CHERI
(Canada, one Top 40 hit, no Top 40 albums)

Mega-vague memories of this Canuck girly duo whose singular attempt at chart domination was "Murphy's Law" ("sure out to get you") which scaled its way up to No.13. Superstitious or not, they never came back again..

Biggest Hit: "Murphy's Law", No.13, 1982
Defining Moment: None.

NENEH CHERRY
(US, four Top 40 hits, one Top 40 album)

Toothy, flamboyant jackie-of-all-trades who pulled off the cute trick of being a rare good example of the 'exciting' new dance era of '89. First hit "Buffalo Stance" ("So don't you get fresh with me!") was memorable for her playful to-crowd introduction of the percussion on offer ("now, tambourine!") and combined her undoubted ability to rap with vigour and yet deliver a 'proper' sung chorus. Something for everyone there. Her heavily-pregnant TOTP performance of the song prompted many a moronic moralist to suggest that she shouldn't be so active with a chavvy sprouting in her abdomen, followed by the usual cobblers about a mum-to-be having the nerve to do something other than putting her feet up for nine months and doing her breathing exercises. The follow-up followed the same compendium formula and became one of the year's few genuinely great hits, the gorgeous "Manchild" ("look at the state you're in") which ensured the accompanying album "Raw Like Sushi" would turn curly-topped Cherry into semi-trendy tabloid property and a genuine star. Final two singles were less inspirational - the dago-lingo rap on "Kisses On The Wind" ("so young, making love was only dreaming") just confused the hell out of the nation's undereducated schoolkids, while "Inna City Mamma" was just an error of judgement, full stop. The 90s saw her grow up a little with less rap and more moving moodfest ballads, including the extraordinary, caring-sharing definer duet with African legend Youssou N'Dour on "Seven Seconds". She also teamed up with Cher and Chrissie Hynde on charidee dirge "Love Can Build A Bridge", but we'll forgive her for that. Lesbian rumours were fuelled by some slapper's kiss-and-tell for thirty silver pieces in The Sun, and were never really solved though no-one gave a toss then and don't now. Hit harder times of late, but enigmatic little brother Eagle-Eye is helping. Engaging, bright, fun and forever to be remembered, quite rightly, for those two initial crossover classics.

Biggest Hit: "Buffalo Stance", No.3, 1989
Defining Moment: Getting 'padded bras' into a lyric.

CHILL FAC-TORR
(US, one Top 40 hit, no Top 40 albums)

With a name like that, it's no wonder we don't remember them. One arse-end hit in '83.

Biggest Hit: "Twist (Round 'N' Round)", No.37, 1983
Defining Moment: That name was probably deemed cool in '83.

CHINA CRISIS
(UK, five Top 40 hits, three Top 40 albums)

Mournful MOR Scouse duo comprising of Eddie Lundon (piano, vocal) and Garry Daley (guitar, backing) plus two other unofficial members, who relaxed the ambience in the room with a short series of middling, less-than-upbeat themic ditties. High point was the melancholic understated synth-ballad "Wishful Thinking" ("It's time we should talk about it, there's no secrets kept in here") which gave them their (criminally) sole Top 10 experience. Previous single "Christian" was equally as doleful but also far less melodic, and the boys returned to form in '85 with the dapper, likeable "Black Man Ray" ("yes, yes, I could be wrong") which should have got much higher than its No.14 placing. Their one attempt at uplift was the next tune "King In A Catholic Style" ("with your man, with your man make-up") which Radio 1 luvvie DJ Simon Bates ALWAYS featured on an '85 reminiscing Golden Hour, but the brief C-list placing on the pop conscience was just about over. Penetrated the 40 one more time (just) in '87 with "Best Kept Secret", before packing up. Musos with an emotional streak keep a place in their hearts and LP racks for them.

Biggest Hit: "Wishful Thinking", No.9, 1984
Defining Moment: Lundon miming "Black Man Ray" on a full size grand piano on TOTP.

CHORDS
(UK, one Top 40 hit, no Top 40 albums)

Well, here's a band of achievement. One single - "Maybe Tomorrow" - at No.40 and that was it. Peaks at 40 were rare then, so maybe they can count themselves unlucky that the Top 40 Breakers feature wasn't running on TOTP in 1980. We don't remember the tune. Do you?

Biggest Hit: "Maybe Tomorrow", No.40, 1980
Defining Moment: Being a shade unlucky with that placing.

