24TH AUGUST- WHY?- 3T Featuring Michael Jackson (1 week)

 

Is this the most pointless single release of 1996? Maybe. It's up there with the likes of 'I Feel You' by Peter Andre. What I can only describe as "Amnesia Music" - the type of song that just fails to register with the brain. The type of song you forget how it goes whilst you're still listening to it!!! :D 'Why?' (indeed, so apt) is a great example of the boyBLAND genre. I diss Westlife but even their least memorable single is more memorable than this slice of musical transparancy. As you can tell, I was such a big fan. :D

 

31ST AUGUST- SPINNING THE WHEEL- George Michael (1 week)

 

Now this is more like it. Kudos to Gezza for posting the Forthright Remix. The first time I heard 'Spinning The Wheel', it was the original jazz version - probably when MTV gave its premier. However, I always remember being surprisingly shocked (a combination of :o and :D all at once) when I saw the dance remix version on The Chart Show. I think Gezza is right, had George Michael gone with the dance concept with his album, he'd have been so far ahead of his time (think Cher 1998, and Madonna 2005). The best thing was that these remixes weren't cheesey and somehow worked brilliantly. Or at least they did to me anyways. Did the CD singles include these dance mixes? Or maybe there was a seperate CD single just for the remixes? Might explain why this era was so successful for Mr. Michael. The loyalists bought the album/ordinary singles. The clubbers (perhaps?) bought the remix CD singles.

Now this is more like it. Kudos to Gezza for posting the Forthright Remix. The first time I heard 'Spinning The Wheel', it was the original jazz version - probably when MTV gave its premier. However, I always remember being surprisingly shocked (a combination of :o and :D all at once) when I saw the dance remix version on The Chart Show. I think Gezza is right, had George Michael gone with the dance concept with his album, he'd have been so far ahead of his time (think Cher 1998, and Madonna 2005). The best thing was that these remixes weren't cheesey and somehow worked brilliantly. Or at least they did to me anyways. Did the CD singles include these dance mixes? Or maybe there was a seperate CD single just for the remixes? Might explain why this era was so successful for Mr. Michael. The loyalists bought the album/ordinary singles. The clubbers (perhaps?) bought the remix CD singles.

Many thanks. The dance versions were on the CD singles then added to the album at Xmas 97 on the "Older/ Upper" version- think deluxe version :D but you're right throughout 96-and most of 97 if you wanted the versions that radio was playing you had to get the singles hence great chart positions. Jon Douglas did most of the remixes who wasn't known (certainly by me) for being a big name so perhaps they have aged quite well as opposed to if he had gotten in Morales or Van Helden or one of the biggies at the time (and therefore been more "charty")....

Spinning The Wheel was by FAR my favourite track from his Older album - but unlike Hits, I prefer the original version. I'm not really a fan but I thought it was quite impressive that he could release something that strong so late into the album campaign.

7TH SEPTEMBER- HEY DUDE- Kula Shaker (1 week)

 

http://ecx.images-amazon.com/images/I/519vcDA-zCL._AA240_.jpg

 

There's a fine line between imitiation and inspiration, and this oversteps it. Of all the Britpop acts the one I probably enjoyed the lease was Kula Shaker and I can't really put my finger on why, it may have been the clear the clear influence of late 60s psychadelia on the output that just turned me of, but it was almost play pop, there was no passion like Oasis, nor playful wittiness of the likes of Pulp or Blur, and no flirtation of Sleeper or Echobelly, just really quite bland indie. They were obviously popular enough in their heyday but the music always reminds me of those kids who used to dress in retro 60s clothing (from a charity shop) because they perceived it to be cool and were clearly middle class, sort of dad rock for the late teens but all in a very 90s way.

 

There's a fair amount of "mysticism" and "symbolism" alledgedly thrown into the mix, but you get the overall impression that all is deeply pretentious in the most irritating way, rather than trailblazing the sense here is of a band who are being dragged along by the tailcoat of an amazing time in British music ended up little more than a footnote, all thrown into sharp relief when compaired to "Wannabe" which STILL stood at No 1 denying all comers with it's colourful moniker of bright brash pop.

 

Dreadful at the time, dreadful now.

