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Top of the Pops, also known as TOTP, is a British music chart television programme, made by the BBC and originally broadcast weekly between 1 January 1964 and 30 July 2006. It was traditionally shown every Thursday evening on BBC1, except for a short period on Fridays in mid-1973 before being again moved to Fridays in 1996, and then to Sundays on BBC Two in 2005. Each weekly programme consisted of performances from some of that week's best-selling popular music artists, with a rundown of that week's singles chart. Additionally, there was a special edition of the programme on Christmas Day (and usually, until 1984, a second such edition a few days after Christmas), featuring some of the best-selling singles of the year.

Although the weekly show was cancelled in 2006,  the Christmas special has continued.    It also survives as Top of the Pops 2, which began in 1994 and features vintage performances from the Top of the Pops archives.

In the 1990s, the show's format was sold to several foreign broadcasters in the form of a franchise package, and at one point various versions of the show were shown in nearly 100 countries. Editions of the programme from the 1970s (and now 1980s) are being repeated on most Thursdays on BBC Four, although episodes featuring disgraced former presenters are not repeated. 

History

Top of the Pops was created by BBC producer Johnnie Stewart, inspired by the popular Teen and Twenty Disc Club which aired on Radio Luxembourg. It was first aired in 1964 and was originally based on the Top 20. By 1970 the Top 30 was being used and the show was extended from 30 to 45 minutes duration. The show was also now shown in colour following the BBC1 upgrade in November 1969. A switch to the Top 40 was made in 1984. (Radio One also changed to the Top 30 in the early 70s and to the Top 40 in 1978).

The show saw many changes through the decades, in style, design, fashion and taste. It periodically had some aspect of its title sequence, logo and theme tune, format, or set design altered in some way, keeping the show looking modern despite its age. The programme had several executive producers during its run (although not all were billed as such), in charge of the overall production of the show, although specific content on individual shows was sometimes decided by other producers. When Stewart left the show in 1973, after nearly 10 years in charge, he was replaced by Robin Nash. Both Stewart and Nash made brief returns to the show as producer after they left, in 1976 and 1981 respectively.

Stewart devised the rules which governed how the show would operate: the programme would always end with the number one record, which was the only record that could appear in consecutive weeks. The show would include the highest new entry and (if not featured in the previous week) the highest climber on the charts, and omit any song going down in the chart.  Tracks could be featured in consecutive weeks in different formats. For example, if a song was played over the chart countdown or the closing credits, then it was acceptable for the act to appear in the studio the following week.

These rules were sometimes interpreted flexibly and were more formally relaxed from 1997 when records descending the charts were featured more regularly, possibly as a response to the changing nature of the Top 40 (in the late 1990s and early 2000s climbers in the charts were a rarity, with almost all singles peaking at their debut position).

When the programme's format changed in November 2003 (three months after the appointment of Andi Peters as Executive Producer), it concentrated increasingly on the top 10. Later, during the BBC Two era, the top 20 was regarded as the main cut-off point, with the exception made for up and coming bands below the top 20. Singles from below the top 40 (within the top 75) were shown if the band were up and coming or had a strong selling album. If a single being performed was below the top 40, just the words "New Entry" were shown and not the chart position.

The show was originally intended to run for only a few programmes but lasted over 42 years, reaching landmark episodes of 500, 1,000, 1,500 and 2,000 in the years 1973,  1983,  1992 and 2002  respectively.

The first show

Top of the Pops was first broadcast on Wednesday, 1 January 1964 at 6:35 pm. It was produced in Studio A on Dickenson Road in Rusholme, Manchester.

DJ Jimmy Savile presented the first show live from the Manchester studio (with a brief link to Alan Freeman in London to preview the following week's programme), which featured (in order) the Rolling Stones with "I Wanna Be Your Man", Dusty Springfield with "I Only Want to Be with You", the Dave Clark Five with "Glad All Over", the Hollies with "Stay", the Swinging Blue Jeans with "Hippy Hippy Shake" and the Beatles with "I Want to Hold Your Hand",  that week's number one - throughout its history, the programme proper always (with very few exceptions) finished with the best-selling single of the week, although there often was a separate play-out track.

1960s and 1970s

Later in 1964, the broadcast time was moved to one hour later, at 7:35 pm, and the show moved from Wednesdays to what became its regular Thursday slot. Additionally its length was extended by 5 minutes to 30 minutes.

For the first three years Alan Freeman, David Jacobs, Pete Murray and Jimmy Savile rotated presenting duties, with the following week's presenter also appearing at the end of each show, although this practice ceased from October 1964 onwards.

In the first few editions, Denise Sampey was the "disc girl", who would be seen to put the record on a turntable before the next act played their track.  However, a Mancunian model, Samantha Juste, became the regular disc girl after a few episodes, a role she performed until 1967. 

With the birth of BBC Radio 1 in 1967, new Radio 1 DJs were added to the roster - Stuart Henry, Emperor Rosko, Simon Dee and Kenny Everett. 

Local photographer Harry Goodwin was hired to provide shots of non-appearing artists, and also to provide backdrops for the chart run-down. He would continue in the role until 1973. 

After 2 years at the Manchester Dickenson Road Studios, the show moved to London (considered to be better located for bands to appear), initially for six months at BBC TV Centre Studio 2 and then to the larger Studio G at BBC Lime Grove Studios in mid-1966  to provide space for the Top of the Pops Orchestra, which was introduced at this time to provide live instrumentation on some performances (previously, acts had generally mimed to the records). In November 1969, with the introduction of colour, the show moved back to BBC TV Centre, where it stayed until 1991, when it moved to Elstree Studios Studio C. 

For a while in the early 1970s, non-chart songs were played on a more regular basis, to reflect the perceived growing importance of album sales, as well as a New Release spot and a feature of a new act, dubbed Tip for the Top. These features were dropped after a while, although the programme continued to feature new releases on a regular basis for the rest of the decade.

During its heyday, it attracted 15 million viewers each week. The peak TV audience of 19 million was recorded in 1979, during the ITV strike, with only BBC1 and BBC2 on air. 

Christmas Top Of The Pops

A year end Christmas show featuring a 'review' of the year's biggest hits was inaugurated on 24 December 1964, and has continued every year since.  From 1965 onwards, the special edition was broadcast on Christmas Day  (although not in 1966 ) and from the same year, a second edition was broadcast in the days after Christmas, varying depending on the schedule, but initially regularly on 26 December. The first was shown on 26 December 1965.  The second programme was discontinued after 1984. In 1973, there was just one show, airing on Christmas Day. In place of the traditional second show, Jimmy Savile hosted a look back at the first 10 years of TOTP, broadcast on 27 December.  In 1975, the first of the two shows was broadcast prior to Christmas Day, airing on 23 December, followed by the traditional Christmas Day show two days later. 

The 1978 Christmas Day show was disrupted due to industrial action at the BBC, requiring a change in format to the broadcast. The first show, due to be screened on 21 December was not shown at all as BBC1 was off the air.  For Christmas Day, Noel Edmonds (presenting his last ever edition of TOTP) hosted the show from the 'TOTP Production Office' with clips taken from various editions of the show broadcast during the year and a record five performances by dance troupe Legs & Co. Only Boney M appeared in new footage, performing three of their hits in the TOTP studio. The format was slightly tweaked for the Christmas Day edition in 1981, with the Radio 1 DJs choosing their favourite tracks of the year  and the following edition on 31 December featuring the year's no.1 hits. 

1980s

In 1980, Nash was replaced by Michael Hurll, who introduced more of a "party" atmosphere to the show, with performances often accompanied by balloons and cheerleaders, and more audible audience noise and cheering. Guest co-presenters and a music news feature were introduced for a short while, but had ceased by the end of 1980. The chart rundown was split into three sections in the middle of the programme, with the final Top 10 section initially featuring clips of the songs' videos, although this became rarer over the next few years. An occasional feature showing the American music scene with Jonathan King was introduced in November 1981, and ran every few weeks until February 1985. In January 1985, a Breakers section, featuring short video clips of tracks in the lower end of the Top 40, was introduced, and this continued for most weeks until March 1994.

Although the programme had been broadcast live in its early years, it had been recorded on the day before transmission for many years. However, from May 1981, the show was sometimes broadcast live for a few editions each year, and this practice continued on an occasional basis (often in the week of a bank holiday, when the release of the new chart was delayed, and for some special editions) for the rest of the decade.

In September 1985, the programme moved to a new regular half-hour timeslot of 7pm on Thursdays, where it would remain until June 1996.

The end of 1988 was marked by a special 70 minute edition of the show broadcast on 31 December 1988, to celebrate the 25th anniversary of the first show. The pre-recorded programme featured the return of the original four presenters (Savile, Freeman, Murray and Jacobs) as well as numerous presenters from the show's history, anchored by Paul Gambaccini and Mike Read. Numerous clips from the history of the show were included in between acts performing in the studio, which included Cliff Richard, Engelbert Humperdinck, Lulu, The Four Tops, David Essex, Mud, Status Quo, Shakin' Stevens, The Tremeloes and from the very first edition, The Swinging Blue Jeans. Sandie Shaw, The Pet Shop Boys and Wet Wet Wet were billed in the Radio Times to appear, but none featured in the show other than Shaw in compilation clips. 

Paul Ciani took over as producer in 1988. The following year, in an attempt to fit more songs in the allocated half hour, he restricted the duration of studio performances to three minutes, and videos to two minutes, a practice which was largely continued until May 1997. In July 1990, he introduced a rundown of the Top 5 albums, which continued on a monthly basis until May 1991. Ciani had to step down due to illness in 1991, when Hurll returned as producer to cover for two months (and again for a brief time as holiday cover in 1992).

1991: 'Year Zero' revamp

From 1967, the show had become closely associated with the BBC radio station Radio 1, usually being presented by DJs from the station, and between 1988 and 1991 the programme was simulcast on the radio station in FM stereo. However, during the last few years of the 1980s the association became less close, and was severed completely (although not permanently) in a radical shake-up known as the 'Year Zero' revamp.

Following a fall in viewing figures and a general perception that the show had become 'uncool' (acts like the Clash had refused to appear in the show in previous years), a radical new format was introduced by incoming Executive Producer Stanley Appel (who had worked on the programme since 1966 as cameraman, production assistant, director and stand-in producer ) in October 1991, when the Radio 1 DJs were replaced by a team of relative unknowns, such as Claudia Simon and Tony Dortie who had previously worked for Children's BBC, 17-year-old local radio DJ Mark Franklin, Steve Anderson, Adrian Rose and Elayne Smith, who was replaced by Femi Oke in 1992. A brand new theme tune ('Now Get Out Of That'), title sequence and logo were introduced, and the entire programme moved from BBC Television Centre in London to BBC Elstree Centre in Borehamwood.

