June 7, 20169 yr Author I always thought Sweet Like Chocolate was a Kylie Minogue song until I could put a name to it. I still think it sounds a bit like her! Sound like Emma Bunton to me.
June 7, 20169 yr Sweet Like Chocolate = the ANTHEM of Year 5 for me and the rest of my North London primary school class of the time. All of us singing it on a coach trip that summer is a happy memory, the boys changing the primary lyric to "Sweet like chocolate girl" to avoid being ridiculed. As a song I've never been a massive fan but 10/10 for nostalgia.
June 8, 20169 yr Vengaboys - Boom, Boom, Boom, Boom!! http://i294.photobucket.com/albums/mm82/TheMagicPosition86/rsz_e4856_zpsmqfbemuq.png Date 20th June 1999 1 Week Official Chart Run 1-3-3-5-5-7-10-14-18-23-36-42-54-62-74 (15 weeks) *Positions in red are the weeks when the track would be number 1 if just dance music was chart eligible. In a year when the chart lead changed hands more than ever before - there were in total 36 different songs that reigned champion in 1999 - dance is represented in the Top 40 (and as the national #1) with abundance as Trance, UK Garage and Dance-Pop all emerged concurrently as significant forces in the mainstream. Firmly in the latter camp, and improving on both of their previous singles “Up and Down” (#4) and “We Like To Party” (#3), Netherlands group Vengaboys unleashed “Boom, Boom, Boom, Boom!!” which went straight in at the top and matched their Dutch contemporaries 2 Unlimited who had got to #1 in 1993 with “No Limit”, it also marked their commercial peak. After starting as a vaguely credible dance act, this was the single where the group began to target the bubblegum teen-pop market - taking its cues from recent hits like “Barbie Girl” where the cheerful lead female vocal was set against a gruff male Vocoder response, and filled with a chorus which bursts equal parts enthusiasm and slightly mangled English. There are definitely some confusing messages here however, with firstly the subject matter of the track and secondly the corresponding raunchy video which does not quite match with the intended target audience of the music. The lyrics are however hardly explicit and the Eurodance beat, catchy upbeat melody and opening ‘Woah, woah’ all serve to bring an immense sense of fun and childlike optimism, with “Boom, Boom, Boom, Boom!!” ending up as fairly standard Vengaboys party fare. Unbelievably there is yet more partying from Vengaboys later.. llyiQ4I-mcQ Edited June 8, 20169 yr by Doctor Blind
June 8, 20169 yr Another one that just conjures up all sorts of summer '99 memories and impossible to hate, although I can see how nightmarish it would have been for those not the Vengaboys' target audience. That main instrumental hook has a habit of suddenly appearing in my head when I'm least expecting it. I remember being at a 90s club night a year or two ago and this mixing slowly into Darude's 'Sandstorm' throughout the song - which might have worked in theory but sounded a complete mess (and Sandstorm isn't 90s, at least in the UK), I guess the DJ just wanted it over as soon as possible.
June 8, 20169 yr The Vengaboys song was the 4th #1 in 6 years to contain 'Boom' in its title (after Jazzy Jeff & Fresh Prince, Outhere Brothers, and Shaggy).