 

Edited December 1, 201113 yr by Gezza76

2ND NOVEMBER- IF YOU EVER- East 17 Featuring Gabrielle (1 week)

 

http://www.12inch.de/l/9656.jpg

 

Implosion time is just around the corner for good old East 17, yet this is the first time we've met them in this thread. After playing runner up to Take That in the boyband stakes throughout the decade it looked as though their time for that promotion to No 1 spot in the affection of teenage girls looked assured when TT split then quite an unexpected thing happened. Though they maintained they were duped into giving a provokative response Harvey admitted in an interview to taking 12 E's on a night out and the press went crazy leading effectively to a split in February 1997 after first Harvey left (to return) then Mortimer left (the chief songwriter), poor old Gabrielle was left in the middle. However all that was still a matter of months away and this cover of Shai's 1992 US #2 hit was the first release from the band's Greatest Hits set "Around The World- The Story So Far" which was a big xmas seller for 96 (it was also added to Gabrielle's album as a bonus track for that Xmas) and turned into the second highest peaking single for both acts to that point in their careers.

 

It's a bit too Americanised for my personal taste, East 17 were always at their best when they were bing very east London-esque "Deep" and "It's Alright" are two fine examples in their cannon, and whilst I can't fault the song really neither act are on top form here (Gabrielle's "If You Reeally Cared" is a much underrated track IMO) but in launching a GH set it turned the trick for East 17, it's a taste of what could have been, the titanic struggle between Boyzone and East 17 that was shaping up in late 96 just never happened, but for the band they had, unfortunately they have no-one to blame for that but themselves.

 

Edited December 1, 201113 yr by Gezza76

23RD NOVEMBER- WHAT'S LOVE GOT TO DO WITH IT?- Warren G Featuring Edina Howard (1 week)

 

http://991.com/NewGallery/Warren-G-Whats-Love-Got-To-499646.jpg

 

Although there were fusions between the world of pop and the world of R N B/ rap previously "Haoliday Rap" in 1986 or even Vanilla Ice in 1990, it was rather the exception than the rule, but this record is really symbolic of where the genre was going in the 00s, nowadays it has fully embraced the "cheesy" hits of yesterday into new cooler versions of itself, a pop act can be "legitimised" or thought trendier by showing Flo Rida or Pitbull on it, this is mainly due to the huge success of acts like Will Smith, Eminem and J-lo in the early 00s, but as a sercious chart force it dates back to the late 90s.

 

With this kind of thing I always think you either love it or hate it, some are inspired (Eminem and Dido) and ebven his owwn "Regulate" in 1994, others are just pedestrian adding nothing to the original and leaving you with the general impression of "What was the point in that?" THIS is tragically the latter. It's not gonna offend every bone in your body but it's little more than a cash cow for the rapper, indeed I recall acts like Warren G were thought to have cheapened themselves with exploits like this and it is easy to see how. This is the lowest demoniter of R N B/ Rap, much like what N-Trance were by now doing to dance music, if you're not going to think outside the box when making this kinda thing then you're leaving an open goal for those who accuse you of being barren in the ideas department.

 

I'm sure you have better things to do but listen if you will......

 

 

Edited December 2, 201113 yr by Gezza76

30TH NOVEMBER- NO WOMAN NO CRY- The Fugees Featuring Steve Marley (1 week)

 

http://991.com/newGallery/Fugees-No-Woman-No-Cry-76931.jpg

 

I never liked Bob Marley, I never liked The Fugees- this is gonna be fun. Roping in Marley's son adds that touch of "credibleness" to this version but indeed all the things that Warren G can be accused of could also be levelled at this song. I can't deny that the Fugees were probably one of the biggest bandss on the face of the world in 1996 and had of course just come of the back of a couple of No 1 hits on the trot, combining two genres that I care the least for was never gonna be a recipe for success in my book.

 

I can't add much more- if I did it would only be negative so let's glaze over and move on to happier pastures- Christmas is just around the corner- Christmas 1996 that is!

 

Edited December 2, 201113 yr by Gezza76

Aahh yes, Autumn 1996. What a GRATE period for UK hits. :lol:

 

7TH SEPTEMBER- HEY DUDE- Kula Shaker (1 week)

 

As already mentioned, 'Wannabe' was still dominating the charts. Whilst it probably irritated many people at the time, it was one of my fave songs in the chart. For me, it's was almost like one of those novelty hits but it helped pave for the way for Spice domination. For the first 12 months it was good. It all went downhill with album #2. Let's not even mention album #3!!! :heehee:

 

2ND NOVEMBER- IF YOU EVER- East 17 Featuring Gabrielle (1 week)

 

As far as boybands go, this was a decent attempt at the song by Shai. Echoing what I've already mentioned, I was never a fan of boybands but if any of them released imo a decent single, I would always give them kudos. So 'If You Ever' pretty much covers this. Whilst 'Stay Another Day' has become their signature tune it still remains only ok to me - never got the fuss with the song and still remember being AGOG when it climbed 07-01 in the charts in December 1994. My fave East 17 has always been 'It's Alright' ever since its release. The only other single that came close, believe it or not ( :D ), was 'All Around The World'.