The new presenting team would take turns hosting (initially usually in pairs but sometimes solo) and would often introduce acts in an out-of-vision voiceover over the song's instrumental introduction. They would sometimes even conduct short informal interviews with the performers, and initially the Top 10 countdown was run without any voiceover. Rules relating to performance were also altered meaning acts had to sing live as opposed to the backing tracks for instruments and mimed vocals for which the show was known. To incorporate the shift of dominance towards American artists, more use was made of out-of-studio performances, with acts in America able to transmit their song to the Top of the Pops audience "via satellite". These changes were widely unpopular and much of the presenting team were axed within a year, leaving the show hosted solely by Dortie and Franklin (apart from the Christmas Day editions, when both presenters appeared) from October 1992, on a week-by-week rotation.

1994–1997

By 1994 much of the 'Year Zero' revamp was quickly undone and the arrival of Ric Blaxill as producer in February 1994 signalled a return to presentation from established Radio 1 DJs Simon Mayo, Mark Goodier, Nicky Campbell and Bruno Brookes. Blaxill expanded the use of "via satellite" performances, taking the acts out of studios and concert halls and setting them against landmark backdrops. As a consequence, Bon Jovi performed Always from Niagara Falls and Celine Dion beamed in Think Twice from Miami Beach.

In 1995 the last remnants of the Year Zero revamp were replaced when a new title sequence, logo and theme tune were introduced (the logo having first been introduced on the new programme Top of the Pops 2 some months previous), coinciding with the introduction of a new set. Blaxill also increasingly experimented with handing presenting duties to celebrities, commonly contemporary comedians and pop stars who were not in the charts at that time. In an attempt to keep the links between acts as fresh as the performances themselves, the so-called "golden mic" was used by, amongst others, Kylie Minogue, Meat Loaf, Julian Cope, Chris Eubank, Damon Albarn, Harry Hill, Jack Dee, Lulu and Jarvis Cocker. Radio 1 DJs still presented occasionally, notably Lisa I'Anson, Steve Lamacq, Jo Whiley and Chris Evans.

TOTP was traditionally shown on a Thursday night, but was moved to a Friday starting on 14 June 1996,  originally at 7 pm, but then shifted to 7.30 pm, a change which placed the programme up against the soap opera Coronation Street on ITV. This began a major decline in audience figures as fans were forced to choose between Top of the Pops and an episode of the soap. 

1997–2003

In 1997, incoming producer Chris Cowey phased out the use of celebrities and established a rotating team (similar to the 1991 revamp, although much more warmly received) of former presenters of youth music magazine The O-Zone Jayne Middlemiss and Jamie Theakston as well as Radio 1 DJs Jo Whiley and Zoë Ball. The team was later augmented by Kate Thornton and Gail Porter.

Chris Cowey in particular instigated a set of 'back to basics' changes when he took over the show. In 1998, a remixed version of the classic 'Whole Lotta Love' theme tune previously used in the 1970s was introduced, accompanied by a new 1960s-inspired logo and title sequence. Cowey also began to export the brand overseas with localised versions of the show on air in Germany, France, the Netherlands, Belgium and Italy by 2003.  Finally, the programme returned to its previous home of BBC Television Centre in 2001, where it remained until its cancellation in 2006.

2003: All New Top of the Pops

On 28 November 2003, the show saw one of its most radical overhauls since the ill-fated 1991 'Year Zero' revamp in what was widely reported as a make-or-break attempt to revitalise the long-running series. In a break with the previous format, the show played more up-and-coming tracks ahead of any chart success, and also featured interviews with artists and a music news feature called "24/7". The launch show, which was live and an hour long, was notable for a performance of "Flip Reverse" by Blazin' Squad, featuring hordes of hooded teenagers choreographed to dance around the outside of BBC Television Centre.

Although the first edition premièred to improved ratings, the All New format, hosted by MTV presenter Tim Kash, quickly returned to low ratings and brought about scathing reviews.   Kash continued to host the show, but Radio 1 DJs Reggie Yates and Fearne Cotton (who had each presented a few shows in 2003, before the revamp) were brought back to co-host alongside him, before Kash was completely dropped by the BBC, later taking up a new contract at MTV. The show continued to be hosted by Reggie Yates and Fearne Cotton (usually together, but occasionally solo) on Friday evenings until 8 July 2005.

On 30 July 2004, the show took place outside a studio environment for the first time by broadcasting outside in Gateshead. Girls Aloud, Busted, Will Young and Jamelia were among the performers that night. 

2004–2005: Move to BBC Two

By November 2004, viewing figures had plummeted to below three million, prompting an announcement by the BBC that the show was going to move, again, to Sunday evenings on BBC Two, thus losing the prime-time slot on BBC One that it had maintained for more than forty years. 

This move was widely reported as a final "sidelining" of the show, and perhaps signalled its likely cancellation. At the time, it was insisted that this was so that the show would air immediately after the official announcement of the new top 40 chart on Radio 1, as it was thought that by the following Friday, the chart seemed out-of-date. The final Top of the Pops to be shown on BBC One (barring Christmas and New Year specials) was broadcast on Monday 11 July 2005, which was edition number 2,166.

The first edition on BBC Two was broadcast on 17 July 2005 at 7.00pm with presenter Fearne Cotton. After the move to Sundays, Cotton continued to host with a different guest presenter each week, such as Rufus Hound or Richard Bacon. On a number of occasions, however, Reggie Yates would step in, joined by female guest presenters such as Lulu and Anastacia. Viewing figures during this period averaged around 1½ million.

2006: Cancellation

On 20 June 2006, the show was formally cancelled and it was announced that the last edition would be broadcast on 30 July 2006. Edith Bowman co-presented its hour-long swansong, along with Jimmy Savile (who was the main presenter on the first show), Reggie Yates, Mike Read, Pat Sharp, Sarah Cawood, Dave Lee Travis, Rufus Hound, Tony Blackburn and Janice Long.

The final day of recording was 26 July 2006  and featured archive footage and tributes, including the Rolling Stones – the very first band to appear on Top of the Pops – opening with "The Last Time", the Spice Girls, David Bowie, Wham!, Madonna, Beyoncé, Gnarls Barkley, the Jackson 5, Sonny and Cher and Robbie Williams. The show closed with a final countdown, topped by Shakira, as her track "Hips Don't Lie" (featuring Wyclef Jean) had climbed back up to number one on the UK Singles Chart earlier in the day. The show ended with Savile ultimately turning the lights off in the empty studio.

Fearne Cotton, who was the current presenter, was unavailable to co-host for the final edition due to her filming of ITV's Love Island in Fiji but kicked off the show with a quick introduction recorded on location, saying "It's still number one, it's Top of the Pops". BARB reported the final show's viewing figures as 3.98 million. 

Since the last episode featured no live acts in the studio, the honour of being the last act to actually perform on a weekly episode of TOTP goes to Snow Patrol with "Chasing Cars" in the penultimate edition; the last act ever featured visually on a weekly Top of the Pops was Girls Aloud, as part of the closing sequence of bands performing on the show throughout the years. They were shown performing "Love Machine".

2006–present: After the end

The magazine and TOTP2 have both survived despite the show's axing, and the Christmas editions also continue after returning to BBC One. However, the TOTP website, which the BBC had originally promised would continue, is now no longer updated, although many of the old features of the site – interviews, music news, reviews – have remained, now in the form of the Radio 1-affiliated TOTP ChartBlog accessible via the remains of the old website.

Calls for return

In October 2008, British Culture Secretary Andy Burnham and Manchester indie band the Ting Tings called for the show to return. 

On 29 October 2008, Simon Cowell stated in an interview that he would be willing to buy the rights to Top of the Pops from the BBC. The corporation responded that they had not been formally approached by Cowell,  and that in any case the format was not "up for sale". In November 2008, it was reported by The Times and other newspapers that the weekly programme was to be revived in 2009, but the BBC said there were no such plans. 

In July 2009, Pet Shop Boys singer Neil Tennant criticised the BBC for ending the programme, stating that new acts were missing out on "that great moment of being crowned that week's Kings of Pop". 

In early 2015 there was increased speculation of a return of the show including rumours that Dermot O'Leary might present alongside Fearne Cotton. According to a report in the Daily Mirror, a BBC insider stated that ″some at the highest level are massive supporters of the plan [of a return] and have given the go-ahead."  The move of the UK charts to a Friday due to take place in summer 2015  is also said to favour the possibility of a return, making it ″the perfect tie-in″ and a ″perfect start to the weekend″. Following the report, the hashtag '#TOTP' started trending on Twitter.

BBC Four reruns

In April 2011, the BBC began to reshow Top of the Pops on Thursday nights on BBC Four beginning with the equivalent show from 35 years earlier in a 7:30pm–8:00pm slot approximating to the time the programme was traditionally shown. The first programme shown, 1 April 1976, was chosen because it was from approximately this episode onwards that most editions remain in the BBC archive. The repeat programmes come in two versions; the first is edited down to fit in the 30 minute 7:30 slot, the second is shown normally twice overnight in the following weekend, and is usually complete. However both the short and longer editions can be edited for a number of reasons. Potentially offensive content to modern audiences is cut (for example the Barron Knights' in-studio performance of "Food For Thought" on the 13 December 1979 edition including a segment parodying Chinese takeaways using mannerisms that may now be viewed as offensive), and cinematic film footage can be truncated, replaced or removed entirely due to the costs to the BBC of reshowing such footage. The BBC also makes the repeats available on BBC iPlayer. The repeats are continuing as of July 2016, repeating episodes from 1982. 

Following the Jimmy Savile allegations, from October 2012, episodes featuring Jimmy Savile ceased to be broadcast.  Following the arrest of Dave Lee Travis by Operation Yewtree officers, and the subsequent prosecution, acquittal, retrial, further acquittal on all but one minor charge and failed appeal, episodes featuring Travis were also omitted.   Due to these broadcasting restrictions and the occasional missed weeks in the original run due to strikes and other reasons (an episode was not made for 1 June 1978 due to the BBC showing the 1978 FIFA World Cup ), other programmes are shown on some Thursday nights to make up the shortfall in the number of programmes in a given year, in particular The Sky At Night and The BBC Proms.

"Story of" Specials

Prior to the 1976 BBC reruns shown in 2011, the BBC produced a special programme, "The Story Of 1976".  This comprised excerpts from the 1976 programmes, interspersed with new interviews with people discussing the time period. They have produced similar programmes prior to subsequent annual reruns for 1977 in 2012,  1978 in 2013,  1979 in 2014, 1980 in 2015  and both 1981 on 8 January and 1982 in 17 June 2016. 

