Oops Alan Jones in getting something wrong shocker :D

 

Bruno Brookes also repeated this on TOTP the same week

Bruno Brookes also repeated this on TOTP the same week

How odd

 

http://scans.chartarchive.org/UK/1991/UK%2...01991.12.21.pdf

 

That sale fits in with the EOY tally for 91 so I have no reason to doubt its accuracy. :)

Baby D has to be coming up... Maybe Real Mccoy also but not sure what else there could be...

Real McCoy - Another Night

 

http://i24.photobucket.com/albums/c32/tonyttt31/anothernight.jpg

 

Date 13th Nov 1994

1 Week

Official Chart Run 17-7-2-3-4-6-13-19-20-18-40-56(12 weeks)

*Positions in red are the weeks when the track would be number 1 if just dance music was chart eligible.

 

And there's no letting up with the Eurodance.

 

Real McCoy, also known as M.C. Sar and the Real McCoy has as its core member German Olaf "O-Jay" Jeglitza. Covering Techotronic's Pump Up the Jam in late 1989, he scored his first Top 20 hit in Germany after releasing a several limited edition original 12"s.

 

Success spread a little on the continent to the Netherlands and France in 1990 when The Real McCoy had hits with It's On You and Don't Stop, when they were fronted by Patsy Petersen. Further singles were released with very few chart placings anywhere.

 

Having written Another Night in 1992, they impressed Hansa Records enough to sign a deal to release it but the company wanted someone else to sing the female lead vocals. Instead, they hired Karin Kasar to take vocal duties but Patsy continued as a member of the group and mimed vocals for promotional duties. At this point they were known as M.C. Sar & The Real McCoy.

 

On release in 1993 it became a hit in Germany - it hit number 61 in the UK. It had a much wider release in 1994 where it went Top 10 in 7 countries but significantly Top 3 in the USA.

 

American success came about because Arista Records had had huge success with Ace of Base and knew there was a market for European dance music. The song was a major success, spending eleven non-consecutive weeks at number 3 (a record), 40 weeks in the Top 40 and becoming the best-selling single by a German act in US chart history at that point.

 

They followed this up with Run Away - yet another Rhythm is a Dancer clone - into the Top 10 in several countries. A few more hits were forth coming, maintaining some of their success in the USA, which was not a common event in the 1990s for dance acts.

 

A come-back in 1997 gave them some more minor success in some territories.

 

Although the group decided to stop recording together, a completely new line-up were hired to form a "new" Real McCoy in 1999. A brand new version of the 1990 hit "It's on You" still featuring O-Jay's raps in an updated form, which was released only in Germany, Austria and Switzerland. In 2000, they also released a new song titled "Hey Now", the first Real McCoy tune to feature a rap not using O-Jay. Both singles failed to chart.

 

Here, they manage one week as the best selling dance single in the UK, an achievement that does not do the success of Another Night justice. It was fortunate to snatch a week between two major dance hits of the year.

 

More of that soon.

 

Edited November 5, 20159 yr by Cauldron

Flawless. :D The US got a different mix for the single version, but I prefer the original version.

love it~ :heart:

Flawless. :D The US got a different mix for the single version, but I prefer the original version.

 

What are you on about? I've got the U.S. CD single and they had the same version as everywhere else. That video posted is the U.S. video.

 

First song I ever loved from the charts, and in the top 3 best ever Eurodance records surely?

 

For a long time it seemed completely forgotten - but in recent years it's had a bit of a revival, getting quite a bit of airplay and appeared on every 90s compilation going.

I absolutely loved Another Night at the time, I remember it shooting up to #2 and then being so disappointed when it fell the next week rather than ascended that extra spot.

I actually found Another Night quite catchy, would never have bought it but didn't mind it.

It's always been the following order for me

 

The Rhythm of the Night

Another Night

.

.

.

.

.

.

.

.

.

.

.

.

.