June 8, 20169 yr 20th June 1999 was also the first week that Muse ever made their appearance on the UK chart with “Uno” (#73) - a track which I got for free on the best album of the next century ever which came free with Golden Grahams, and started my love affair with the Teignmouth band. Edited June 8, 20169 yr by Doctor Blind
June 9, 20169 yr Author ATB - 9 PM (Til I Come) http://i24.photobucket.com/albums/c32/tonyttt31/atb.jpg Date 27th June 1999 4 Weeks Official Chart Run 1-1-2-3-5-6-12-14-21-31-38-42-51-59-75 (15 weeks) *Positions in red are the weeks when the track would be number 1 if just dance music was chart eligible. Andre Tanneberge was born in 1973 in Germany. His first musical project was Sequential One which he formed with some friends and in February 1993 they released their debut single Let Me Hear You and later the double A-side Dance/Raving. With the meager profits made from these singles Tanneberg set up a make-shift studio. In 1994 the project expanded with the addition of Ulrich Poppelbaum, Woody van Eyden and vocalist Morpha and released the album Dance in 1995. Despite their success in Germany and a few other European countries the group started to disintegrate after a second album was released. By the time 1999 came the name stopped being used altogether under which new music would be released and they finished with a compilation Decades. By this time Andre had started to mess around on his own and hit upon a striking sound while demonstrating some equipment where he processed a guitar sample through a pitch modulator which produced the now characteristic early ATB bent guitar notes. He persisted with what he thought was a novel sound and underpinned it with standard 4/4 commercial trance percussion, added off-beat synths and sympathetic bass. The vocal samples of “Till I Come” and “Change It and See” both come from the same dance track The Way You Make Me Feel from Rickie Rich and Julio Posadas feat. Yolanda Rivera. Incidentally, Andre also took from that track for the follow up Don’t Stop. It came backed with 7 mixes over various formats and by the end of 1999 had featured on more than 40 compilations released in the UK as commercial trance and mix albums had become big money spinners. Perhaps surprisingly it only hit number 1 in two countries – the UK and Ireland. Even before release the track had been in the UK Top 75 for a combined total of 7 weeks due to sufficient sales of Australian and German imports. Demand for the product was so high that on full release the track achieved the biggest ever opening week sales for a dance track - over 270,000 copies were put through the tills. Considering that it only contains 2 spoken word samples comprising just 9 words in total that is quite an achievement. While being far from the most complex or sophisticated trance song available, 9 PM (Till I Come) became the biggest seller from the genre which up until this point had been Robert Miles' similarly motifed Children. The track was released on Ministry of Sound’s label and became their first UK number 1 single. In true dance tradition ATB followed this up with the similar sounding Don’t Stop which hit the Top 3 later in 1999 and then a pretty faithful cover of Adamski's Killer made number 4 in 2000. Andre was last seen in the singles charts in 2001 when Let You Go made number 34. He still releases music until this day. fmGQMmtXAF0 Edited June 10, 20169 yr by Colm
June 10, 20169 yr 9PM not AM, Colm. It joins KLF’s “3 A.M. Eternal” as the only #1s to mention time in the title. Definitely prefer 3AM though. :D
June 10, 20169 yr Author 9PM not AM, Colm. It joins KLF’s “3 A.M. Eternal” as the only #1s to mention time in the title. Definitely prefer 3AM though. :D This is what happens when I do a write up at midnight :D
June 10, 20169 yr That ATB record was a bit of a milestone for me as it was the first time in years that a song went in at number one that I was completely unaware of. I first heard it on the bus back from T in the Park to Glasgow on the Monday morning after it went to no.1 and it felt weird, like I'd lost a few weeks of time and had never heard the number one. If that makes any sense...T in the Park was quite a crazy weekend... As for the track - a load of horseshit - but not as bad as his superfluous, weak cover of Killer.
June 10, 20169 yr Author That ATB record was a bit of a milestone for me as it was the first time in years that a song went in at number one that I was completely unaware of. I first heard it on the bus back from T in the Park to Glasgow on the Monday morning after it went to no.1 and it felt weird, like I'd lost a few weeks of time and had never heard the number one. I also heard it for the first time on a bus but it was far from the first time that I was unaware of a song before it entered at number 1.
June 10, 20169 yr crazy to think it sold 270K on its first week at #1!!! for me he was a sorta one-hit wonder since his other singles were pretty bad... Don't Stop was a carbon copy of 9pm but not as good, and that Killer cover was pointless...
June 10, 20169 yr '9PM' (the European version particularly) is a tuuuune :music: I love his follow-up 'Don't Stop' even more, even though it's very similar to '9PM' and is worth a mention now because I don't think it'll get its own writeup in this thread (depends if a certain song above it is considered dancey enough for inclusion). DgvePeDIt3Y :wub: I'd also like to know why the song's called '9PM' too :lol:
June 10, 20169 yr Author At this juncture myself and Doctor Blond would like to announce more information on the official sound track to this thread - one of THE most successful and long running threads that the chart forum has ever seen. As we have already seen the cover art for Now That's What Buzzjack Calls 90s Dance has been revealed. http://i24.photobucket.com/albums/c32/tonyttt31/Now4.png 63 massive dance hits from the 1990s, over 3 standard length cds. Representing all major dance genres - eurodance, rave, trance, vocal house, french looped house, left-field dance, big beat, novelty dance, chill out. Immaculate sequencing. There will be ones and zeros will be available in your inbox if you should so desire. The full track list will be published at the end of the run down. Edited June 10, 20169 yr by Colm
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