"Big Hits" compilation

A series of compilation of big hits with captions on the screen about artist, people and songs from 1964-1975 in 2011, 1977 in 2012, 1978 in 2013, 1979 in 2014, 1980 in 2015 and both 1981 in 8 January 2016 and 1982 in 17 June 2016.

Christmas and New Year specials

Although the weekly Top of the Pops has been cancelled, the Christmas Specials have continued, hosted by Fearne Cotton and Reggie Yates. The Christmas specials are broadcast on Christmas Day afternoon on BBC One. Since 2008  (apart from 2010 and 2011), a New Year's Eve special has also been broadcast. Most recently, Top of the Pops returned for Christmas 2015, with a Christmas Special  and a New Year's Day Special.  A new logo and title sequence were introduced from 2013, although earlier versions of the logo still appear on the studio set.

Comic Relief specials

The show was given a one-off revival (of sorts) for Comic Relief 2007 in the form of Top Gear of the Pops, presented by Jeremy Clarkson, Richard Hammond and James May. It was filmed at the Top Gear aerodrome studio in Surrey on Sunday, 11 March 2007, although it bore little resemblance to the usual Top of the Pops format.

On 13 March 2009, Top of The Pops was once again revived, this time in its usual format, for a special live Comic Relief edition, airing on BBC Two while the main telethon took a break for the BBC News at Ten on BBC One. As with the Christmas specials the show was presented by Radio 1 duo Fearne Cotton and Reggie Yates with special guest presenter Noel Fielding and appearances from Dawn French, Jennifer Saunders, Claudia Winkleman, Jonathan Ross, Davina McCall (dancing in the audience and later as a Flo Rida dancer with Claudia Winkleman and French and Saunders) and David Tennant.

Live performances – interspersed with Comic Relief appeal films – included acts such as Franz Ferdinand, Oasis, Take That, U2, James Morrison and Flo Rida (that week's Number 1). Kicking off the show was a performance from Rob Brydon and Ruth Jones in their Gavin & Stacey guises, feat. Tom Jones and Robin Gibb with "(Barry) Islands in the Stream", the Comic Relief single.

Performers, performances and presenters

In its extensive history, Top of the Pops has featured many artists, many of whom have appeared more than once on the show to promote many of their records.

Green Day hold the record for the longest Top of the Pops performance: "Jesus of Suburbia" broadcast on 6 November 2005, lasted 9 minutes and 10 seconds. There is uncertainty about what was the shortest performance. In 2005, presenter Reggie Yates announced on the show that it was Super Furry Animals with "Do or Die", broadcast on 28 January 2000, clocking in at 95 seconds. However, "It's My Turn" by Angelic was 91 seconds on 16 June 2000 and, according to an August 2012 edition of TOTP2, "Here Comes the Summer" by the Undertones was just 84 seconds on 26 July 1979. Cliff Richard appeared the most times on the show, with almost 160 performances. Status Quo were the most frequent group with 106 performances. 

Miming

Initially acts performing on the show mimed to the commercially released record, but in 1966 after discussions with the Musicians' Union, miming was banned. After a few weeks during which some bands' attempts to play as well as on their records were somewhat lacking, a compromise was reached whereby a specially recorded backing track was permitted – as long as all the musicians on the track were present in the studio.  The TOTP Orchestra, led by Johnny Pearson augmented the tracks when necessary. This set-up continued until 1980, when a protracted Musicians' Union strike resulted in the dropping of the live orchestra altogether and the use of pre-recorded tracks only.  This accounts for a number of acts who never appeared on the show due to their reluctance to perform in this way. Highlights have included Jimi Hendrix who, on hearing someone else's track being played by mistake (in the days of live broadcast), mumbled "I don't know the words to that one, man", Shane MacGowan of The Pogues' drunken performance of "Fairytale of New York", a performance of "Roll with It" by Oasis in which Noel and Liam Gallagher exchanged roles with Noel miming to Liam's singing track and Liam pretending to play guitar, and John Peel's appearance as the mandolin soloist for Rod Stewart on "Maggie May".

The miming policy also led to the occasional technical hitch. A famous example of this is the performance of "Martha's Harbour" in 1988 by All About Eve where the televised audience could hear the song but the band could not. As the opening verse of the song beamed out of the nation's television sets, the unknowing lead singer Julianne Regan remained silent on a stool on stage while Tim Bricheno (the only other band member present) did not play his guitar. An unseen stagehand apparently prompted them that something was wrong in time to mime along to the second verse. The band were invited back the following week, and chose to sing live.

Occasionally bands played live, examples in the 1970s being The Four Seasons, The Who, John Otway, Sham 69, Eddie and the Hot Rods, Jimmy James and the Vagabonds, Heavy Metal Kids, Elton John, Typically Tropical, New Order, and David Bowie. In 1980, heavy metal band Iron Maiden played live on the show when they refused to mime to their single "Running Free". Solo artists and vocal groups were supposed to sing live to the Top Of The Pops Orchestra. Billy Ocean, Brotherhood Of Man, Hylda Baker and The Nolans all performed in this way.

For a few years from 1991 the show adopted a live vocal to pre-recorded backing track policy. Performing "Smells Like Teen Spirit", Nirvana singer Kurt Cobain dropped his voice an octave and changed the opening line to "Load up on drugs, kill your friends"; the band also made it very clear that they were not playing their instruments. (Kurt later said during an interview that he wanted to sound more like Morrissey during the performance.) It also exposed a number of poor live singers, and was dropped as a general rule.   It was not helped by the fact that it coincided with a sudden upsurge of chart success for dance tracks which were heavily sample-based and whose sound could not easily be reproduced in a TV studio – sampled vocals from other tracks had to be sung live.

In its final few years miming had become less and less common, especially for bands, as studio technology became more reliable and artists were given the freedom to choose their performance style. Former Executive Producer Andi Peters stated that there was "no policy" on miming and said that it was entirely up to the performer if they wanted to sing live or mime. 

Dance troupes

January to October 1964 – no dance troupes

In the era before promotional videos were routinely produced for every charting single, the BBC would frequently have neither the band themselves nor alternative footage available for a song selected for the programme. In the first few months of the show in 1964, the director would just scan across the audience dancing in the absence of any other footage, but by October 1964 a decision was made to at least occasionally bring in a dance troupe with a choreographed routine to some of the tracks  as a third option, and also to encourage the audience to dance in the show "otherwise they'd just stand around looking gormless". 

November 1964 to April 1968 – The Go-Jos

An initial candidate troupe was the existing BBC TV Beat Girls, but an ex-dancer from the Beat Girls, Jo Cook, was eventually engaged to create a troupe, the all-female Go-Jos.,   with Cook as choreographer. The Go-Jos also worked outside of Top of the Pops, notably for two years on the Val Doonican show  - Doonican said in 1968 "I thought the Gojos were fabulous, something really new. When I got my own television series I just had to have them with me." 

They were initially a three-piece (Pat Hughes for the first edition only, Linda Hotchkin and Jane Bartlett), but their number eventually grew to six (Hotchkin, Bartlett, Lesley Larbey, Wendy Hilhouse, Barbara van der Heyde and Thelma Bignell) with Cook as full-time choreographer. Lulu remembered of their costumes "They mostly wore white boots to the knee and short skirts and the camera would go up the skirt and it was all very risqué."  

Their Top of the Pops dancing style was critically described by a later performer as "very typical of the 1960s: hands on your hips, wiggle from side to side, wave your arms in the air and shake your head madly till it almost comes off",  though Cook herself said of working on the Doonican show (of which she was dance director) comparing to Top of the Pops, "Pop steps are limited...With Val we have more scope, and we can work to get more of the feel of ballet into our numbers."

May to June 1968 – Go-Jos/Pan's People transition

In April 1968, a Top of the Pops choreographer, Virginia Mason,   auditioned for dancers for a routine  on Top of The Pops (Simon Says by the 1910 Fruitgum Company); two of whom that were successful (Ruth Pearson and Patricia "Dee Dee" Wilde) were part of the existing six-female dance troupe, Pan's People.  Like the Go-Jos, this group was also partly drawn from ex-members of the Beat Girls. 

Although this routine did not make it onto the programme itself, in subsequent weeks, members of Pan's People (Louise Clarke, Felicity "Flick" Colby, Barbara "Babs" Lord, Pearson, Andrea "Andi" Rutherford and Wilde) started to appear on the programme separately to the Go-Jos. Pan's People were then selected by the BBC over the Go-Jos when they chose a group to be the resident troupe.  The Go-Jos' final Top Of The Pops performance was in June 1968 dancing to "Jumping Jack Flash" by The Rolling Stones.

July 1968 to April 1976 – Pan's People

As with the Go-Jos, in the first eighteen months of the Pan's People era the dancers were not a weekly fixture on the programme.  However, due to group fan mail and good viewing figures, by 1970 the group was on nearly every week.  Their profile was raised to such a degree they were "transformed from jobbing dancers to Thursday-night superstars".  Pay was not high, they were paid the minimum equity rate of £56 per week. 

One of the original Pan's People dancers, Colby, became the full-time choreographer in 1971. 
Colby spoke of the dancing - "They weren't Broadway-standard routines...we were definitely doing watercolours, not oil paintings." 

May to October 1976 – Ruby Flipper

In early 1976, the last remaining of the early members of Pan's People, Ruth Pearson announced her retirement, leaving just four members all of whom who had joined within the last four years; Cherry Gillespie, Mary Corpe, Lee Ward and Sue Menhenick. Rather than continue with this line up or add additional members, it was decided by Colby and BBC production staff to replace this group  with a male and female group created for the programme, Ruby Flipper, choreographed by Colby and managed by Colby with Pearson. Lee Ward left shortly after this decision was made, reportedly saying regarding the change "It's a big mistake. Men rush home to watch sexy ladies. They do not want to see other men.". 

Rehearsals for this new group started in March 1976, and the group began appearing on Top Of The Pops in May 1976. Whilst producers were aware of the switch to the new group, Bill Cotton, the then head of the light entertainment unit of which Top Of The Pops was part, was not. This group started as a seven-piece with three men (Gavin Trace, Floyd Pearce and Phil Steggles) and four women (Menhenick, Gillespie, Patti Hammond and Lulu Cartwright). Corpe was not invited to join the new troupe. Trace, Pearce, Steggles and Cartwright joined following open auditions, Hammond, an established dancer, was invited to join to complete the "look" following a later individual audition.  Colby viewed this gender-mixed group as an opportunity to develop more physical routines including lifts.,  more duets and generally not have the whole group at each performance.

However, by August the BBC had decided to terminate the group due to perceived unpopularity and being "... out of step with viewers".  Their final appearance was in October 1976 (by this time Trace and Gillespie had already left, reducing Ruby Flipper to five members), with the senior management insisting on a replacement all-female grouping. Flick Colby recalled of this time "Bill Cotton called me in and said the British public didn’t want to see black men dancing with white women...I argued, but he told me to form another all-girl group or I was out." 

