41 minutes ago, Roba. said:

Love 'I Don't Feel Like Dancin'. A really fun hoot of a song and one that I hardly grew tired of it either. Deserving to be their only #1 hit but they should have had several more!

Only The Horses! Even if it did owe a lot stylistically to Swedish House Mafia!

Scissor Sisters had so many classics on their debut that deserved higher peaks, but I Don't Feel Like Dancin' wasn't undeserving of being their No.1 hit. It's a great karaoke number when trying to imitate Jake's falsetto, I do get the Bee Gees comparison for sure. I think on balance I would probably pick Take Your Mama and Laura over it but the debut raised their profile so much that it wasn't surprising this was well set up to be their biggest hit.

Sexyback was pioneering in many ways to herald in the Timbaland sound that dominated for the next couple of years, but it's not necessarily one I love personally.

I generally really like them, but I can't stand that song! it drives me up the wall.

Both the last 2 are big and bold lead singles that show off the artist’s signature sound very well. Both acts have better songs though.

06 Take That - Patience

Kept off #1: Booty Luv - Boogie 2nite and Cliff Richard - 21st Century Christmas/Move It

English boy band Take That had an extremely successful run in the 1990s and achieved an impressive 8 U.K. #1 hits in that time. They briefly weathered the storm of charismatic presence Robbie Williams leaving the group and achieved the last of those chart-toppers in 1996, a cover of the Bee Gees' 'How Deep Is Your Love', without him. The group didn't last too much longer and their largely young, female fanbase was infamously inconsolable, requiring a hot line to deal with their grief. Take That member Howard Donald later admitted that the split was hard for him too, even experiencing suicidal thoughts. He ended up mostly DJing following their disbandment. Jason Orange went in to stage and screen roles. Robbie Williams experienced a slightly shaky start after jumping ship first, but a little song called 'Angels' would change his fortunes. The group's songwriter Gary Barlow achieved a couple of solo #1 hits before Williams got there, including the Madonna penned 'Love Won't Wait', but he moved into working behind the scenes for other artists after his own momentum fizzled out. This included helping out fellow bandmate Mark Owen who notched up some hits of his own, even into the early 2000s. In 2005, the group sans Williams tested the waters as a four piece again, with a new Greatest Hits album, an ITV1 documentary called Take That: For the Record and a press conference, announcing some live shows for the following spring called the Ultimate Tour.

There was evidently still some appetite for Take That, now a man band. Their documentary was a ratings success (a BBC article I found from the time mentioned that it pulled in 6 million viewers) and Never Forget – The Ultimate Collection reached #2 in the chart, only blocked by Madonna's Confessions on a Dancefloor. The Ultimate Tour sold an impressive 275,000 concert tickets in 3 hours, the second fastest selling tour in 2005, beaten by none other than Robbie Williams! Their next move was to record some brand new music after a decade away. They signed with Polydor Records and managed to stage an almighty comeback with new album Beautiful World. It reached #1 in early December 2006 in a top 5 that was completely full of all-male acts, with: Take That, Il Divo, Oasis, Westlife and The Beatles all occupying those spots. Beautiful World hung around and achieved the coveted Christmas #1 album, selling over 443,000 copies that week alone! My dad used to rinse Beautiful World in the car so I'm very familiar with the album. I thought it was a good comeback record although they would better it for me with the more electro-leaning Progress.

'Patience' was chosen as the lead single from Beautiful World and spent 4 weeks at the top of the chart. Take That didn't quite manage the Christmas #1 double, as Leona Lewis blocked them in the singles with X Factor coronation single 'A Moment Like This' that week. McFly rounded off the festive top 3 with 'Sorry's Not Good Enough'. Interestingly this is not the only time that we'd have a Leona Lewis/Take That/McFly top 3 in that exact order, as there would be a repeat the following year too, when Lewis topped the chart with 'Bleeding Love', Take That managed #2 with 'Rule The World' and McFly took the bronze with 'The Heart Never Lies'. 'Patience' became the group's 9th #1 out of a total of 12, so their comeback - both as a four-piece, then briefly as a five again with Robbie too, was incredibly successful. Perhaps THE gold standard for both comeback music and touring success. They even managed their final chart topper, 'These Days', as a three-piece after Jason Orange also departed.