 

23RD NOVEMBER- WHAT'S LOVE GOT TO DO WITH IT?- Warren G Featuring Edina Howard (1 week)

 

Aahh yes, November 1996. A time when I had pretty much given up on the UK charts having seen such gems as Robson & Jerome 'What Becomes Of The Broken Hearted' and that all time classic 'I Feel You' by Peter Andre both topping the UK charts. This was a period when I had completely diverted my attention to Europe and espcially MTV Europe. I vaguely remember Warren G's hit but in retrospect, I do wonder how or indeed why it got this high. I'm guessing it was early signs of "chav culture" kicking in and this song would've been bought by all those boys and girls who used hang around bus shelters thinking they were "well'ard, innit". Sad. :lol: I must admit, I had more time for this rather pointless cover of Tina Turner's classic than the aforementioned UK #1s from Robson & Jerome and Peter Andre.

 

30TH NOVEMBER- NO WOMAN NO CRY- The Fugees Featuring Steve Marley (1 week)

 

When 'Killing Me Softly' entered the UK charts at #1 I remember being completely shocked. Maybe because their previous single 'Fu-Gee-La' didn't do that well and I never expected 'KMS' to top the UK charts, yet alone become a million selling single. However, I did think 'Ready Or Not' would be a definite UK #1 but then it was following on from the hugely successful 'KMS'. This was a time when a massive hit usually meant the follow up would also be a hit to some extent. Only dance acts had the ability to following massive hits with massive flops. So to 'No Woman, No Cry' and I remember thinking it was ok but nothing more than that. Again, this was still a time when I was interested to seeing which tracks were big in Europe. In fact, iirc the two biggest hits in Europe around this time went on to become UK #2 singles in 1997.

I've never been massively into East 17 compared to other 90s boybands but I have a lot of time for Deep, Stay Another Day and Each Time, there's a real raw and 'street' UK piano pop sound to the first two which I love and Each Time I can't explain my love for, but it's great!

To say I'm massively late for this thread would be an understatement!

Well, here's the rundown: I'm three years younger than Gezza. And the 90's are certainly the decade in which my "pop conscience" took hold. So just like Hitstatic is doing, I'll try and add my personal view of each and every one of these songs!

See why I said I'm massively late for this thread? :lol:

To say I'm massively late for this thread would be an understatement!

Well, here's the rundown: I'm three years younger than Gezza. And the 90's are certainly the decade in which my "pop conscience" took hold. So just like Hitstatic is doing, I'll try and add my personal view of each and every one of these songs!

See why I said I'm massively late for this thread? :lol:

:lol: the more the merrier!! We still got 3 years left! :D

21ST DECEMBER- UN-BREAK MY HEART- Toni Braxton (3 weeks)

 

http://upload.wikimedia.org/wikipedia/en/c/c1/ToniBraxtonUnBreakMyHeartCDSingleCover.jpg

 

With a song written by Diane Warren and a video starring Tyson Beckford, chances are this was always gonna be a hit. Braxton was, by this point, one of the biggest stars in the US where this was her second chart topper in a row, but this was never a record I loved. The Frankie Knuckles remix made it more palatable but I would not in any way, shape or form have prefered this to be No 1 instead of "2 Become 1".

 

There's nothing particularly to dislike about the song, a song concerned about the usual lover left me scenario (although the video turns this into a lover killed kinda thing) and of course it stood at No 2 for my 21st birthday so I can't be too harsh on it, but I can't find it interesting like I can with "Breathe Again" two years prior. It's not your fault love it's mine.

 

Edited December 3, 201113 yr by Gezza76

10TH FEBRUARY 1990- GET UP (BEFORE THE NIGHT IS OVER)- Technotronic Featuring Ya Kid K (2 Weeks)

This one is very much of its time, yet at the same time hasn't aged that much. This recent onslaught of rappers doing their thing over a 4/4 dance beat certainly gave things like Technotronic a new cool cache. And as I already know, that combination will be something to find quite a lot of times down the road.