November 1976 to October 1981 – Legs & Co

The group created to replace Ruby Flipper was Legs & Co, reverting to an all-female line-up, and once more choreographed by Colby. Three of the six in the initial line-up (Menhenick, Cartwight and Hammond) were taken from Ruby Flipper.  with Rosie Hetherington, Gill Clarke and Pauline Peters making up the six. Despite being an all-female group, on occasion one or more male dancers were brought in, notably Pearce several times.

During their run the group covered the transition from Disco to Punk, Electronic and Modern Romantic music. Notably, they danced to two Sex Pistols tracks, as the Sex Pistols never did a studio performance in this period. 

December 1981 to September 1983 – Zoo

By late 1981, Legs & Co (by this time Anita Chellamah had replaced Peters) had become more integrated into the studio audience, rather than performing set-piece routines, as a result of the 'party atmosphere' brought in by Michael Hurll. Also by this time Colby was particularly keen to work once more with male dancers; feeling it time for a change, Legs & Co's stint was ended, and a twenty-member dance troupe (ten male, ten female), named Zoo was created, with an set of performers drawn from the pool of twenty each week.  Colby was now credited as "Dance Director". Three members of previous troupes, Menhenick, Corpe and Chellamah, made at least one appearance each during the Zoo period. The dancers now chose their own clothes, moving away from the synchronised appearance of previous troupes. 

October 1983 to 2006 – After Zoo

By the early 1980s, record companies were offering the BBC free promotional videos, meaning dance troupes no longer fulfilled their original purpose.  Zoo's run ended in 1983, and with it the use of dance troupes on Top Of The Pops.

After the demise of Zoo, the audience took a more active role, often dancing in more prominent areas such as behind performing acts on the back of the stage, and on podiums. However, in addition the show also employed so-called cheerleaders to lead the dancing.

Dance Troupe chronology

Go-Jos' first performance:  19 November 1964 – Dancing to "Baby Love" by The Supremes 

Pan's People first performance (three of the dancers,  independently contracted):  April 1968 – Dancing to "Young Girl" by Gary Puckett & The Union Gap  or "Respect" by Aretha Franklin 

Pan's People's first performance (as the six-piece group of early 1968):  30 May 1968 – Dancing to "U.S. Male" by Elvis Presley

Go-Jos' final performance:  27 June 1968 – Dancing to "Jumping Jack Flash" by The Rolling Stones 

Pan's People's final performance:  29 April 1976 – Dancing to "Silver Star" by The Four Seasons 

Ruby Flipper's first performance:  6 May 1976 – Dancing to "Can't Help Falling In Love" by The Stylistics 

Ruby Flipper's final performance:  14 October 1976 – Dancing to "Play That Funky Music" by Wild Cherry

Legs & Co's first performance (credited as ??????):  21 October 1976 – Dancing to "Queen Of My Soul" by Average White Band

Legs & Co's first performance (credited as Legs & Co):  11 November 1976 – Dancing to "Spinning Rock Boogie" by Hank C. Burnette

Legs & Co's final performance:  29 October 1981 – Dancing to "Favourite Shirts (Boy Meets Girl)" by Haircut 100

Zoo's first performance:  5 November 1981 – Dancing to "Twilight" by E.L.O.

Zoo's final performance:  29 September 1983 – Dancing to "What I Got Is What You Need" by Unique

Theme music

For much of the 1960s the show's theme music was an organ-based instrumental track, also called "Top of the Pops", by the Dave Davani Four.

* 1 January 1964 to ?: Instrumental percussion piece written by Johnnie Stewart and Harry Rabinowitz and performed by drummer Bobby Midgly.
* 1965 to 1966: Dave Davani Four's "Top of the Pops" with the Ladybirds on backing vocal harmonies. Originally the opening theme, this was later played as a closing theme from 1966 up until 1970.
* 20 January 1966 to 13 November 1969: Unknown instrumental guitar track.
* 27 November 1969 to 29 October 1970: Unknown brass track played over colour titles with a voiceover proclaiming, "Yes! It's number one! It's Top of the Pops!" There was no TOTP on 20 November 1969 due to the Apollo 12 Moon landing.
* 5 November 1970 to 14 July 1977: Led Zeppelin's "Whole Lotta Love" based on the CCS release, but specially re-recorded by CCS with the same personnel from their first album, playing a 40-second version.
* 21 July 1977 to 29 May 1980: No opening theme tune: A contemporary chart song was played over the countdown stills. "Whole Lotta Love" featured only in Christmas editions, the 800th edition from 26 July 1979 and the voice-over only edition from 22 November 1979.
* 7 August 1980 to 2 July 1981: No opening theme tune: The CCS version of "Whole Lotta Love" was played over some of the images of the featured artists and during the countdown stills in the Top 30 and Top 20 sections which were moved later on in the programme. From the edition of 18 December 1980, "Whole Lotta Love" was only heard during the chart rundowns.
* 9 July 1981 to 27 March 1986: "Yellow Pearl" by Phil Lynott was commissioned as the new theme music. From 1983 to 1984, a re-recording of "Yellow Pearl" was played over the chart rundown and a soft rock version from 1984 to 1986.
* 3 April 1986 to 26 September 1991: "The Wizard", a composition by Paul Hardcastle.
* 3 October 1991 to 26 January 1995: "Now Get Out of That" composed by Tony Gibber.
* 2 February 1995 to July 1997: the theme was a track called "Red Hot Pop" composed by Vince Clarke of Erasure.
* July 1997 to 24 April 1998: No opening theme. The opening of the first song of the episode was played under the titles.
* 1 May 1998 to 21 November 2003, updated, drum and bass version of Led Zeppelin's "Whole Lotta Love" by Ben Chapman.
* 28 November 2003 to 30 July 2006 and until 2012 for TOTP2 and Xmas specials: A remixed version of "Now Get Out Of That" by Tony Gibber.
* 25 December 2013 to present for Top of the Pops Christmas and New Year Specials - A mix of both the 1970s 'Whole Lotta Love' theme and the 1998 remix.

Missing episodes

Due to the BBC's former policy of deleting old programmes, the vast majority of the episodes from the programme's history prior to 1976 have been lost, including the only live appearance by the Beatles. 

Of the first 500 episodes (1964–73) only about 20 complete recordings remain in the BBC archives, and the majority of these are from 1969 onwards. The earliest surviving footage dates from 26 February 1964 and consists of performances by Billy J. Kramer and the Dakotas and the Dave Clark Five. Some programmes exist only partially (largely performances that were either pre-recorded or re-used in later editions). There are also two examples of rehearsal footage, which are both from 1965, one which includes Alan Freeman introducing the Seekers,  and another with Sandie Shaw rehearsing "Long Live Love"  both believed to be for the end-of-year Christmas Special. There are also cases of shows that only exist in their raw, unedited form. The oldest complete episode in existence was originally transmitted on Boxing Day in 1967 (only four complete recordings from the 1960s survive, two of which have mute presenter links). The most recent that is not held is dated 8 September 1977. All editions after this date exist in full.

Some off air recordings, made by fans at home with a microphone in front of the TV speaker, exist in varying quality, including The Jimi Hendrix Experience performing a live version of Hey Joe in December 1966.

Some segments of TOTP which have been wiped by the BBC do survive in some form owing to having been included in other programmes, either by the BBC itself or by foreign broadcasters. The only surviving footage of The Beatles on the programme, for instance, comes from its re-use in episode one of 1965 Doctor Who serial The Chase.  Additionally a number of recordings are believed to exist in private collections. 

5 April 1984 episode was never made, as BBC1 was off air the entire day due to industrial action. Additionally, the programme was forced off the air for several weeks by industrial action by the Musicians' Union in both 1974 and 1980.

Spin-offs

Top of the Pops has a sister show called TOTP2 which uses archive footage from as early as the late 1960s. It began on 17 September 1994. The early series were narrated by Johnnie Walker, before Steve Wright took over as narrator. In summer 2004 BBC Two's controller, Roly Keating, announced that it was being "rested". Shortly after UKTV G2 began showing re-edited versions of earlier programmes with re-recorded dialogue. Finally after a two-year break TOTP2 returned to the BBC Two schedules for a new series on Saturday, 30 September 2006, in an evening timeslot. It was still narrated by Steve Wright and featured a mixture of performances from the TOTP archive and newly recorded performances. The first edition of this series featured new performances by Razorlight and Nelly Furtado recorded after the final episode of Top of the Pops. In 2009 Mark Radcliffe took over as narrator.

Aired on BBC Radio 1 between the mid-1990s and late 2001 was Top of the Pops: The Radio Show which went out every Sunday at 3 pm just before the singles chart, and was presented by Jayne Middlemiss and Scott Mills. It later reappeared on the BBC World Service in May 2003 originally presented by Emma B, where it continues to be broadcast weekly in an hourly format, now presented by Kim Robson and produced by former BBC World Service producer Alan Rowett.

The defunct channel Play UK created two spin offs; TOTP+ Plus and TOTP@Play (2000–2001) (until mid-2000, this show was called The Phone Zone and was a spin-off from BBC Two music series The O-Zone). BBC Choice featured a show called  TOTP The New Chart (5 December 1999 – 26 March 2000) and on BBC Two TOTP+ (8 October 2000 – 26 August 2001) which featured the TOTP @ Play studio and presenters. This is not to be confused with the UK Play version of the same name. A more recent spin-off (now ended) was Top of the Pops Saturday hosted originally by Fearne Cotton and Simon Grant, and its successor Top of the Pops Reloaded. This was shown on Saturday mornings on BBC One and featured competitions, star interviews, video reviews and some Top of the Pops performances. This was aimed at a younger audience and was part of the CBBC Saturday morning line-up. This was to rival CD:UK at the same time on ITV.

Send-ups

A number of performers have sent up the format in various ways. Mainly this has been performers who disliked the mime format of the show, often as a more effective protest against this rather than just refusing to appear.