CHRISTIANS
(UK, seven Top 40 hits, one Top 40 album)

Outstanding, conscientious, Scouse part-slaphead trio whose songs were laden with messages and morals but, crucially, without preaching. They were an adult band making music for adults capable of reaching adult decisions, and as such, they were a splendid listen and phenomenally talented but nowhere near as commercially successful as their tunes merited. First single "Forgotten Town" ("how can I get out, there's no way I can get out") just told of their concerns about differences in living standards around the world and made a not heady enough No.22. Two more similarly enjoyable and discerning hits later, and the stunning "Ideal World" ("where we're free to choose") put them in the Top 20 for the first time in '88, a year in which despairing musos could have a lot to thank them for. Perhaps it was those tasteful people's determination to show the nation that we were not all Brosettes (or the male equivalent, er...Brosees?) which finally allowed the Christians to hit the Top 10 later that year with a respectful cover of the Isley Brothers "Harvest For The World" (spot the ishoo overtone again there) which ultimately remained their peak. Shaded, hairless focal point Garry Christian, in possession of as rich and digestible a voice of anyone in the decade, added lyrics to the trad.arr muzac of "Words" ("if I could find words to tell you I'm sorry, and make you understand I mean just what I say") to end the 80s on a typically high, yet paradoxically sombre note, helping the purists by putting all the lyrics on the single's sleeve. They had also contributed to that year's reworking of "Ferry Cross The Mersey" to raise cash for the families of Hillsborough victims. The '90s saw their demise despite a consistently caring direction, with the breathtakingly anthemic "What's In A Word" followed by their last gasp, a wonderful cover of Gil Scott Heron's story of a street wino "The Bottle". One member of the Christians passed away in the mid '90s, tragically. The A-list was never going to be theirs - they were more Nicky Horne than Peter Powell - but they remained unique, fondly remembered and totally principled. A wonderful band which the country should have appreciated far more.

Biggest Hit: "Harvest For The World", No.8, 1989
Defining Moment: "This must be one of the troubles of a-living in Forgotten Town".

DAVID CHRISTIE
(France, one Top 40 single, no Top 40 albums)

Not a very French name is it? One hit wonder in '82 with "Saddle Up" which we need your help with.

Biggest Hit: "Saddle Up", No.9, 1982
Defining Moment: None as yet.

CLAIRE AND FRIENDS
(UK, one Top 40 hit, no Top 40 albums)

She had his picture on her wall and his name upon her scarf (his name was Stephen, by the way). Yes, frustrated musician and moralistic DJ Mike Read has a lot to answer for. Not content with childishly deciding that none of us should be allowed to listen to "Relax" (and it's still unbelievable that the Beeb backed him up on that) he also, in his other guise as chief sprog-patroniser on less than great weekend stay-in-bed sloparound "Saturday Superstore", inflicted a giggly primary school girl and her gurning mates on us in their "Search For A Star" feature. The song was the jaunty, inoffensive enough "It's 'Orrible Being In Love (When You're Eight 'N' Half)" ("doo wop, doooo wop!"), charting the story of a sproglet's unquenchable desire for the boy three desks away, but it should have remained well away from the BBC's record company and certainly away from Radio 1 and TOTP. Claire Usher (who was actually nine at the time, we think) did her bit on the box with the usual innocent gusto which all unassuming kiddywink performers did then (and still do now) but it made TOTP gruesome watching, particularly in case it inspired your parents to send you to stage school and prance around in tights for their own enjoyment. Her arrival was the point where you decided, for once, to do the washing-up without being asked. Needless to say, there was no hope of a further career for the young starlet (who, admittedly, had some good stage presence) until she left school, and we all breathed a sigh of relief when Bruno Brookes announced on the Top 40 that it had peaked and was on the way down. It made No.13 (everyone in her village bought it then) and gave a talented child a bit of unbegrudgeable fame, but proved excruciating stuff for everyone outside her cul-de-sac. Claire Usher is now a successful dancer, Mike Read is still a frustrated musician. You figure it out. Two more things - what happened to the 12 year old comedian with the well-observed routine about wearing Walkmans in the shower who came second in the contest? And did Claire and Stephen eventually get it on? We may never know.

Biggest Hit: "It's 'Orrible Being In Love (When You're Eight 'N' Half"), No.13, 1986
Defining Moment: Never before has a TOTP audience sported such crestfallen expressions.

CLANNAD
(Ireland, three Top 40 hits, five Top 40 albums)

Moody and anonymous Irish troupe, featuring Enya as lead vocalist and best known for their '82 ambience-anthem "Theme From Harry's Game" which has been sampled by cretinous dance acts God knows how many times. Collaboration with Bono on "In A Lifetime" took them back to the Top 20 four years later, and then re-appeared in '89.

Biggest Hit: "Theme From Harry's Game", No.5, 1982
Defining Moment: They gave us the exquisite Enya.

CLASSIX NOUVEAUX
(UK, one Top 40 hit, no Top 40 albums)

ALSO-RAN New Romantics with shares in the hairspray industry (apart from lead singer Sal Solo, who was famously challenged in the trichological region) whose one successful chart outing from seven attempts in 18 months was the unremarkable but jolly enough "Is It A Dream?" which still earns them a bit of annual income every time another cash-in 80s mix compilation comes out. Solo later had a solo career, ho ho.

Biggest Hit: "Is It A Dream?", No.11, 1982
Defining Moment: None to speak of.