 

10TH MARCH- BRITS 1990- Various Artists (2 weeks)

Ah, the megamix trend of the early 90's! I guess the closest thing we have these days are DJ Earworm's annual United States of Pop mixdowns. Which brings us to what these megamixes are in many ways: proto-mashups. In this particular case though, it can't be seen as anything other than an era-stamping novelty, however brilliant some of those records were, are and probably always will be.

 

24TH MARCH- LOVE SHACK- The B-52's (3 weeks)

In no way can I agree with Gezza here. There's a reason why The B-52's are still so well-regarded these days: they make this kind of quirky pop better than most. And while "Love Shack" might be a streamlined version of The B-52's, it's one that actually fits them good. Certainly having Nile Rodgers producing them had something to do with it.

 

21ST APRIL- BLACK VELVET- Alannah Myles (2 weeks)

Like some said, it's surprising how this song seems to be forgotten these days. And while it certainly bears the hallmarks of the commercial rock that (still) dominated US airwaves (and some European too) back in the day, the undeniable fact is how utterly classicist in construction this song sounds. One-hit wonder status she might have. But it's certainly one-decent-song status better than many acts will probably have in their whole career!

 

5TH MAY- OPPOSITES ATTRACT- Paula Abdul Duet with the Wild Pair (1 week)

It's true: while released as a single in 1990, this sounds for the whole world as the 1988 of which the album where this was taken from was released. Halfway between new jack swing and freestyle with a mainstream pop bent in its shiny surfaces, this certainly did it's job in appealing to the widest cross-section of audiences possible while prolonging Forever Your Girl's shelf-life. It's no work of art, but it's still quite a nice, inoffensive song.

 

12TH MAY- DIRTY CASH- The Adventures Of Stevie V (1 week)

The production is quite of its time but the apparent go-get-that-money sentiment of the lyrics certainly isn't dated. Yes, I wrote "apparent". That's because I always felt like, far from advocating a straight-up greedy attitude, there's something about the lyrics of this song and the way they're delivered that actually sound to me like a first-person narrative of someone who knows what she does is morally wrong but is just now too entrenched in it to go back. So unlike some, I don't really think Dizzee Rascal's take on it in "Dirtee Cash" sounds that far-off.

 

19TH MAY- BETTER THE DEVIL YOU KNOW- Kylie Minogue (2 weeks)

Like some said, this marks Kylie's transition from Girl Next Door to Emancipated Nymphet. The title alone gives it away: we're in a territory where sex actually exists and all the better for it. I also agree with the gay subtexts, as Kylie is certainly winking to har by then already established gay audience. All in all, a great New Beginning.

 

16TH JUNE- STEP BY STEP- New Kids On The Block (1 week)

Although we all know now how the NKOTB train was fast-approaching derailment, at the time it seemed like they could do no wrong. And such was the feeling that they hit #2 with a song that screamed half-baked at every turn. Like some said, it already sounds dated by the time it's finished, so I guess it's no wonder things started falling apart mere months after this.

 

30TH JUNE- NESSUN DORMA- Luciano Pavarotti (3 weeks)

Like pretty much everyone here, I'd assume, I'm no expert in opera. So this one will be left at this.

 

21ST JULY- MONA- Craig Mclachlan & Check 1-2 (1 week)

The best thing to be said about this song is that Bo Diddley had a chance at making some money. Apart from that, it's MOR pop/rock with absolutely no distinguishing marks, apart from the fact that this was Henry Ramsay of Neigbours singing. And even then that trick was starting to sound tired, so it's no wonder Craig only had this as a "real" hit.

Edited December 2, 201113 yr by jaxxalude

4TH AUGUST- HANKY PANKY- Madonna (1 week)

Well, it was Madonna (still) at the height of her Pop Icon era, so I guess anything she released then was "condemned" to be a hit, whether this was associated with a blockbuster film or not. Anyway, there's a good reason this isn't really part of her canon: it's unmemorable to the tilt.

 

11TH AUGUST- TOM'S DINER- DNA Featuring Suzanne Vega (3 weeks)

I talked about the early 90's fad for megamixes as a sort of proto-mashups. Well, this one certainly fits even better. No need to recap the story behind it. What needs to be told is how pertinent this still sounds after all these years. It almost hasn't aged at all, really!