* When Fairport Convention appeared to promote their 1969 hit "Si Tu Dois Partir", drummer Dave Mattacks wore a T-shirt printed "MIMING".
* When The Smiths appeared on the show to perform their single "This Charming Man", lead singer Morrissey was unhappy about having to lip-sync and so held a bunch of gladioli on the stage instead of a microphone.
* In the 1970s the Stranglers performed their song "No More Heroes", with Hugh Cornwell deliberately miming terribly. Also, during the guitar solo Cornwell "played" the guitar with his teeth and drummer Jet Black sat in the opposite direction from the drum kit and drummed the air. They performed similar antics two years later when miming their hit "Duchess".
* In 1977, Australian punk band the Saints appeared when their minor hit "This Perfect Day" made the lower reaches of the chart. Singer Chris Bailey deliberately mimed the lyrics out of time before continuing to sing after allowing the microphone to fall out of his hand. Meanwhile, guitarist Ed Kuepper stood stock still, staring blankly away from the camera whilst strumming intermittently at a fraction of the fast pace of the guitar on the record.
* During their performance of "Tom Hark" in 1980, the drummer for the Piranhas used plastic fish instead of drum sticks.
* Northern Irish punk band Stiff Little Fingers appeared a few times on the show and each time didn't take it seriously. Normally singer Jake Burns would pull silly faces and flirt with the camera while playing. Drummer Jim Reilly would purposely hit the drums in a repetitive manner that didn't match up with the song and at times would pull the drum kit apart before the song was finished. And once, while playing the song "Just Fade Away", Reilly played a bodhrán rather than drums.
* While performing their 1982 hit "Jackie Wilson Said (I'm in Heaven When You Smile)", the band Dexy's Midnight Runners were seen performing in front of a projection of the darts player Jocky Wilson instead of soul singer Jackie Wilson.  Dexy's frontman Kevin Rowland later said in an interview that the use of the Jocky Wilson picture was his idea and not a mistake by the programme makers as is sometimes stated.  
* Frankie Goes To Hollywood performed one of the many 1984 performances of their hit "Two Tribes" with bassist Mark O'Toole playing drums whilst drummer Ped Gill played bass.
* After The Bluebells' hit "Young at Heart" unexpectedly reached number one in 1993, nine years after the song's original release, the band reunited after having spent many years disbanded to play the song several times on the show where they parodied various other famous acts of the time such as Shabba Ranks and 2 Unlimited, one performance including lead singer Ken McCluskey pretending to play or scratch records on a "Bluebells Disco" DJ deck erected in front of the stage. The performance from 25 March is also remembered for an unusual camera technique where a camera was fixed to the bow of the violinist, Bobby Valentino, leading to several fast and humorous shots of the bow being used.
* When Oasis mimed to "Whatever" on Top of the Pops in 1994, one of the cello players from the symphony was replaced by rhythm guitarist Bonehead, who clearly had no idea how the instrument should be played. Towards the end of the song, he gave up the pretence and started using the bow to conduct. A woman plays his rhythm guitar.  On another occasion Liam walked away from the microphone and chewed gum during a 2005 performance of "Lyla".
* Faith No More lead singer Mike Patton also showed he was obviously miming a performance by sticking his tongue out of the side of his mouth during close-up shots. Also, their 1997 performance of "Ashes to Ashes" on the show featured Robin Guy (of the band Sack Trick) on drums instead of their actual drummer. He apparently wore a "Puffy" mask as a joke in reference to Faith No More's actual drummer, Mike "Puffy" Bordin. Mike Patton can be seen giving Guy the finger during the performance, supposedly because the mask fell off (or was taken off on purpose) as soon as the performance started.
*Singer Les Gray of Mud went on stage to perform with a ventriloquist dummy during the performance of "Lonely This Christmas" and had the dummy lip-synch to the voice-over in the middle of the song.
*During Mott the Hoople's performance of their single "Roll Away the Stone" in 1973, drummer Dale Griffin plays with very large, oversized drumsticks.
* For Orbital's debut TOTP performance they just stood around, occasionally leaning forward to press a button on their sequencers. One of their machines had its power plug deliberately draped across it, to show the equipment wasn't even plugged in.
*EMF appeared on the show with one of the guitarists strumming along while wearing boxing gloves.
* In Blur's performance of "Charmless Man" in 1996, Dave Rowntree decided to play with oversized drumsticks, while Graham Coxon, played a mini guitar. 
* In Green Day's first Top of the Pops appearance in 1994, the band played the song "Welcome to Paradise". Frontman Billie Joe Armstrong wore an otherwise plain white T-shirt with the phrase "Who am I fooling anyway?" handwritten on it, most likely a reference to his own miming during the performance. He could also be seen not playing his guitar during the instrumental bridge in the song.
*The performance of "Maggie May" by Rod Stewart and the Faces featured John Peel miming on mandolin. Near the end of the song, Rod and the Faces begin to kick around a football. This is despite the fact that the music can be still heard playing in the background. 
* Eels performed "Novocaine for the Soul" playing on toy instruments, which they then trashed.
* The Cure were known for their abhorrence for miming their songs whilst on TOTP and on several occasions made it obvious they were not playing their parts – using such stunts as playing guitar left-handed, miming very badly out of synch and dressing their instruments up in clothes.
* During "Sing" by Travis, a pie fight broke out which aped the music video of the song. Even though the members of the band got involved, the music still played in the background.
* Ambient house group The Orb notably sat and played chess while an edited version of their 39:57-minute single "Blue Room" played in the background.
* Depeche Mode's performance of "Barrel of a Gun" in 1997 featured famous Dutch photographer and director Anton Corbijn who mimed playing the drums. Also Tim Simenon (who produced the album the song appeared on) mimed playing keyboards along with Andy Fletcher.
* When The Cuban Boys performed "Cognoscenti vs. Intelligentsia" at the end of 1999, a performance which was reportedly unbroadcast, the band wearing labcoats, covered in cobwebs.  The performance came during the song's peak in popularity, which grew extreme reactions, both positive and negative.
* In Nirvana's only appearance on the show, Kurt Cobain deliberately sang their 1991 hit "Smells like Teen Spirit" in a low monotonous voice (he later claimed to be impersonating Morrissey) and the guitarists waved their guitars around above their heads during the famous guitar intro of the song.
* When the Boomtown Rats performed "Rat Trap" on the show, Bob Geldof mimed playing a candelabra with a saxophone mouthpiece over the opening saxophone part, rather than pretend to play an actual instrument, and seems to be deliberately over-exaggerating his movements.  During the same performance the band ripped up pictures of John Travolta and Olivia Newton-John at the beginning of the song to celebrate having replaced "Summer Nights" (from the soundtrack of Grease) at number one.

International versions

Europe

The TOTP format was sold to RTL in Germany in the 1990s, and aired on Saturday afternoons. It was very successful for a long time, with a compilation album series and magazine. However, in 2006 it was announced that the German show would be ending. The Italian version (first broadcast on Rai 2 and later on Italia 1) also ended in 2006. In February 2010 the show returned on Rai 2, and was broadcast for two seasons before being cancelled again in October 2011. The French version of the show ended by September 2006. The Dutch version of the show continued to run on BNN until the end of December 2006.  BBC Prime used to broadcast re-edited episodes of the BBC version, the weekend after it was transmitted in the UK. Ireland began transmitting Top of the Pops in November 1978 on RTÉ2. This was the UK version being transmitted at the same time as on BBC. The broadcasts ceased in late 1993.

United States and Canada

Top of the Pops had short-lived fame in the United States. In 1987, the CBS television network decided to try an American version of the show. It was hosted by Nia Peeples and even showed performances from the BBC version of the programme. The show was presented on late Friday nights as part of CBS Late Night, and lasted almost a year.

In 2002, BBC America presented the BBC version of Top of the Pops as part of their weekend schedule. The network would get the episodes one week after they were transmitted in the UK. BBC America then tinkered with the show by cutting a few minutes out of each show and moving it to a weekday time slot.

On 23 January 2006, Lou Pearlman made a deal to bring Top of the Pops back to the airwaves in the United States. It was expected to be similar to the 1987 version, but it would also utilise the Billboard magazine music charts, most notably the Hot 100 chart. It was supposed to be planned for a possible 2006 or 2007 launch, but with several lawsuits against Lou and his companies (which resulted in his conviction in 2008), as well as the cancellation of the UK version, the proposed US project never went forward. On 19 August 2006, VH1 aired the UK series' final episode.

The United States had its own similar series, American Bandstand, which aired nationally on ABC from 1957 to 1987 (although it would continue in first-run syndication until 1988 and end its run on USA in 1989). Similar series also included Soul Train (1970–2006, featuring R&B artists), Club MTV (1986–92, featuring Dance Music acts; hosted by Downtown Julie Brown, an alumnus of TOTP as part of the show's last dance troupe Zoo) and Solid Gold (1980–88; like the early TOTP, it also used dance troupes).

Canada's version of this (mostly of  American Bandstand and Soul Train) was Electric Circus (1988–2003), which was also seen in the USA, and which had a national chart (mostly of dance music and some pop) as well as live performances, and was based on a local late '70s programme in Toronto called CITY TV Boogie.

New Zealand

The Top of the Pops brand has also been exported to New Zealand which for many years had to rely on music-video only shows to demonstrate its Top 20 (as well as the occasional season of the UK version of TOTP) as the world's top acts found New Zealand just too far away from the major markets to visit regularly. This all changed in 2002 when the New Zealand government suggested a voluntary New Zealand music quota on radio  (basically a threat that if the stations did not impose a quota themselves then one would be imposed on them). This worked and suddenly the amount of indigenous music played on radio stations shot up, as did the number of New Zealand hits in the top 20. Therefore, a new version of a show like Top of the Pops became feasible for the first time, and the show was commissioned by Television New Zealand. The show was Executive Produced by David Rose, managing director and owner of Satellite Media and began in early 2004 with host Alex Behan. The hour-long show (as opposed to the 30-minute UK version) which is broadcast at 5 pm on Saturdays on TV2 (New Zealand) contains a mixture of songs recorded on a sound stage in the Auckland CBD, as well as performances from the international versions of the show. The New Zealand Top 20 singles and Top 10 albums are also featured. Alex stayed as host for two years before Bede Skinner took over. Despite a popular fan base in early 2006 TVNZ announced that Top of the Pops has been axed and ideas for new music shows are currently being considered.

Free-to-air music channel C4 then picked up the UK version of Top of the Pops and aired it on Saturdays at 8 pm with a repeat screening on Thursdays. However, since the UK version has recently been axed itself, this arrangement has obviously now ended.

Africa, Asia and the Middle East

An edited version of the UK show was shown on BBC Prime, the weekend after UK transmission.

In addition, a licensed version was shown on the United Arab Emirates-based MBC 2 television channel. This version consisted of parts of the UK version, including the Top 10 charts, as well as live performances by Arabic pop singers.

Latin America

A complete version of the UK show was shown on People+Arts, two weeks after the UK transmission.

Compilation albums

A number of compilation albums using the Top of the Pops brand have been issued over the years. The first one to reach the charts was BBC TV's The Best of Top of the Pops on the Super Beeb record label in 1975, which reached number 21.

Starting in 1968 and carrying on through the 1970s a rival series of Top of the Pops albums were produced, however these had no connection with the television series except for its name. They were a series of budget cover albums of current chart hits recorded by anonymous session singers and musicians released on the Hallmark record label. They had initially reached the charts but were later disallowed due to a change in the criteria for entering the charts. These albums continued to be produced until the early 1980s, when the advent of compilation albums featuring the original versions of hits, such as the Now That's What I Call Music! series, led to a steep decline in their popularity.

