1989 #1s

630. ‘Back to Life (However Do You Want Me)’, by Soul II Soul

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As fun as 1989 has been so far – and I’ve enjoyed it, at least – it’s not been very cool. Cheesy pop a-plenty, earnest balladeering, charity singles and sixties covers. Madonna romping with our Lord and Saviour in ‘Like a Prayer’ has been as edgy as it’s got…

Back to Life (However Do You Want Me), by Soul II Soul (their 1st and only #1)

4 weeks, from 18th June – 16th July 1989

Until now, though. For ‘Back to Life’ is a cool record. A mix of hip-hop beats and soulful vocals. It’s a little bit of dance, a little bit of house. Wikipedia lists it as ‘proto-jungle’, which sounds slightly terrifying but very fun. Yet for all these influences, it’s not a cluttered track. The production is sparse – just a beat and some strings for the most part – and ‘sparse’ is not something I’ve not been able to say about the sample-heavy dance hits we’ve met in recent years.

It started out life as an a cappella track, which makes sense, as Caron Wheeler’s vocal turn is the stand out star of this record. It’s her that makes me want to announce this as the start of the nineties, six months early, as the next decade will be dotted throughout with dance tracks ft. female divas. Elsewhere, the beat and the production is unfussed, and unhurried, almost unbothered whether you like it or not, whether you think it’s upbeat enough to dance to. It’s very contemporary, a world away from SAW’s cheap and cheerful approach, until a scrrraaatch on the DJ’s decks places it firmly in 1989.

Proto-jungle is not my kind of thing (I prefer my jungle fully formed…), but a good record is a good record, and this is a good record, if you know what I mean. It’s moving things along, like a mini ‘Rock Around the Clock’ or ‘I Feel Love’, and for that I respect it. It’s the future, and we’ll be hearing a lot more like it soon…

Soul II Soul were a musical collective of some nine members, founded by DJ Jazzie B, who ran a club night in Brixton that played music with British, African, Caribbean and American influences. They had even hosted a hot new LA rap group called NWA in 1988. ‘Back to Life’ was just their fourth single, and their second Top 10 hit. ‘Keep On Movin’’ had been their breakthrough, but for me that one’s lacking ‘Back to Life’s hook. Impressively, ‘Back to Life’ also made the Top 10 in the US, where it had homegrown hip-hop/R&B to compete with.

As I mentioned above, the difference between this and the earlier dance #1s, like ‘Pump Up the Volume’ or ‘Theme from S-Express’, is that it’s not at all heavy on the samples. There’s just one: the drums from funk band Graham Central Station’s ‘The Jam’. Or two, if you count Caron Wheeler’s a cappella original. This was Wheeler’s last single with Soul II Soul – she would leave to pursue a solo career before returning in 1996.

So, we start a new chart-topping chapter here. And appropriately enough, before we delve further towards the nineties, we have a recap…

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629. ‘Sealed With a Kiss’, by Jason Donovan

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From an extremely harrowing chart-topper, to one as lightweight, as ephemeral, as they come…

Sealed With a Kiss, by Jason Donovan (his 3rd of four #1s)

2 weeks, from 4th – 18th June 1989

I am glad that I don’t have to ponder life, death and injustice as I listen to Jason Donovan’s take on ‘Sealed With a Kiss’. I don’t have to think much at all, for this is basically karaoke. Perfectly good karaoke, I mean that as no slight on the singing abilities of Mr Donovan, but it’s karaoke nonetheless. The production (Stock Aitken Waterman yet again, as was almost mandatory in 1989) is exactly what you would hear in a Japanese karaoke booth: a cheap replication of the early-sixties original.

It is an odd choice of cover for the hottest young pop star in the country. The melancholy chords, the tempo, and the tone of the song feel very out of step for the Hi-NRG late eighties. I suppose, though, it’s a current teen idol singing a former teen idol’s hit from nearly thirty years before (the song tells the story of two lovebirds separated for an agonisingly long summer) thereby appealing to both kids and their parents. Yet part of me wishes SAW had tarted the song up in their usual tinny Eurodisco dressing – that might have been quite fun. As it is, the song washes past almost unnoticed.

‘Sealed With a Kiss’ had been a #3 hit in 1962 for Brian Hyland, his biggest British record, as well as making #7 on re-release in the seventies. (Hyland’s breakthrough hit, ‘Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini’ will also soon be reappearing at the top of the charts, in truly traumatic fashion… I can’t wait!) This cover gave Donovan his 3rd #1 in under six months, which is some going. For me, though, it’s a step down from the classic (yes, classic) ‘Especially for You’ and the perfectly fine ‘Too Many Broken Hearts’.