 

1ST SEPTEMBER- FOUR BACHARACH & DAVID SONGS E.P- Deacon Blue (2 weeks)

I'd be lying if I said I remembered this EP's (ah, the days when EP's charted as singles!) whole contents. I do remember very well how their take on "I'll Never Fall in Love Again" sounded so wistful and ethereal though. That take alone was worth the price of the EP, I'd wager.

 

15TH SEPTEMBER- GROOVE IS IN THE HEART/ WHAT IS LOVE?- Deee-Lite (2 weeks)

Feckin' Steve Miller had to deny this of its much-deserved time at the top! But I guess Deee-Lite had the last laugh though, as both these songs are still rightfully considered dance classics. "What Is Love" in particular still retains an out-there quality to it. But of course "Groove is in the Heart" is the pop gem here.

 

6TH OCTOBER- I'VE BEEN THINKING ABOUT YOU- Londonbeat (1 week)

It might sound like a late-80's dance song released in late 1990, but it's still a quite good dance-pop tune at it. And while the production might sound dated, it has a strong enough melody to still sound good these days.

 

13TH OCTOBER- BLUE VELVET- Bobby Vinton (1 week)

Deserved classic slice of traditional pop this might be. But in context of 1990, this just sound hopelessly dull. Pass!

 

20TH OCTOBER- THE ANNIVERSARY WALTZ PART ONE- Status Quo (1 week)

The less said about this, the better!

 

17TH NOVEMBER- FOG ON THE TYNE (REVISITED)- Gazza & Lindisfarne ( 1 week)

Ditto!

 

24TH NOVEMBER- DON'T WORRY- Kim Appleby (1 week)

In many ways this still bears hallmarks of the S/A/W machine, just not quite as catchy (or annoying, depending on the perspective). Like some said, I guess goodwill from her sister's death carried into this single. Too bad it didn't carry on until the real gem that was "G.L.A.D.", but such is life!

 

15TH DECEMBER- JUSTIFY MY LOVE- Madonna (1 week)

Now THIS is more like it! First of all, I dare anyone name anything better than this that Lenny Kravitz had a hand on! Wait, you at the back, what did you say? Nothing? Thought so. Because that is the right answer: this is surely, positively the best thing dear old Leonard has ever been involved in. And in many ways, "Justify My Love" seemed to anticipate trip-hop in some ways. The hip-hop-based beat is there, as also is the doped vibe and the general sense of paranoia. Furthermore, Madonna doesn't so much sing as recites the lyrics, which just helps make this even eerier than it already is. Even without the video, this would always be part of Madonna's canon one way or the other. It's also the sound of a star so big she could have the luxury of releasing such leftfield material as this and still score a bonafide hit.

19TH JANUARY 1991- CRAZY- Seal (1 week)

Ah, the days when Sealhenry Samuel could be counted upon as a deliverer of the finest dance-inflected pop tunes and when Trevor Horn was still in the peak of his powers. Of course it's a classic pop song, dummy!

 

23RD FEBRUARY- (I WANNA GIVE YOU) DEVOTION- Nomad Featuring MC Mikee Freedom (1 week)

Unlike Gezza, I've always enjoyed dance music, even when I still wasn't of clubbing age. Sure, it's pretty much of its time, but something about this just makes it still sound like a fun record after all these years. Of course the rap part isn't top banana if you're looking for Rakim-like mic brilliance, but it does its part well.

 

2ND MARCH- CRAZY FOR YOU (REMIX)- Madonna (2 weeks)

And the point of releasing this was?...

 

6TH APRIL- SIT DOWN- James (3 weeks)

It might have had the shuffle beat, but this was only Madchester insomuch as James were, well, a Manchester band. Other than that, this was as anthemic as an indie band ever had gotten by that point and all the better for that. It's a timeless pop classic, simple as that.

 

11TH MAY- LAST TRAIN TO TRANCENTRAL- The KLF Featuring The Children Of The Revolution (2 weeks)

The best-selling singles act in the world in 1991 delivers us one of the reasons for thus. Even today this would go down a treat, I reckon, such is its anthemic drive! Stadium House it was indeed. And when delivered with this cheekiness, it only adds to its charm. A dance classic, through and through.

 

25TH MAY- GYPSY WOMAN (LA DA DEE)- Crystal Waters (1 week)

Another undeniable dance classic! Where Gezza might think of this as novelty, I actually think of it as quirky. Crystal's vocals were certainly not your average dance diva business back then, and they still aren't these days, adding a bit of leftfield risk to what might have otherwise been a rock-solid but ultimately business-as-usual club groove. Of course the lyrics also helped it rise above the average dance single of the day; but the vocals alone elevated it to another level, helping to cement its iconic status in the dance music pantheon.