In the 1990s, the BBC Top of the Pops brand was again licensed for use in a tie-in compilation series. Starting in 1995 with Sony Music's Columbia Records label, these double disc collections moved to the special marketing arm of PolyGram / Universal Music Group TV, before becoming a sister brand of the Now That's What I Call Music! range in the EMI / Virgin / Universal joint venture.

Similarly to the roles of Top of the Pops on BBC One and BBC Two in the late 1990s and early 2000s, the compilation albums range featured current hits for the main series and classic hits (such as '70s Rock) for the "Top of the Pops 2" spin-offs.

The Top of the Pops brand has now been licensed by EMI who released a compilation series in 2007–08, with one CD for each year that Top of the Pops was running. The boxset for the entire series of 43 discs was released 7 July 2008. A podcast supporting the release of the boxset featuring interviews with Mark Goodier, Miles Leonard, Malcolm McLaren and David Hepworth is available.

Number One in the Compilation Charts

These albums in the series reached No. 1:
* Top of the Pops 1 (Columbia Records, 1995)
* Top of the Pops '99 – Volume 2 (Universal Music TV, 1999)
* Top of the Pops 2000 – Volume Two (BBC Music / Universal Music TV, 2000)

Top of the Pops magazine

Top of the Pops magazine has been running since February 1995, and filled the void in the BBC magazine portfolio where Number One magazine used to be. It began much in the mould of Q magazine, then changed its editorial policy to directly compete with popular teen celebrity magazines such as Smash Hits and Big, with free sticker giveaways replacing Brett Anderson covers.

An early feature on the Spice Girls coined the famous "Spice" nicknames for each member (Baby, Ginger, Posh, Scary and Sporty) that stayed with them throughout their career as a group and beyond.

The BBC announced that the magazine would continue in publication despite the end of the television series, and is still running.

An earlier Top of the Pops magazine appeared briefly in the mid-1970s. Mud drummer Dave Mount sat reading an edition throughout a 1975 appearance on the show.

In popular culture

* The Scottish punk band the Rezillos lampooned the show as a vehicle for vapid commercialism and for paying little or no attention to talented, unknown bands, in their song "Top of the Pops." The band performed the song on the programme twice when it entered the charts.
* The Justified Ancients of Mu Mu (who later became the KLF) sampled nearly three minutes of Top of the Pops on their album 1987.
* A 2001 episode of Tweenies featured a parody of Top of the Pops, complete with Max imitating Jimmy Savile. 
* The #6 track of The Kinks' eighth studio album "Lola Versus Powerman and the Moneygoround, Part One" is called "Top of the Pops" and narrates the path to stardom by reaching #1 in the music charts.
* The Goodies episode Superstar contained a spoof edition of Top of the Pops. Entrance to the show was protected by barbed wire and machine guns with a poster declaring Tonight Girls Only. Must be over 16 and under 17. With Big Knockers. It also featured an impersonation of Jimmy Savile by John Peel. 

Licensing

In May 2006, following a special Red Hot Chili Peppers concert recorded in the car park of BBC Television Centre, Hammersmith and Fulham Council (which governs the area the centre is located) informed the BBC that in order to legally conform to an Act of Parliament which came into force in 2004 they needed to have a special licence to continue to admit members of the public to any future performances. Before the matter was resolved the BBC requested the assistance of their own staff members to fill-in as audience members for this and other music shows. 

DVDs

In 2004 there was a DVD released called Top of the Pops 40th Anniversary 1964–2004 DVD. It features one song for each year (except 1966, two tracks from 1965 are featured instead) to celebrate its 40th anniversary.

There was also a DVD quiz released in 2007 called The Essential Music Quiz. There was also a DVD in 2001 called Summer 2001, a sister DVD to the album of the same name. Dexys Midnight Runners (currently called Dexys)   are an English pop band with soul influences, who achieved their major success in the early to mid-1980s. They are best known in the UK for their songs "Come On Eileen" and "Geno", both of which peaked at No. 1 on the UK Singles Chart, as well as six other top-20 singles. Outside the UK and Ireland they are best known for "Come On Eileen" (their only international hit) and generally have an image as "one-hit wonders".

During the late 1970s and early 1980s, Dexys went through numerous personnel changes over the course of three albums and thirteen singles, with only singer/songwriter/co-founder Kevin Rowland remaining in the band through all of the transitions and only Rowland and "Big" Jim Paterson (trombone) appearing on all of the albums.  The band broke up in 1987, with Rowland becoming a solo artist. After two failed restart attempts, Dexys was reformed by Rowland in 2003 with new members, as well as a few returning members from the band's original lineup (known as Dexys Mark I).  In 2012 Dexys finally released their fourth album, and a fifth followed in 2016.

Career

Dexys Mark I: 1978–80

Foundation and first single 

After the breakup of their previous band the Killjoys, Kevin Rowland (vocals, guitar, at the time going under the pseudonym Carlo Rolan)  and Kevin "Al" Archer (vocals, guitar) founded the band in 1978 in Birmingham, England.  Rowland had previously written a Northern Soul-style song that the two of them sang, "Tell Me When My Light Turns Green", which became the first Dexys "song",  and they then named the band after Dexedrine, a brand of dextroamphetamine popularly used as a recreational drug among Northern Soul fans at the time. The "midnight runners" referred to the energy the Dexedrine gave, enabling one to dance all night.  While recruiting members for the new band, Rowland noted that "Anyone joining Dexys had to give up their job and rehearse all day long. . . . We had nothing to lose and felt that what we were doing was everything." "Big" Jim Paterson (trombone), Geoff "JB" Blythe (saxophone, previously of Geno Washington's Ram Jam Band), Steve "Babyface" Spooner (alto saxophone), Pete Saunders (keyboard), Pete Williams (bass) and John Jay (drums) formed the first line-up of the band, which began playing live at the end of 1978. 

By summer 1979, Bobby "Jnr" Ward replaced Jay on drums.  Clash manager Bernard Rhodes then signed them and sent them into the studio to record a Rowland-penned single, "Burn It Down", which Rhodes renamed to "Dance Stance".  In response to Rhodes' criticism of Rowland's singing style, Rowland developed a "more emotional" sound, influenced by General Johnson of the Holland-Dozier-Holland band The Chairmen of the Board, as well as the theatricality of Bryan Ferry. 

After a series of dates opening for The Specials, who wore suits on stage to create an image, Rowland decided that his new band needed its own distinct look.  Borrowing from an outfit that Paterson had worn to rehearsals, Dexys subsequently dressed in donkey jackets or leather coats and woolly hats, a look described as "straight out of De Niro's Mean Streets". Rowland said of the band's sound and look in January 1980: "we didn't want to become part of anyone else's movement. We'd rather be our own movement". A unified image became very important to the group, with Rowland commenting "We wanted to be a group that looked like something ... a formed group, a project, not just random." 

"Dance Stance", which Rhodes produced, was released on the independent Oddball Records, which Rhodes owned, and which was distributed by EMI.  Although it was named "single of the week" by Sounds, it stalled at number 40 in the British charts, which EMI said was due to Rhodes' poor production.  As a result, Dexys fired Rhodes and signed directly to EMI, and EMI immediately put Pete Wingfield in charge of their production.  Both Saunders and Ward left the band, to be replaced by Andy Leek (keyboards) and Andy "Stoker" Growcott (drums).

Searching for the Young Soul Rebels and first band split

Building on the unexpected success of "Dance Stance" (aka "Burn It Down"), Dexys' next single, "Geno" – about Geno Washington – became a British Number One in 1980. It featured the band's "Late Night Feelings" imprint on the single, which became a trademark of the band's records on EMI.  Rowland wrote about Washington as he had seen one of his performances aged 11 with his brother. The success of the song prompted Washington to make a return to live performance, but it also prompted the departure of Leek, who gave his reasons for leaving as "Really hating being famous all of a sudden ... Just because I've been on Top of the Pops doesn't mean I should get any more respect. I didn't want people asking for my autograph all of the time."   Pete Saunders returned to the band temporarily, replacing Leek, to record their debut album.

Dexys' debut LP, Searching for the Young Soul Rebels, which featured "Geno", was released in July 1980. The label of the album also included the band's "Late Night Feelings" imprint, and the album's sleeve featured a photograph of a Belfast Catholic boy carrying his belongings after moving from his home during the Troubles; the Irish-descended Rowland explained that "I wanted a picture of unrest. It could have been from anywhere but I was secretly glad that it was from Ireland." Of the album's title, Rowland said "I don't know ... I just liked the sound of it, really."  Of the songs on the album, only two ("Geno" and "There, There, My Dear") were written by Rowland (lyrics) and Archer (music) together; producer Pete Wingfield hadn't liked Rowland's lyrics on their third co-composition ("Keep It") and had instead turned those lyrics into a separate song ("Love Part One"); Blythe wrote new lyrics for the version of "Keep It" on the album.   The same month, Rowland imposed a press embargo on the band; instead, Dexys would take out ads in the music papers explaining the band's position on various issues. This was a response to some less than complimentary opinions from some music press writers; for example, the NME's Mark Cordery accused the band of "emotional fascism" and described their music as a perversion of soul music with "no tenderness, no sex, no wit, no laughter".

After the album, Saunders was replaced by Mick Talbot (ex-The Merton Parkas) on keyboards.  "There, There, My Dear" became the band's second top-10 single.  However, after a couple months of touring, Rowland insisted on writing new lyrics to Archer's music for "Keep It" for release as the band's next single, despite EMI's objections.   The single, called "Keep It Part Two (Inferiority Part One)", was a failure, and five of the band members then quit, angered over continual personality problems with Rowland, as well as Rowland's policy of not speaking to the music press.  Archer and Paterson both remained with Rowland at first, but then Archer also decided to leave, which reduced Dexys to just Rowland and Paterson, whom Rowland referred to as "the Celtic soul brothers" (in reference to Paterson's Scottish background and Rowland's Irish background). 

Archer (and Leek) eventually formed The Blue Ox Babes, while the other departing members—Blythe, Spooner, Williams, "Stoker", and Talbot—formed The Bureau, which Wingfield continued to produce.

Dexys Mark II: 1981-82

The Projected Passion Revue

Rowland and Paterson first chose to write several new songs, so that Dexys could move forward from the split.  They then brought in an old friend of theirs, Kevin "Billy" Adams (guitar/banjo), along with Seb Shelton (drums, formerly of Secret Affair), Mickey Billingham (keyboard), Brian Maurice Brummitt (who dropped his last name for his stage name "Brian Maurice", alto saxophone), Paul Speare (tenor saxophone) and Steve Wynne (bass). This new lineup also adopted a new look that included hooded tops, boxing boots, and pony tails. Along with the new image, Rowland brought in a fitness regime, which included working out together and running as a group, Rowland commenting "The togetherness of running along together just gets ... that fighting spirit going". The group would also take part in group exercise sessions before performances, and drinking before shows was strictly forbidden.