It was also the 3rd SAW #1 in a row, and I’m not sure how many (if any) other producers have done that. Plus, it’s the second consecutive cover of a golden-oldie to make #1. And, even more interestingly for chart nerds like myself, it was the second chart-topper in a row to enter in top spot. That had only happened once before, in 1973. Pre-1990, entering at the top pretty much announced you as the biggest act in the country (or a charity single). As we move into the 1990s, songs are going to enter at the top of the charts more often, and the turnover of #1s is going to increase. The ‘90s are going to take a while to get through, that’s for sure…

628. ‘Ferry ‘Cross the Mersey’, by The Christians, Holly Johnson, Paul McCartney, Gerry Marsden & Stock Aitken Waterman

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Of all the charity chart-toppers we’ve met in recent years – and we’ve met a fair few since Band Aid kicked it all off at Xmas 1984 – I’m most uncomfortable approaching this next one with anything like my usual light-hearted tone…

Ferry ‘Cross the Mersey, by The Christians (their only #1), Holly Johnson (his only solo #1), Paul McCartney (his 3rd and final solo #1), Gerry Marsden (his only solo #1) & Stock Aitken Waterman

3 weeks, from 14th May – 4th June 1989

We’ve had records raising money for famine in Africa, children’s charities, and a ferry disaster. We’ve already had one charity single for a disaster in a football stadium, when I was able to comment blithely on the fact that the Nolans and Lemmy from Motorhead were singing along together happily. But this one somehow hits deeper.

Three weeks before this record was released, Liverpool and Nottingham Forest were due to contest an FA Cup semi-final at Hillsborough stadium, in Sheffield. One of the stadium concourses, next to a stand housing the Liverpool supporters, had become dangerously overcrowded. To alleviate crowds outside the ground, with kick-off fast approaching, an exit gate was opened, which meant that people could enter the stand more quickly. This created an even bigger crush inside the stadium, from which there was no escape. The match was abandoned after five minutes, but by the end of the day ninety-four Liverpool supporters had been crushed to death. That number would rise in the coming months and years to ninety-seven. A further three hundred were hospitalised.

So far, so tragic. Of course what makes it worse, and what makes Hillsborough resonate to this day, was that South Yorkshire Police blamed the disaster on drunken hooligans rather than police mismanagement and incompetence, aided by sensationalism from various newspapers. Subsequent reports and inquests over the years uncovered that the crush wasn’t down to hooliganism, and that the police, the ambulance services and the stadium design were the main factors. It took almost thirty years for criminal charges to be brought against those responsible.

I’m not sure why this tragedy hits deeper, and I’m not sure if this is the place to ponder that question. Perhaps it’s because I’m a football fan, have been to many football stadiums, though usually in a seat (following the Hillsborough disaster, football stadiums used in the upper tiers of British football were required to transition from standing to seating). Then there’s the fact that it took so long for justice to be served. And the fact that crushes like this still happen at football matches (see last year’s Champions League final) and elsewhere (in Seoul, last Halloween). They tend to happen at what should be fun occasions – sporting events, concerts, nights out – and the people who die what must be excruciating deaths are never the ones to blame.

Musically this song is as you’d expect of a hastily-assembled charity single in 1989. It’s an interesting chart moment: a group of the biggest Liverpudlian pop stars claiming their only ‘solo’ #1s (Holly Johnson of Frankie Goes to Hollywood and Gerry & The Pacemakers’ Gerry Marsden) as well as the biggest songwriting team of the day (Stock Aitken Waterman) getting a rare credit. Oh, and an ex-Beatle scoring his last (officially credited) #1. Unlike previous charity singles the video doesn’t feature the stars – instead it features old footage of Liverpool, of the football team, of Hillsborough flooded with flowers in the aftermath of the disaster, with the name of each victim running by at the bottom of the screen.