'Patience' was an apt name for a comeback song as Take That's original fans had been waiting a while to see them together again. This return also introduced their music to a brand new generation, including myself, as I was born after they split. The arrival of 'Patience' felt like a big deal. The men were in their 30s now so had a more mature perspective to share with the world. They had typically been associated with love songs targeted at a young fan base, with the odd song, such as 'Back For Good', finding broader appeal. 'Patience' was darker than your typical Take That single. The protagonist has experienced an incredibly difficult heartbreak and needs his own time to process it. So he's asking a prospective lover to give him that space while he's still feeling numb and depressed. I think 'Patience' really stuck the landing and showed an effective natural progression for the group. This is a more laidback direction sonically, complete with lovely guitar strums from John Shanks (now a member of Bon Jovi) but feels more interesting than your average MOR boy/man band hit. Gary Barlow delivers the emotional lyrics with heartfelt conviction and I particularly enjoy his elongated notes during the chorus. This might be their finest moment for me, or 'The Flood', depending on what mood I'm in. 'Patience' was a slam dunk of a return, not only topping the charts, but winning the Brit Award for Best British Single too. They also won The Record of the Year award which usually went to Westlife more often than not. 'Patience' got some respectful nods outside of the pop sphere too, with Nicky Wire from Manic Street Preachers claiming that it was "the greatest comeback single in history" and that "people would be calling it a masterpiece if Neil Young had written it".

Take That blocked two different releases from #1. Booty Luv was made up of two former members of Big Brovaz, Cherise Roberts and Nadia Shepherd. English DJ Seamus Haji got his hands on the Tweet song 'Boogie 2nite' and turned it into a house anthem. Booty Luv then covered this version of the song and promoted it as a single, although the DB Boulevard version was used in the music video. I loved this at the time, it does feel a bit dated now so I'm not as gutted about it missing out on #1 as I would've been in the past. Cliff Richard was also hoping to stretch his #1 tally into a new decade and Christmas time was very much his domain. He promoted new song '21st Century Christmas' alongside a fresh version of his pioneering 1950s #2 hit 'Move It', now with added Brian May on guitar. It would've been cool to see Cliff at #1 from a statistical point of view, as he would've achieved a chart-topper in six consecutive decades, but musically I don't feel any enthusiasm for '21st Century Christmas'. It's not exactly a 'Millennium Prayer'-esque turkey but is nowhere near as good as 'Patience'. So, once again, musically I'm glad Take That prevailed. 'Move It' is a genuine classic, potentially his best, although I wish that had just got to #1 in its original form back in the 1950s. It was blocked by Connie Francis with 'Stupid Cupid' / 'Carolina Moon' so it could've been prevented by a lot worse at least.

This #6-#3 section in particular is extremely close! I've been spoilt with much great pop and rock this year.

So my least favourite is on the way to # 1 again and again

IDFLD is very good - I think it would be in my Top 5. However, "Patience" is not on my toplist and would be outside the top 10 for me.

I remember in school at the time some of my friends joked about with the sound system and slowed 'Patience' to about half of its speed, I found it funny!

'Boogie 2Nite' is still a great bop for me.

Edited 7 hours ago7 hr by TheSnake

I thought “Patience” might make your Top 3! 6th is around where I’d put it tough - an excellent comeback but they had even better to come.

Majestic comeback single, that's how it's done. Great genre switch to suit the 2006 charts, and not some naff single trying to recreate their heyday, but you could see also how it was a sonic successor to the likes of Back For Good. I ended up preferring Shine, Rule The World and The Flood and even so Patience is a record I rank very highly, there will never be a bigger or better pop band comeback on a commercial level and, for about four years at least until the Progress era, a quality level.

Patience is a great song, what a comeback it was. It's one I still like to regularly listen to.

I Don't Feel Like Dancin' and 'Patience' what a duo of #1's.