 

15TH JUNE- BABY BABY- Amy Grant (1 week)

I get the feeling that, were it not for the fact that Amy Grant's Christian leanings being so emphasized at the time, this song would not have been that big, as it was just a run-of-the-mill MOR pop song so typical of the time. And true to form, she never had another big hit in Britain after this.

 

27TH JULY- NOW THAT WE'VE FOUND LOVE- Heavy D & The Boyz (1 week)

This certainly gains a new meaning since Heavy D's untimely passing almost a month ago. Yes, its hip-house production might scream 1991 all over. But like I said, the recent onslaught of rappers doing their thing over a 4/4 dance beat ultimately gave records like this a new light. And for the time, "Now That We Found Love" was definitely one of the best examples of the subgenre.

 

3RD AUGUST- MORE THAN WORDS- Extreme (2 weeks)

What to say about an Everly Brothers-style acoustic tune from a funk-inflected hard rock band hitting such dizzy heights at the, er, height of dance music mania? That it stuck out like a sore thumb? Probably. What I do know is that Extreme had much better material than this in their oeuvre.

 

17TH AUGUST- I'M TOO SEXY- Right Said Fred (6 weeks)

There's something to be said about quirkiness. But I'll be darned if this isn't a brilliant pop song dressed as ironic commentary on the fashion world!

 

28TH SEPTEMBER- LET'S TALK ABOUT SEX- Salt N Pepa Featuring Psychotropic (2 weeks)

It's typical, but rather fun, 1991-style pop-rap with a social conscience. It's become a wedding disco classic, you know.

 

12TH OCTOBER- WIND OF CHANGE- The Scorpions (2 weeks)

Its heart was in the right place, even if the years proved that the fall of Communism wasn't the Bright New Dawn it was hoped to be. But more importantly so, if you took away the whole political tone out of the song, what you'd be left with was another run-of-the-mill power ballad. No more, no less.

 

26TH OCTOBER- GET READY FOR THIS- 2 Unlimited (2 weeks)

If you take into account the instrumental version, you'll see how this wasn't so much Eurodance but rather a piece of brutalist Belgian techno in tandem with similar singles of the time like T-99's "Anasthasia", Human Resource's "Dominator" or Quadrophonia's self-titled track. And just like these, "Get Ready For This" is an exciting stab of pure energy that gave reason to those who compared this type of rave-inflected techno to punk rock. Yes, you read it well: punk rock! If you take away the guitars and put in the synths and computers, you'll agree that the same primal energy is there.

 

14TH DECEMBER- WHEN YOU TELL ME THAT YOU LOVE ME- Diana Ross (2 weeks)

And just why did we have to end the year with such a piss-poor proto-Disney soundtrack theme unworthy of Ms. Ross's stature?...

4TH JANUARY 1992- JUSTIFIED & ANCIENT- The KLF Featuring Tammy Wynette (2 weeks)

This really wasn't their last hurrah - "1992: America, What Time is Love" would follow it to the Top 5 in a few. But I wouldn't blame anyone for thinking this was their real last impression on a grand scale. And as far as those goes, they went out with a bang! There had been some unusual pairings before (Elvis Costello and Hall & Oates, anyone?; Happy Mondays and Karl Denver, people?), but none such as this! And all the better for it, as Tammy acquits herself really well when holding it down with the Kings of Pop Sarcasm. And even if this duet started a whole monster of its own (namely, the horrendous "guilty pleasures" phenomenon), THIS is still pretty much a cheat-sheet of how to do this sort of thing.

 

18TH JANUARY- EVERYBODY IN THE PLACE (E.P)- The Prodigy (1 week)

Unlike Gezza, rave and I have always been friends, even though I wasn't exactly of raving age at the time. In so many ways, "Everybody In The Place" (especially in its most popular "Fairground Remix" form) still sounds like a future-possibility which never really took off. The disjointed beat was, it's no secret, jungle/drum-n-bass before the term was even coined - they called it hardcore or breakbeat at the time. The synth stabs sounded brutalist and dangerous in a way only hardcore hip-hop was then, even at a time when grunge supposedly made rock music cool again. But what's more, "Everybody In The Place" did work as a pop record, so chock-full of hooks it was. From the "everybody in the place/let's go!" vocal loop to the already referred synth-stabs, this is the kind of record which screams anthem from all sides. And what's more, it still sounds positively and relatively alien these days. An unheralded pop classic, it's what it is!