‘Ferry Cross the Mersey’ had originally been a #8 hit for The Pacemakers in early 1965, their final Top 10 record after a burst of success at the start of the Merseybeat boom. It’s a nice enough song, though you’d assume that had ‘You’ll Never Walk Alone’ not been used by The Crowd then it would have been the chosen song, given its association with Liverpool FC. Anyway, here ends this sombre interlude, both in terms of the charts and this blog. Jason Donovan will be keeping things light and fluffy next, so until then…

627. ‘Hand on Your Heart’, by Kylie Minogue

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It’s only May, but here we are with the 3rd Stock Aitken Waterman #1 of the year (and there are still four more to come…)

Hand on Your Heart, by Kylie Minogue (her 3rd of seven #1s)

1 week, from 7th – 14th May 1989

And yes it’s SAW by numbers – it feels like they were getting lazier, or at least more complacent, by the hit – and for sure there are much better Kylie songs from the time that never made number one (‘Step Back in Time’ and ‘Better the Devil You Know’ spring instantly to mind) but, like Jason Donovan’s recent ‘Too Many Broken Hearts’, it’s hard to get very exercised by this, one way or the other.

It’s a pop song: relatively catchy and completely of its time. Not since the Merseybeat days of 1964, glam in ’73, or the height of disco in 1979, has one sound so dominated the British charts. I still think Kylie sounds a little strained: something about the pitch she’s singing in, and the speed of her delivery. By the time of her ‘comeback’ her voice had matured a lot, either through age or singing lessons.

There are flashes, though. The song takes the form of a stern lecture to her lover, demanding him to swear that they are through, and Kylie is at her best when she’s channelling her inner disco diva with the sultry Look me in the eye and tell me we are really through… and the snappy Why did we ever start? For the rest of the song, though, you can’t escape the feeling that both she and the production team are going through the motions. (Though it’s worth noting that at the same time as this was making #1, SAW were also releasing some of their best work with Donna Summer, and we can quietly imagine a parallel universe where ‘This Time I Know It’s for Real’ was the big chart-topping smash ahead of ‘Hand on Your Heart’.)

And… I’m not sure I can think of much more to say here. Apparently this was one of the first singles to sell well as a cassette, and would have had two weeks at #1 if there hadn’t been a problem with its pricing… But even I’m struggling to find that particularly interesting. Both the Kylie and the SAW bubbles will burst as the 1980s become the 1990s, but not quite yet. They’ll both be featuring again in this blog before long… In fact, Stock Aitken and Waterman will also helm the next #1, in very tragic circumstances.

626. ‘Eternal Flame’, by The Bangles

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The school disco is almost at an end. Time to pluck up the courage to finally leave the safety of the shadows, and to ask your crush if they might, you know, maybe, like, want to dance…?

Eternal Flame, by The Bangles (their 1st and only #1)

4 weeks, from 9th April – 7th May 1989

‘Eternal Flame’ is a classic last-dance smoocher, from the days when a last dance was a thing. In fact, I’d rank this in second place behind Spandau Ballet’s ‘True’ in the very niche ‘Classic 80s Last Dance Number Ones’ category. (When did last dances stop? Or are they still around, and it’s just been a good decade and a half since I stayed in a nightclub until closing time…?) Anyway, this one’s got a good formula: start off simple, with Susanna Hoff’s crystal-clear voice (legend has it she recorded her vocals in the nude, which lent her voice that trembling vulnerability), and a slightly annoying typewriter’s ting, before building.

The ‘eternal flame’ of the title is reported to have been the one that burns at Graceland, in Elvis’s memory, and where The Bangles had recently been given a tour. Mixing this image into a traditional love song leads to some slightly creepy lyrics: I watch you when you are sleeping, You belong with me… It still works, though, because the rest of the song is so overwrought.

It’s not really The Bangles traditional sound – think ‘Manic Monday’ or ‘Walk Like an Egyptian’ – and since female rock bands are rarer than hens’ teeth, it’s a shame that it took such a departure for them to make number one around the globe. It’s a decent ballad, one that comes together well when the four members start to harmonise like a gospel choir; but quite conservative. It would work well in an Andrew Lloyd-Webber musical.

By the final chorus, as those big eighties drums come pounding in for yet another encore, ‘Eternal Flame’ has become a power-ballad. In fact, the moment the drums enter is custom made for finally leaning in for that long-imagined snog. It should be a big moment… But it’s 1989, and we’ve heard a lot of this before. There’s nothing wrong with the song, but I’m not enjoying it as much as I thought I would…

It was The Bangles’ biggest hit – the world’s biggest-ever hit by an all-female band, no less – but it also hastened their break-up. The pushing of Hoffs as the lead singer meant that the other members were keen to break away. They split later in 1989, and although they’ve since reformed, none of their subsequent singles have come close to troubling the Top 10.