By the time the new band's first single "Plan B", produced by Alan Shacklock instead of Wingfield, was released in March 1981, the band's management had discovered that EMI had failed to pick up a mandatory contract option, so Dexys were technically no longer under contract.  They asked, without success, that EMI not release the single; without promotion, the single flopped. Later in March 1981, an ad appeared in which Rowland stated that the previous members of the band had "hatched a plot to throw Kevin out and still carry on under the same name". It also cited Rowland's suggestion that "they might learn new instruments" as a reason for their displeasure. The ad announced that Dexys had been working on a new live venture, "The Midnight Runners Projected Passion Revue".

In April, Dexys prevailed to win their release from EMI, although without the financial support of a label, they were unable to mount the spring tour that had planned and had to settle for playing only five dates, including one recorded by BBC Radio 1.  In June they signed by Mercury Records, where Dexys remained until their 1987 breakup.  Dexys' first single for Mercury, "Show Me", produced by Tony Visconti. was released in July 1981 and reached No. 16 in the UK.  The label switch was followed by a session for Richard Skinner's BBC Radio 1 show in which the band previewed tracks that would be reworked later on Too-Rye-Ay. Wynne was sacked by the group at this point, to be replaced by Mick Gallick (whom Rowland gave the stage name "Giorgio Kilkenny") on bass.  Music journalist Paolo Hewitt commented about this version of Dexys: "Dexys wouldn't make a record unless they thought it was great.  And they wouldn't play a gig unless they thought they were gonna be great."

Around this time, Archer played Rowland demos of Archer's new group, The Blue Ox Babes, which featured, in Rowland's words, "a Tamla-style beat with violins".  The violins had been played by a Birmingham School of Music classical violin student named Helen Bevington.  Rowland's first idea was to get the horn players to also play strings, as he had discussed in the March interview (with Speare on viola, which he already played, and string novices Paterson and Maurice on cello), and the horn players (with session musician support) contributed strings to the third single with the new lineup, "Liars A to E", produced by Neil Kernon, which was released in October 1981.  In November, the group played a three-night stand at The Old Vic in London, with the horn section again doubling on strings.  The Old Vic shows attracted unexpectedly rave reviews in the press, although these concerts were not recorded.  Rowland said of these shows, "Those three nights at the Old Vic were all I wanted to say in '81."

Dexys' 1981 recordings, including all three singles (both A-sides and B-sides) as well as the tracks from the two BBC Radio 1 appearances, were released by Dexys on CD in 2007 as The Projected Passion Revue.

Too-Rye-Ay, stardom, and turnover

As Dexys prepared to record their first album for Mercury, Rowland decided that he needed more proficient string players to achieve the sound he envisioned.  He sent Speare to invite Bevington to join Dexys, which she agreed to do, and Rowland gave her the Irish-sounding stage name of Helen O'Hara. Rowland also asked her to recruit two other violinists; she brought fellow students Steve Shaw and Roger Huckle, whom Rowland renamed as Steve Brennan and Roger MacDuff, and Rowland named the violin section "The Emerald Express". However, the need to rearrange all the songs for both strings and horns left the brass section of Paterson and Maurice (and to a lesser extent Speare) feeling that their role in the band had diminished.  Thus, just prior to the recording sessions, Paterson and Maurice quit.  Rowland was able to persuade them to remain in Dexys long enough to record the next album .   Shortly thereafter, Speare also joined their planned departure.

This fractured line-up recorded Too-Rye-Ay in early 1982 with producers Rowland, Clive Langer and Alan Winstanley,.  The album featured a hybrid of soul and Celtic folk, similar to Archer's new direction.  All of the post-breakup singles and the Projected Passion Revue material were re-arranged and re-recorded with the new lineup.  The new sound was accompanied by the band's third new look, with the band attired in dungarees, scarves, leather waistcoats, and what was described as "a generally scruffy right-off-the-farm look", or "a raggle-taggle mixture of gypsy, rural Irish and Steinbeck Okie".   Rowland jokingly said of the new image: "These are my best clothes. Again it just feels right for the music. Everybody else is dressing up sort of straight-laced and pretty down-to-earth and we come in wearing these and it's like, y'know here we are, a bit of hoedowning is even possible".

The first single, "The Celtic Soul Brothers" (cowritten by Rowland and Paterson with Mickey Billingham), which was released before the album, only reached number 45 on the UK charts.   After the failure of this single, O'Hara said that the band believed that they immediately needed a hit single to survive.  To help create momentum, the band performed a live BBC Radio 1 concert in Newcastle on 6 June 1982, which was the last appearance of the horn section of Paterson, Maurice, and Speare with Dexys.  

Released right after the live appearance, Dexys' follow-up single, "Come On Eileen" (cowritten by Rowland and Paterson with Billy Adams), became that much-needed hit -- a Number One hit in the UK, which also became Dexys' first single released in the United States (and second in North America, after "Seven Days Too Long", which was only released in Canada)  -- where it peaked at #1 in April 1983 on the Billboard Hot 100 chart.  The third UK single from the album , Van Morrison's "Jackie Wilson Said (I'm in Heaven When You Smile)", also reached the top 5 in the UK singles chart. The band sang this song on the UK comedy The Young Ones. When the band performed this single on the BBC TV music show Top of the Pops, instead of a picture of Jackie Wilson, the American soul singer, the band performed in front of a photo of Jocky Wilson, the Scottish darts player. 

The horn section became known as The TKO Horns and continued working with Too-Rye-Ay producers Langer and Winstanley, just as The Bureau and The Blue Ox Babes had continued working with Pete Wingfield.  To replace them, Dexys added saxophonist Nick Gatfield and used various session musicians, including Kevin Gilson (saxophone) and Mark Walters and Spike Edney (trombone).  Soon thereafter, Billingham also left the band but continued to appear with Dexys on a session basis until the end of the year, when he joined General Public.

Dexys Mark III: 1982-1987

Touring and more turnover

With Paterson's departure, the core of Dexys became Rowland, Adams, and O'Hara.  In September, touring behind the hit album, Dexys embarked on The Bridge tour.  On 10 October 1982, the Dexys performance at the Shaftesbury Theatre in London was recorded by Steve Barron and then released on videodisk and videocassette (and later DVD) as an edited 9-song set also entitled The Bridge.  

Rowland, Adams and O'Hara jointly wrote the band's next single, "Let's Get This Straight (From the Start)" (with O'Hara also contributing piano on the recording along with Billingham).  At the start of 1983, Robert "Bob" Noble replaced Billingham on keyboards and Kilkenny was replaced by John "Rhino" Edwards on bass.   Dexys finally toured the U.S. in 1983 and continued to tour through that summer.  However, the major success of Too-Rye-Ay became an issue for Rowland, who said in 1999 that "I was fairly comfortable being the outsider knocking on the door[, but] once the door opened and I stepped inside, I was completely lost" and that he went into "complete self-destruct mode."  Rowland and O'Hara also began a personal relationship during the U.S. tour; in Rowland's words, he was "obsessed with her but not enjoying the band."

Don't Stand Me Down and break-up

Although Dexys began preparing material for a new album in late 1983, once the touring stopped, the band was reduced to a nucleus of Rowland, Adams, O'Hara and Gatfield.  Recording and mixing the new album took almost two years and spread across Switzerland, the U.K., and the U.S.  Various seasoned performers and session musicians made up the rest of the band, including Vincent Crane (ex-Atomic Rooster) on piano, Julian Littman on mandolin,, Tim Dancy (who had been Al Green's drummer) on drums, Tommy Evans on steel guitar, and former Dexys members "Big" Jim Paterson on trombone, Robert Noble on organ and synthesizer, and John "Rhino" Edwards on bass.  

Finally, in September 1985, Dexys released its first new album in three years, Don't Stand Me Down.  Production was originally credited to Alan Winstanley and Rowland, although later reissues have included Adams and O'Hara as producers as well.  The four remaining members were pictured on the album cover in the band's fourth new look, an Ivy League, Brooks-Brothers look, wearing ties and pin-striped suits (except for O'Hara, who wore a grey women's business suit), and with neatly combed hair.   Rowland described Dexys' new look as "so clean and simple; it's a much more adult approach now".  

In an interview with HitQuarters Gatfield later described the recording process as "very long and painful",  and he left the group after a short tour of France and the UK.   The album's most controversial feature was its use of conversational dialogue in the songs;  Rowland said, "The idea of a conversation in a song is interesting to me."   Commenting on this,  O'Hara said that "we had to keep going ahead with what we believed" despite the length of time that the production took. 

Most contemporaneous reviewers strongly disliked this latest incarnation of Dexys, comparing the new look to "double glazing salesmen" and condemning the album as "a mess" and "truly awful".    Only a few reviewers were supportive; for example, writing in the Melody Maker, Colin Irwin described it as "quite the most challenging, absorbing, moving, uplifting and ultimately triumphant album of the year". 
	
Rowland at first refused to issue any singles from the album, comparing Dexys to bands like Led Zeppelin that never released singles.  By the time a 3-minute edit of the 12-minute "This Is What She's Like" was released, it was too late to save the album from commercial failure, and the "Coming to Town" tour that followed the album was played before "half-empty theaters".  Rowland said, "I felt that we couldn't do anything better than [Don't Stand Me Down].  It took so much out of me, but the record company threw the towel in.  I think they wanted to teach me a lesson."  In the aftermath, Rowland and O'Hara's personal relationship ended, and Rowland started to have issues with drug abuse.  However, Dexys returned to the U.K. charts in late 1986 with the single "Because Of You", again written by and featuring the nucleus of Rowland, O'Hara and Adams (and which was used as the theme tune to a British sitcom, Brush Strokes).  Dexys, which at this point just consisted just of that trio, finally disbanded in early 1987.

Rowland solo and failed Dexys reunions: 1987-2002

Rowland became a solo singer with the release of 1988's poorly received album, The Wanderer.  Rowland then suffered from financial problems, drug addiction and issues with depression, leading to him being "a bankrupt" by 1991 despite his ongoing royalties.  However, Dexys returned to the charts that year with the greatest-hits TV compilation The Very Best of Dexys Midnight Runners, which featured a number of songs that had never been released on CD, reached #12 on the charts, and was certified "Gold".   Consequently, Rowland "spent most of my time in rehab" in 1993 and 1994.  As part of that, Rowland made plans to reform Dexys together with Big Jim Paterson and Billy Adams, although these plans resulted in little more than a solitary TV performance in 1993.  Rowland then went on the dole; as he put it in 1999, "Insanity is no fun, mate.  People try to romanticize the idea of the suffering artist.  At my lowest ebbs there was no romance to it at all."