.

Saturday Night

Lest we forget, Olaf "O-Jay" Jeglitza performed under The Real McCoy in Poland's 2006 Eurovision entry.

 

Baby D - Let Me Be Your Fantasy

 

http://i294.photobucket.com/albums/mm82/TheMagicPosition86/rsz_baby_d_zpsske1egra.png

 

Date 20th November 1994

4 Weeks

Official Chart Run 3-1-1-2-9-13-14-13-19-33-46-52-60-75 (14 weeks)

*Positions in red are the weeks when the track would be number 1 if just dance music was chart eligible.

 

It took well over 2 years for “Let Me Be Your Fantasy” to find its way into the UK public’s affections and our national chart, however it was worth the wait, and in November 1994 it successfully knocked Pato Banton off the number 1 spot and gave rave music its first national #1. As already mentioned it originally dates from the peak of chart rave in 1992, a fact that is very apparent from the opening crowd noise and rave sirens, and in the original mix where 3 minutes in the melancholic piano is interrupted abruptly by a pulsating frantic Prodigy-esque rave breakdown - though this was later removed for the 1994 radio edit. Despite peaking at #76 in November ’92 the track, produced by Floyd Dyce (of the hardcore London record label Production House), spent a lot of time in the Top 200 over the following 2 years and remained an underground club classic.

 

Originally developed as a commercial pop song to be played out on top of a hardcore rave track, it was hoped that “Let Me Be Your Fantasy” could therefore conquer both the clubs and the charts, and it comes together remarkably well as a seemingly improbable entity - a rave ballad. It was described by Dyce as a love song to the hardcore rave scene, and these sentiments remain apparent when being serenaded by its lyrics which talk of putting a smile on your face and taking you up to the highest high, and are essentially an ode to MDMA’s ‘warm embrace’ (using ‘Baby D’ to personify the drug). Its driven breakbeat rhythm and rave-sirens combined with the powerful vocals provided by Dorothy Fearon (aka ‘Baby D’) provide the perfect bridge between the hardcore rave hits of the early 90s and the commercially driven and more emotionally charged pop dance hits to come in the mid-90s.

 

There are two samples on “Let Me Be Your Fantasy”, the first and most prominent is the notorious Amen break (from The Winstons’ 1969 “Amen, Brother”) its use in 1992 was to mark the transition between the breakbeat hardcore rave records, what was increasingly becoming jungle by 1994, and what would eventually by the end of the decade become drum ’n’ bass. The second was only in the original ’92 edit taken from The House Crew’s “All We Wanna Do Is Dance” (an early Production House release from 1989) which announces the transition between the pop record and the rave breakdown with the phrase Underground is where we want to go moving/How’s the crowd?

 

Teeming with wistful sadness, the melancholic piano chords and percussion are removed periodically as Fearon’s whispered vocals float in-and-out, providing what was a fitting nostalgic farewell to the halcyon rave era of the early 1990s, and remains fondly remembered today.

 

Edited November 6, 20159 yr by Doctor Blind

Love it! Their cover of Everybody's Got To Learn Sometime was good too.

I didn't like it much at the time. It has grown on me. There's a few different versions - aren't there?

In my local radio's dance music show, the presenter would play this remix rather than the original. My fave Baby D tune is So Pure.

 

Rednex - Cotton Eye Joe

 

http://i294.photobucket.com/albums/mm82/TheMagicPosition86/rsz_rednex_zpskdl0vrrh.png

 

Date 18th December 1994

7 Weeks

Official Chart Run 11-7-5-3-1-1-1-2-3-4-8-11-27-35-51-65 (16 weeks)

*Positions in red are the weeks when the track would be number 1 if just dance music was chart eligible.