625. ‘Like a Prayer’, by Madonna

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And so we arrive at the biggest female pop star du jour, with her first big comeback. Setting herself up, in the process, to polarise and provoke throughout the 1990s and beyond…

Like a Prayer, by Madonna (her 6th of thirteen #1s)

3 weeks, from 19th March – 9th April 1989

It had been a couple of years without any new music from Madonna. In modern terms that’s a pretty normal, even fairly short, break (cf. Rihanna). But since the dawn of pop, stars had been expected to churn out several hits a year. That’s just one way in which this comeback monster hit feels like a game-changer: Madonna’s in charge from now on, setting her own schedule.

After an attention-grabbing guitar intro, a door slams shut. Life is a mystery, Everyone must stand alone, I hear you call my name, And it feels like home… Is she talking about God, or a boy? Or is God the boy? In comes the beat, and to be honest it’s quite predictable late-80s production: dance-pop synths with a squelchy bass. It’s catchy, it’s got a great hook, it would have been a big hit even without…

The video. Madonna cavorting with Jesus. Black Jesus. Burning crosses. Sexual Assault. A wrongful imprisonment. Racism… I’m not 100% sure what Madonna was going for, other than a checklist of things she knew would piss certain people off, but it did the job. The Catholic Church was up in arms, Pepsi (who used the song in an advert) was boycotted, MTV was the only TV channel to show the video… And of course it was a global smash hit.

From this distance, the controversy seems out of proportion: Madonna and Jesus barely kiss, while in the end she does the right thing and goes to the police… And the lyrics aren’t that outrageous either. Sure there’s a bit of innuendo – I’m down on my knees, I wanna take you there… – but ‘love as a religious experience’ is not exactly a new and shocking theme. And yet, as the recent Sam Smith controversy has shown, certain types are always poised and ready to get worked up over a music video.

‘Like a Prayer’ peaks for me when the gospel choir take over. And I don’t mean that as a slight on Madonna’s voice, as this is one of her better vocal performances. But it’s a bit too long as ‘just’ a song, without the video to distract. I wouldn’t have this in my Top 5 Madonna songs, personally. Whether that’s harsh, or testament to the strength of her long career, I’m not sure. I’d also put ‘Papa Don’t Preach’, and ‘Like a Virgin’, above it in the attention-grabbing stakes.

But there’s no denying this song’s reach and impact. I described it above as a ‘game changer’ in terms of inventing the idea of the pop star ‘comeback’ single. Then there’s the statement video. And the creative control that Madonna was clearly exercising. There’s a clear line from Madonna to pretty much every female pop star since: Christina, Britney, Gaga, Taylor Swift have all had their big statement pieces, their ‘I’m in control now’ moments. Is it too much to suggest then, that ‘Like a Prayer’ was the moment that the modern female pop star was born?

624. ‘Too Many Broken Hearts’, by Jason Donovan

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After a very weighty number one, a seven-minute treatise on political violence in Ireland, we arrive at something a little lighter…

Too Many Broken Hearts, by Jason Donovan (his 2nd of four #1s)

2 weeks, from 5th – 19th March 1989

I do like the way we get teased at the start, as hard-edged guitars chime out – does anyone else hear the intro to ‘Welcome to the Jungle’?? But before we even have time to check that, yes, this is a Jason Donovan record, in comes the oh-so-familiar Stock Aitken Waterman beat. Of course.

Has there ever been a mashup of all the famous SAW hits…? They are all the same basic beat and tempo. Well in fact, yes, YouTube is your friend. There’s an eight minute mash-up of Kylie, Rick Astley, Bananarama, Sinitta and Sonia which I have to admit I enjoyed. (There’s a near twenty-minute long Part II, which I haven’t braved yet!)

What to make of Jason Donovan not making the cut for this mix? Was he not A-grade material? I can’t see a reason why this is any worse than the earlier SAW #1s, apart perhaps for SAW Fatigue (I think that ‘SAW Fatigue’ will be the catchphrase of our journey through 1989…) It’s perky, it’s catchy, the chorus is cheesy but it stays with you. The bridge is the best bit: You give me one good reason to leave me, I’ll give you ten good reasons to stay… Although, Pete Waterman claimed that he wrote it in ten minutes while on the toilet, so there’s that mental image…

The video is equally cheap and cheerful. Jason stares out from his log cabin, chops some wood, then strolls along a cliff top while strumming his guitar. His electric guitar. Maybe Slash took notes before filming the ‘November Rain’ video? (I was not expecting to make two Guns N Roses references in this post!)

