Elastica were incredible, Connection is a song that still sounds wonderful and fresh even now. That INXS performance with the freaky dancers was ewww. It's sad to think they were kind of almost finished by then. There was no buzz about them anymore. The strangest party is OK, much better than anything from the 'Full moon..' album but nowhere near the same league as their classics.
 
They switched management in early 1994 didn't they, or there was some kind of reshuffle at RCA which was designed to push Take That in the US. I remember reading not long ago in one of the old Music weeks from 1994 that they/their manager was unhappy with the lack of progress in America.
I don't think it was a management thing – Nigel Martin-Smith looked after That That all the way through their rise to stardom until their split, and was only deemed surplus to requirements shortly after the reunion.

I suspect you are closer to the truth with your RCA theory – NKOTB had bitten the dust by 1994 and RCA US most likely thought they could push Take That Stateside with a New Kids-style song … unfortunately it was not much of a song!
 

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