 

8TH FEBRUARY- TWILIGHT ZONE- 2 Unlimited (1 week)

Again, take this for the instrumental version. And if you do, it's another rushing stab of brutalist Belgian techno brimming with undeniable energy. It was the real punk rock for the ages and I still stand by that today.

 

29TH FEBRUARY- MY GIRL- The Temptations (2 weeks)

Don't get me wrong, this song is almost Heaven on Earth. But in a 1992 brimming with futurism and modernity through all the dance music clocking up the charts, things like these were utterly unnecessary, even if you took into account the fact that this kind of soul music constituted modern dance music's roots.

 

14TH MARCH- I LOVE YOUR SMILE- Shanice (2 weeks)

A piece of sugar-coated poppy R&B this might have been. But unlike The Temptations, it was a piece of sugar-coated poppy R&B that at least had some approximation to the Sound of Now. In many ways though, "I Love Your Smile" was one of new jack swing's last chances at the limelight, as an edgier sort of hip-hop inflected R&B was looming on the horizon, rendering things like this song inoffensive fluff.

 

28TH MARCH- FINALLY- Ce Ce Peniston (1 week)

Believe it or not, drop this on a dancefloor at the right time and it still works wonders! No, er, wonder, as it's as timeless as house music can get. The production is classicist to a tee, Ce Ce's delivery denounces her classic soul influences to a tee and the song's melody is the kind to make you hum along without you even noticing. All in all, a timeless dance-pop ditty.

 

4TH APRIL- LET'S GET ROCKED- Def Leppard (1 week)

This is why looking at the History of Pop Music through the lens of charts makes it sometimes more fascinating than through the filters of Best Album of All Time lists or retrospective press articles. If you believe the official recounts of the era, you'll think it was nothing but "faceless" dance music and the rise of grunge. In truth, things are never as black and white as such. And so it was that such an 80's relic like Def Leppard managed a #2 placing (and a #1 album) bang in the middle of a musical revolution. As for the song itself, it was alright, even if it was paint-by-numbers Leppard, something which ended up hurting them in the mid-to-long run, unlike Bon Jovi - who knew when and how to change their sound at the right time.

 

25TH APRIL- BE QUICK OR BE DEAD- Iron Maiden (1 week)

I'll wager that I might be in the minority here when it comes to appreciating heavy metal. And it is through that prism that I declare "Be Quick or Be Dead" to be just like "Let's Get Rocked": alright, but paint-by-numbers Maiden. In fact, Bruce Dickinson even left the band one year later, leaving the band (and Dickinson himself) to face a very uncertain decade. As we now know, Dickinson rejoined the band at the start of the new century, one which saw Maiden gain a new lease of life and cement their status as deserved heavy metal heroes.

 

2ND MAY- ON A RAGGA TIP- SL2 (3 Weeks)

Even moreso than "Everybody In The Place", the basis for what became jungle/drum-n-bass were here: the disjointed rhythm, the reggae sample pushing the dub influences of the genre to the fore. But unlike hardcore jungle's prevalence of pre-millennium doom, this was the rave party still at its honeymoon phase. And all the better for it, as (again) like The Prodigy, it also functioned brilliantly as a pop record. Another unheralded pop classic.

 

23RD MAY- KNOCKIN ON HEAVEN'S DOOR- Guns N Roses (1 week)

Remember what I said about Def Leppard and their success bang in the middle of grunge? Well, as Gezza already pointed out, GN'R were the biggest rock band in the world at the time, an act as emblematic of the previous decade's glam metal genre as it could be, even if they were a little heavier and filthier than LA's usual pretty boys. But the fact that their biggest British chart hit came with this - a cover version - should have immediately spelt doom ahead for the band, as it now meant that the Most Dangerous Band in the World tag was, quite frankly, inappropriate. I mean, what could signify your entry to the System more than covering a song by an iconic singer who had marked the generation which was then holding down the Power?