The only thing I find that grates is Jason’s voice itself… He sounds a little strained, a little rushed. I think I said the same thing about Kylie’s ‘I Should Be So Lucky’, so perhaps it’s the production not getting the best out of its singers? Anyway, I can never get too exercised, in one way or the other, about disposable pop. The charts’ bread and butter. It’s a pop song. It’s catchy. It provides a reasonably pleasant diversion for three minutes of our largely humdrum existences. Next!

623. ‘Belfast Child’, by Simple Minds

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From the opening notes, before you’ve even glanced at the title, you know that this next #1 isn’t going to be a barrel of laughs…

Belfast Child, by Simple Minds (their 1st and only #1)

2 weeks, from 19th February – 5th March 1989

It’s heavy, portentous, serious. ‘This is an important record’, the stately synths and sparse drums announce. The opening lines from Jim Kerr add another layer of chin-stroking: When my love said to me, Meet me down by the gallow tree, For it’s sad news I bring, About this old town and all that it’s suffering… In comes a penny-whistle, and some violins, for that olde Oirish authenticity.

While I wait for this one to really get going, my mind turns to other number one singles that have featured place names. Off the top of my head, no peeking, I’ve got ‘San Francisco (Flowers in Your Hair)’, ‘Massachusetts’, and ‘The Poor People of Paris’… Answers on a postcard with any others, please! (It would probably arrive before this song ends…)

We reach the three minute mark, and finally things are picking up. A sort of Irish jig is about to break out. This tune’s melody is based on a traditional song ‘She Moved Through the Fair’, with lyrics updated to reflect the Troubles. The war is raging, Through the Emerald Isle… Kerr howls, as things eventually build to a pretty impressive Wall of Sound climax. He was inspired to write the song after watching footage of the Enniskillen tragedy, in which an IRA planted bomb killed twelve people in 1987.

Of course, pop music can deal with weighty issues. It shouldn’t all be love and sex and having a great time. But, can’t it at least be catchy? Not this seven-minute sermon of a song? At the same time, how could you make a catchy pop hit about a terrorist attack? It would hardly be appropriate. It’s a conundrum, though not one Simple Minds apparently struggled with. They threw everything into this epic, and got their biggest British hit. And for one of the eighties’ biggest bands, it feels right that they did eventually manage a chart-topper.

As impressive as this record is – and it does reach a pretty daunting peak, in which voices, synths and guitars swirl around one another – I can’t say I’ve enjoyed it. For the most part, I found it quite dull. I can’t say I’ve ever heard it before, either. In fact, this might be the final #1 that I’d never heard before writing about it…

Nothing here screams ‘#1 hit’, apart from the fact it’s by a popular band. Was it purely a fan purchase? Technically, it was one track from an E.P. that also included ‘Mandela Day’, which the band had performed at Nelson Mandela’s 70th Birthday Concert the year before. Was that perhaps the more on-demand song?

In any case, ‘Belfast Child’ is the song that went down in the record books. It went down in the record books in different sense too, as at 6 minutes 40 seconds it is one of the longest number one singles of all time. I’ve struggled to find a definitive list, but I think at the time it was the 2nd longest (behind ‘Hey Jude’), and it currently sits at 5th in the all-time rankings (the video below is shorter, but the single was released unedited).

622. ‘Something’s Gotten Hold of My Heart’, by Marc Almond ft. Gene Pitney

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Up next, a contender for the least-expected chart-topping duet of the decade…?

Something’s Gotten Hold of My Heart, by Marc Almond ft. Gene Pitney (their 1st and only solo #1s)

4 weeks, from 22nd January – 19th February 1989

Take one Marc Almond, last heard on Soft Cell’s electro-pop classic ‘Tainted Love’, and his cover of a sixties classic. With the original singer of said classic in tow. Was there a back-story? I can’t imagine Almond and Pitney running in the same social circles… Apparently it’s as simple as Pitney hearing Almond’s solo version, which featured on his album ‘The Stars We Are’, and offering to re-record it as a duet.