After more treatment, Rowland returned once more as a solo performer and signed to Creation Records, although, in his words, "every other record label advised [Creation] against it because I was trouble"  In 1997, he released his first project on Creation: a remastered and reprocessed version of Don't Stand Me Down with extensive liner notes, revised credits and titles, and two extra songs, which helped contribute to a significant reversal of opinion with regard to the album, which was now increasingly being re-evaluated and recognized as an unfairly-overlooked masterwork.  Following this, in 1999 Rowland released a new solo album of interpretations of "classic" songs called My Beauty, which received virtually no publicity or radio airplay and sold poorly but attracted attention for Rowland's cross-dressing cover attire.  Rowland limited his pre-release publicity for the album to one interview, and he "auditioned" potential interviewers before selecting one.  However, the negative reaction to My Beauty and the demise of Creation Records shortly after its release meant that Rowland's planned follow-up album, which would have featured Dexys performing new material, was never made. The failure caused Rowland more problems; in his own words from 2003, "Four years ago, I was nuts."  Later, in March 2010, Rowland said that signing to Creation was "definitely a mistake". 

Dexys Mark IV: 2003–present

Dexys reformed

While recording two new songs, "Manhood" and "My Life in England" (both credited to Rowland, Paterson, and David Ditchfield), for a forthcoming Dexys greatest hits album, Rowland recruited Welsh classical violinist (and studio musician) Lucy J. Morgan to play on the sessions along with original Dexys members Pete Williams as co-vocalist and "MD" Mick Talbot on keyboards, plus Paul Taylor on trombone and Neil Hubbard on guitar.  Following the sessions, Rowland offered Morgan a permanent place in the group, and she accepted.   With her addition, Rowland announced the reformation of Dexys in April 2003; he told Williams that his goal for the reformed band was to be true to the memory of Dexys but to "take it somewhere else".  The Dexys greatest hits album containing the new songs, Let's Make This Precious: The Best of Dexys Midnight Runners, was released on EMI in September 2003, followed by a successful tour 'to stop the burning' in October and November. The new songs on the album were touted as new singles, with Dexys even performing "Manhood" on Top of the Pops.  However, despite promotional single releases for each by EMI and airplay on national radio, neither was officially released as a commercial single.  Instead, a live performance by this 2003 version of Dexys was released on DVD, entitled It Was Like This -- Live (although some versions were packaged with a misleading picture of Rowland from the 1980s on the cover).  It Was Like This -- Live was reissued in 2012 on CD and DVD as At the Royal Court, Liverpool.

In 2004, another Rowland-supervised reissue of the now-out-of-print Don't Stand Me Down, subtitled "The Director's Cut", was issued on EMI with different remixing and remastering, an additional track ("Kevin Rowland's 13th Time"), and a different cover photograph showing the core trio (Rowland, Adams and O'Hara) walking in a park wearing "preppy" attire (instead of the previous business attire).  In the liner notes, Rowland said that, after the remastering and track changes, the album "now sounds to me as it was intended to sound." 

During a June 2005 interview on BBC Radio 2, Kevin Rowland announced that Dexys were "back in the studio" and seeking a record deal for a new album. A new track, "It's OK Johanna", appeared on the band's MySpace site in 2007, and in January 2008, Rowland told Uncut magazine further details about the album, saying in part: "I'm in the process of demo-ing the songs ... I don't know when it will be ready or who will play on the record. I want to get everything 100 percent right, and know that it's the best I can do and every note is there for a reason ... The only way I can be satisfied is to make the record I'm hearing in my head on my own terms."  As Rowland repeatedly stated, "Dexys are not a revival band. They are going forward, not backward."

One Day I'm Going to Soar and subsequent touring

In 2011, with the band's name officially shortened to "Dexys", work on new material started again with Rowland, Pete Williams, Mick Talbot, Neil Hubbard, and Lucy Morgan, who had all been in Dexys since the 2003 reformation, plus Big Jim Paterson and new female vocalist Madeleine Hyland.  Hyland was discovered at the last minute prior to recording, after what Rowland described as "about four years" of searching.  Rowland stated that some of the songs Dexys were recording dated back "15 or 20 years."  Dexys then announced that they would be embarking on another tour.  

In February 2012, Rowland officially announced the imminent release of a fourth studio album for Dexys. The band also released a preview of "Now", the album's first track. The album, entitled One Day I'm Going to Soar, was released by BMG on 4 June 2012.  All but one song were co-written by Rowland and Talbot, usually with other co-writers such as Paterson or Glen Matlock; the album continued in the same style as Don't Stand Me Down (featuring spoken sections in the songs), which led the album to be described as "a concept album with an unreliable narrator".  

The first single from the album was "She Got a Wiggle", released 28 May 2012.  They performed the song on Later... with Jools Holland in May 2012. The group toured in September 2012 in the UK, performing their new album.   Talbot left the group following this tour.

In 2013 the band announced that they would play nine shows in London's West End at the Duke of York's Theatre, St Martins Lane between 15 and 27 April.  These shows would become the basis for a documentary on the group entitled Nowhere Is Home, directed by Kieran Evans and Paul Kelly.   Nowhere Is Home was issued in both triple-CD and double-DVD formats in October 2014 on Dexys' own label, Absolute Dexys.  Dexys played more live dates in 2014; however, as Hyland was not available for several shows during the summer, Siobhan Fahey replaced her in the Dexys lineup.   (Fahey's sister, actress Máire Fahey, had portrayed "Eileen" in the music video and picture sleeve for "Come On Eileen" in 1982.) 

Let The Record Show: Dexys Do Irish and Country Soul

On 17 March 2016 (St. Patrick's Day), Dexys announced the release of their fifth studio album, Let The Record Show: Dexys Do Irish And Country Soul, which was subsequently released on 100%/Warner Music on 3 June 2016. The album features interpretations of Irish folk standards plus songs written by contemporary musicians.   The pre-release videos included on Dexys' Facebook page featured three band members: Rowland, Lucy Morgan, and Sean Read, whom Rowland described as the "nucleus" of the current version of Dexys.  The album also includes guest violinist Helen O'Hara, recording with the band for the first time in 30 years.  Rowland said that the idea for the album dated back to 1984–85, at which time the album would have been called Irish and featured only traditional Irish songs as interpreted by Dexys.  (In fact, O'Hara released such an album after Dexys' breakup, entitled A Night in Ireland, which includes three of the same songs. )  According to Rowland, "the brief [has] expanded from solely consisting of Irish songs, to songs I've always loved and wanted to record", such as "You Wear It Well", "To Love Somebody", and "Both Sides, Now".  

Dexys made its only two live appearances of 2016 to support this release: one at a private reception at the Embassy of Ireland in London on 6 June and one at Rough Trade East in London on 3 June.   For these performances, O'Hara temporarily rejoined Dexys in place of Morgan, who was unavailable.

Members

;Current members
*Kevin Rowland — lead vocals, bass, guitar, piano (1978–87, 2003–present)
*Lucy Morgan — violin, viola (2003–present)
*Sean Read  — keyboards, sax, guitar, vocals (2013-present)
*Michael Timothy — keyboards (2013-present)
*Andy Hobson — bass (2013-present)
*Billy Stookes — drums (2016)
*Mark Kavuma — trumpet (2016)

;Former members

*Kevin "Al" Archer — guitar, vocals (1978–81)
*Jim Paterson — trombone (1978–82, 1985, 2005–16)
*Pete Williams — bass, vocals (1978–80, 2003–14)
*Pete Saunders — keyboards (1978–80)
*John Jay — drums (1978–79)
*Steve Spooner — saxophone (1978–80)
*Geoff Blythe — saxophone (1978–80)
*Geoff Kent — trumpet (1978–79)
*Bobby Ward — drums (1979–80)
*Andy Leek — keyboards (1980)
*Andy Growcott — drums (1980)
*Mick Talbot — keyboards (1980, 2003–13)
*Kevin "Billy" Adams — guitar, vocals (1981–87)
*Mickey Billingham — keyboards, accordion (1981–82)
*Seb Shelton — drums (1981–84)

*Paul Speare — saxophone, flute (1981–82)
*Brian Maurice — saxophone (1981–82)
*Steve Wynne — bass (1981–81)
*Giorgio Kilkenny — bass (1981–82)
*Helen O'Hara — violin, vocals (1981–87, 2016)
*Steve Brennan — violin, accordion (1981–84)
*Roger MacDuff — violin (1981–84)
*John Edwards — bass (1982–85)
*Nick Gatfield — saxophone (1982–85)
*Spike Edney — trombone (1982–84)
*Robert Noble — organ (1982–85)
*Vincent Crane — piano (1985)
*Tim Dancy — drums (1985)
*Julian Litman — mandolin (1985)
*Mick Bolton — piano (1985–86)

*Pol Coussee — saxophone (1985–86)
*Fayyaz Virji — trombone (1985–86)
*Penn Pennington — guitar (1985–86)
*Jerry Preston — bass (1985–86)
*Philip Blakeman — guitar, accordion (2003–05)
*Neil Hubbard — guitar (2003–12)
*Julian Crampton — bass (2003–05)
*Crispin Taylor — drums (2003–05)
*Volker Janssen — keyboards (2003–05)
*Paul Taylor — trombone (2003–05)
*Madeleine Hyland — vocals (2011-14) 
*John McKenzie—bass (2012)
*Tim Cansfield — guitar (2013-14)
*David Ruffy — drums (2013-14)
*Siobhan Fahey — vocals (2014) 

Awards

* 1983 Brit Awards – Best British single (for "Come On Eileen")

Discography

Studio albums

Singles

Live albums

* 1980–1982: The Radio One Sessions (1995)
* BBC Radio One Live in Concert (1995)
* The Projected Passion Revue (2007)
* At the Royal Court, Liverpool (2012)
* Nowhere Is Home (2014)

Compilation albums

* Geno (1983) UK # 79
* The Very Best of Dexys Midnight Runners (1991) UK # 12 UK: Gold
* Because of You (1993)
* It Was Like This (1996)
* Master Series (1996)
* Let's Make This Precious: The Best of Dexys Midnight Runners (2003) UK No. 75
* Worth It - The Collection (2008)
* 20th Century Masters – The Millennium Collection: The Best of Dexy's Midnight Runners (2009)

Videography

* The Bridge (1983)
* It Was Like This - Live (2004)
* At the Royal Court, Liverpool (2012) (repackage of It Was Like This - Live)
* Nowhere Is Home (2014)
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