30TH MAY- RAVING I'M RAVING- Shut Up And Dance (1 week)

Unlike many here, I absolutely love this track! Why? Because of the way it turns such a drippy MOR tune and twists its meaning in a clever way. Let me explain it. While it's easy to take this as a celebration of raving, in fact there's a certain eerie warning about its perils there. The track starts with the signature piano riff straight out of Marc Cohn's tune, while MC Pete Bouncer apparently croons happily about putting on his raving shoes. But the key is in the part where he says "raving, I'm raving/but do I really feel the way I feel", which then segues into a darker-tinged breakbeat confection. The climax of this darkside occurs when rave synth stabs appear to adorn a female voice bellowing "for me, for me" as if losing herself out of any consciousness, only for us to return to the very cheery beginning. When looked at like this, it becomes obvious that "Raving, I'm Raving" was a clever denunciation of the dangers of getting yourself too much into everything that comes with the act - re: the drugs.

 

6TH JUNE- JUMP- Kris Kross (1 week)

Oh, it's easy to dismiss this as just another piece of kiddie-rap these days. What this does not take into account though is how the production of the track manages to make such a too-used Jackson 5 track sound so fresh and thoroughly modern. And even if the kids weren't the most skilled of MC's, you couldn't deny the joy that brims out of them. All in all, a nice track.

 

20TH JUNE- HEARTBEAT- Nick Berry (2 weeks)

Dear Lord, I'm not even going to further comment on such rubbish!

 

4TH JULY- I'LL BE THERE- Mariah Carey (2 weeks)

Frankly, I can't get behind this. And unlike some here, I actually think this is an example of everything that made Mariah such an easy target over the years. Everything is there: the melisma, the over-emoting, the showy vocal technique. And when it all comes in the guise of a cover of a song that exemplified emotion such as "I'll Be There", it's only adding insult to injury. All in all, it's no wonder Mariah was so successful during the 90's, as she provided the necessary MOR lots of older people always need.

 

18TH JULY- SESAME'S TREET- Smart E's (1 week)

Of course it's a novelty record, but that's beside the point. What I enjoy about this record is the same thing that makes others irksome: the way it twists babyish innocence and manages to introduce a not-that-subtle drugs reference in the context of a children's programme.

 

15TH AUGUST- BARCELONA- Freddie Mercury & Montserrat Caballe (2 weeks)

Yes, Freddie was dead (apropos: "Freddie's Dead" is the name of a great Curtis Mayfield tune); therefore, a lot of goodwill towards everything related to him was to be expected. Still, it doesn't excuse the fact that this was a four-year old tune re-released to capitalise on someone's death - and the Barcelona Olympics of 1992, since we were at it.

29TH AUGUST- THE BEST THINGS IN LIFE ARE FREE- Luther Vandross & Janet Jackson (2 weeks)

A bit like Shanice's "I Love Your Smile", this was new jack swing's having its final moment in the limelight to give way to an edgier hip-hop-inflected brand of R&B. As such, this song is very emblematic of its (waning) days, but it's a nice enough tune nevertheless.

 

19TH SEPTEMBER- BAKER STREET- Undercover (1 week)

In the slew of dance covers clogging up the charts back then, I'm in agreement that this was one of the most deserving. Of course it helped that the original song was such a strong beast, but it could have all gone tits up anyway. Not here though, as Undercover manage to retain the longing spirit of the original while making us dance to it.

 

26TH SEPTEMBER- IT'S MY LIFE- Dr Alban (3 weeks)

Unlike the majority, I don't think it's so much the female chorus that makes this work. Rather it's the production; in particular the "oomph, oomph" siren which opens the track and pops up occasionally during it the one true killer moment in it. Of course Dr. Alban's rapping isn't much cop, but that's expected of Eurodance. But as I was saying, it's the production that really makes it work, as it didn't really sound like your average Eurodance production at all. It was starker, heavier and certainly gloomier all around. And maybe that's why it holds up better than most of the big Eurodance hits of the era.

 

7TH NOVEMBER- PEOPLE EVERYDAY- Arrested Development (1 week)

Arrested Development seemed like a big future prospect for a moment, didn't they? And sure enough, I still hold 3 Years, 5 Months and 2 Days in the Life of... as a great album. Sure, it wasn't to become the future of rap music by any stretch, as AD preached an altogether far peaceful point of view on society's ills. That doesn't mean it didn't reach occasional brilliance, such as this take on the Sly & The Family Stone's classic "Everyday People". Curiously, the way rap music has been heading lately, it probably would have a good chance of being a hit again these days.

 

12TH DECEMBER- HEAL THE WORLD- Michael Jackson (5 weeks)

I'm with everyone here, this was Michael Jackson at his worst: preachy and altogether mushy, even if his heart was in the right place - or was it? Anyway, not really worth giving it much thought beyond this.

Wow you really are catching up :D