Back-story covered, then. What of the song? Well, for someone associated with synth-pop androgyny – Marc Almond, that is, not Gene Pitney – it’s a pretty faithful, respectful cover. Might we have expected something a little more ‘out there’ from him? Maybe… But when you’ve got such good source material you don’t need to go too crazy. You certainly don’t want to scare the oldies off, as I’m sure they made up a big percentage of the people who bought this one, having remembered it from its first time around as a hit.

Both singers ham it up on their verses (if I were being catty, I might suggest that Almond had had singing lessons since his first #1…) which is one of the best things about a duet with two lead singers: neither wants to be outdone. But this doesn’t ruin it, not at all. It’s beautifully performed, peaking in the I’ve got to know if this is the real thing… I’ve got to know what’s making my heart sing… middle-eight. You couldn’t really date the production either, apart from the eighties ™ drums in the background.

‘Something’s Gotten Hold of My Heart’ had been a #5 hit for Pitney in 1967. It had originally been recorded by David & Jonathon, though it wasn’t a hit for them. It gave Pitney the 10th Top 10 of his career (I covered his ‘I’m Gonna Be Strong’ as a Random Runner-Up a while back), and was his last visit to the uppermost reaches of the UK charts, until this record gave him his long-awaited #1. He was only forty-eight when this made the top – the same age as Cliff a few weeks earlier – reminding me that 1989 is much closer to the sixties than it is to the present day…

This was the #1 single on my 3rd birthday, meaning that I’ve so far had three pop birthday chart-toppers (this, Tiffany, and A-ha) and some hardcore house (‘Jack Your Body’). It’s only going to get more eclectic from here, which is one good thing about having a January birthday. (It’s otherwise quite rubbish having a birthday in the cold, dark weeks post-Christmas, when nobody’s got the money or the inclination to celebrate, but that’s very much a story for elsewhere…)

Marc Almond continues to write, record and tour, and recently received an OBE shortly after turning sixty. His 2nd biggest solo hit was a cover of another ‘60s classic: ‘The Days of Pearly Spencer’. For Gene Pitney, meanwhile, this was his last visit to the UK singles chart. But what a glorious swansong! He sadly died of a heart-attack while on tour in 2006, aged just sixty-six.

621. ‘Especially for You’, by Kylie Minogue & Jason Donovan

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As much a festive tradition as endless turkey sandwiches between Boxing Day and New Year’s, the singles chart has its own version of Christmas leftovers…

Especially for You, by Kylie Minogue (her 2nd of seven #1s) & Jason Donovan (his 1st of four #1s)

3 weeks, from 1st – 22nd January 1989

There’s no way ‘Especially for You’ was supposed to be #1 in late January. It had been lodged behind Cliff’s ‘Mistletoe and Wine’ (has there ever been a more saccharine festive Top 2?) for all four weeks of that record’s chart-topping run, before ascending to its rightful place at #1 on the first day of 1989.

I say ‘rightful’, for yes, as saccharine as this ballad is, there’s something, especially in the verses, that tugs at the heartstrings. It’s not the lyrics, which are the type you knock-out on the back of a napkin: Especially for you, I wanna tell you you mean all the world to me, How I’m certain that our love was meant to be… Or the production, which is as cheap and cheerful as Stock Aitken Waterman ever got.

It’s something I’ve just noticed, after sitting down to listen to this song properly for the first time in decades… It’s a rip-off of ABBA’s 1981 hit ‘One of Us’. Just listen: the intro, the reggae-ish beat, the harmonies…! And when you base a song on one of the best pop group ever’s best hits, then you’re not going to go far wrong.

Though to call it a complete rip-off is harsh – the chorus is its own beast, and a real earworm – and of course there’s the star quality of Queen Kylie, who can carry any old tripe when she’s in the mood. And then there’s Jason Donovan, who will go on to be 1989’s biggest chart star (well, him and a cartoon rabbit…) It was released in the wake of the couple’s wedding on Australian soap opera ‘Neighbours’– one of the most watched episodes of any soap – amid lots of speculation about a romance in real-life, and so it was bound to be a gigantic hit. The most impressive thing is that old Cliff Richard was able to hold off this juggernaut for so long!

No matter, it eventually made #1 and became SAW’s biggest ever hit. (And, I believe, their only release to sell a million copies.) 1989 will be the year that the production trio peak – they’ll helm a quite incredible seven chart-toppers this year – so it’s only proper that they kick the year off with their best (OK, second best, after Dead or Alive). Sadly, that means that the final year of the decade will probably pale in comparison to 1988, which unexpectedly became my best year for chart-toppers since 1980-81.