 

Exploiting the surge in popularity for novelty dance hits with a country music bent were Swedish quintet Rednex (named as a deliberate play on the pejorative name 'rednecks' - long used to describe a stereotypical southerner from the United States). The group were created in Stockholm back in 1992 by Swedish producers Jan Ericsson, Örjan Öberg and Patrick Edenberg and had an unconventional approach to band membership (they have to-date had 16 band members, and now have a 'pool' from which to source performers) long before the Sugababes - though for their 1994 global smash “Cotton Eye Joe” the original members in the band were lead vocalists Annika Ljungberg and Arne Arstrand (Mary Joe and Ken Tacky), Jonas Nilsson, Kent Olander and producer/writer Patrick Edenberg.

 

The origins of the original American country folk song “Cotton Eyed Joe” (on which this track were based) are largely unknown - however the phrase itself is believed to date back to before the 1860s in the plantations of Alabama and Tennessee where it was used to denote an attractive young man with light blue eyes. In the folk song, originally a ballad, the protagonist laments 'Cotton-Eyed-Joe' for rushing into town and stealing the attention of all the women, and it is from the line Ef it hadn't ben fur Cotton-eyed Joe, I'd er been married long ergo that the Stockholm production trio took their inspiration to build the country flavoured thumping eurodance hit.

 

Filled with slightly off key fiddles, and a plucky banjo which easily manages to keep pace with the thumping beat - the song was popular with young and old, quirky and catchy enough to demand your attention in much the same way Billy Ray Cyrus was 2 years earlier with “Achy Breaky Heart”, and duly climbed to #1 post-Christmas for 3 weeks. 3 months later follow-up, the near identical “Old Pop In a Oak”, signalled that the barn dance was very much over when it crashed in at #12, and that was their final foray into the UK chart - however this belies their continuing popularity in Europe, especially in Germany where they have spent a total of 25 weeks at number 1 since 1994 - more than any other act.

 

That concludes the first half of the 1990s; much was to change as we head into 1995 and the number of dance hits explode. First- here's a re-cap of 1994:

 

1994 at a glance......

 

02-01-1994 D:Ream - Things Can Only Get Better (9 Weeks)

06-03-1994 Doop - Doop (6 Weeks)

17-04-1994 Tony Di Bart - The Real Thing) (5 Weeks)

22-05-1994 Maxx - Get-A-Way (3 Weeks)

12-06-1994 The Prodigy - No Good (Start The Dance) (1 week)

19-06-1994 The Grid - Swamp Thing (7 Weeks)

07-08-1994 Maxx - No More ( I Can't Stand It) (1 Week)

14-08-1994 DJ Miko - What's Up (3 Weeks)

04-09-1994 Corona - Rhythm Of The Night (1 Weeks)

11-09-1994 Whigfield - Saturday Night (9 Weeks)

13-11-1994 The Real McCoy - Another Night (1 Week)

20-11-1994 Baby D - Let Me Be Your Fantasy (4 Weeks)

18-12-1994 Rednex – Cotton Eyed Joe (7 Weeks)

 

 

Top 10 Sellers

 

01 Whigfield - Saturday Night (1)

02 D:Ream - Things Can Only Get Better (1)

03 Doop - Doop (1)

04 Corona - The Rhythm of the Night (1)

05 Reel 2 Real featuring the Mad Stuntman - I Like to Move It (2 – held back by D:Ream)

06 The Grid - Swamp Thing (1)

07 Baby D - Let Me Be Your Fantasy (1)

08 The Real McCoy - Another Night (1)

09 Tony Di Bart - The Real Thing (1)

10 The Prodigy - No Good (Start The Dance) (1)

I prefer to remember Rednex for their ballad Wish You Were Here.

'let me be your fantasy' is one of the best dance bombs of all time :dancing: :wub: :dancing:

 

'cotton eye joe' :heehee: ~ guilty pleasure for sure ^_^

I've been listening to many of the songs in this list in the process of compiling Now That's What Buzzjack Calls 90s Dance and Cotton Eyed Joe has aged better than I thought it would.