Gezza

36.FEMALE OF THE SPECIES- Space (153,500)

http://upload.wikimedia.org/wikipedia/en/c/c9/Femaleofthespecies_front.jpg

Drawing inspiration from a Rudyard Kipling poem, this was one of THE songs of the summer of 96, a jazz fused track with that summery feel was the perfect soundtrack to those warm barbecue nights.

37. ONE TO ANOTHER- The Charlatans (151,300)

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Oh yes their biggest selling single of the decade, outstripping both "North Country Boy" and "The Only One I Know", Ok so they're not really pure "brit pop" but they were fortunate enough to experience somewhat of a revival in the era and returned to the top 10 with this after an absence of some 6 years.

38. ROAD RAGE- Catatonia (151,000)

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Along with Louise Wener and Sonya Madan, Cerys Matthews was probably the nearest thing the movement had to a pin up girl. They are the first of two Welsh bands to appear on this rundown, and spending just 5 weeks in the top 40 might account for the relatively low sales given that 1998 sales were very healthy indeed.

5TH FEBRUARY- BREATHE AGAIN- Toni Braxton (2 weeks)

http://upload.wikimedia.org/wikipedia/en/2/2b/Toni_Braxton_-_Breathe_Again.jpg

From the fair hand of Babyface came this tale of a love that had run its course. A curious record really, even at the time it seemed almost apologetic to be in the charts, the verses are far more appealing than the chorus here, she almost drawls over the end of the words, like chocolate oozing out of the sides, oddly captivating, its akin to being hypnotised, the record is kinda over and you feel like you enjoyed it but you can never be sure.

A piece of competant mid 90s R N B and there is no doubt Braxton has a pair of lungs on her, this songs seems ill-fitted for that purpose though, 2000's "He Wasn't Man Enough" or 96's "You're makin Me High" seem better vehicles for her talents as a seductress, here the whole thing seems lazy and the beats almost fall over themselves in lethargy. I don't dislike it though, like I say, it's just all a bit "The Silence" (Dr Who) for me- you hear it and recall it then it never exists until the next time you hear it......

29TH JANUARY 1994- ALL FOR LOVE- Bryan Adams/ Sting/ Rod Stewart (1 week)

http://upload.wikimedia.org/wikipedia/en/2/28/All_For_Love.jpg

Yes it's 1994 and I turned 18! This is of course the title track to the "Three Musketeers", but more importantly I'm reminded of the Three Muskehounds and Dogtanian from when I was a kid, a series which certainly seemed to run for an entire lifetime, yet Wikipedia says it only had 52 episodes- odd. Anyway along with "Dungeons and Dragons", "Thundercats", and "Transformers" this was basically my childhood, so hooked was I on "Thundercats" that when I was press ganged into joining our after school group who did swatty things (that came to an end after just one term when all we did was doss about) I was very disturbed that it clashed with the programme, I'd have killed for recordable TV back in those days.

Ah yes 1983 holds such fond memories for me people- oh the record?- DIRE.

Gezza, I love you

Normally I require at least 4 dinner dates and quick fondle before I get to that stage! :lol: :o

It's not identical in retrospect but I'm sure you'll see what I mean! :D

ps... I agree with your review of Bryan Adams, never has a man managed to make a living of such a load of old drivel for so long! :D

Yes I see what you mean- surely unintentional? But in light of Smart E's, Urban Hype and Prodigy maybe not! :D :o

and finally for tonight...

39.PLACE YOUR HANDS- Reef (146,700)

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Never a band I loved at the time (apart from the rather wonderful "Come Back Brighter") they accumulated 5 top 20 hits between 95-98, this being their largest. A song about lead singer Stringer's grandfathers death...

40. TRASH- Suede (145,400)

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Another comeback here, of sorts, lead single from third album "Coming Up" saw Suede achieve their joint highest placed single of their career with "Trash", in the words of Anderson muses:

"I actually wrote it about the band Suede. It's a celebration of the band, but by extension, it's a celebration of the fans as well. And it was a kind of a song written about us, as a gang, it was written about the values we stood for. And even though it sounds like a love song, it was actually about the idea of the identity of the band, and what they stood for."

All I know is that it's one of my favourite songs of the decade and definitely the Brit Pop era, many, many. many a drunken night I've had to a suede Soundtrack back in the 90s, it seemed to mark a new focused angle to the band and remains one of their most commercial moments.

41.LOVE SPREADS- Stone Roses (145,000)

http://upload.wikimedia.org/wikipedia/en/d/d0/Lovesprods.jpg

Yes, a much heralded return with a fabled second album was always going to ensure a high new entry in the charts, at it looked like this was going all the way to No 1 in early December 1994. It would have but for a late surge by Baby D with "Let Me Be Your Fantasy", but it remains the biggest selling single by the band of the 90s, all those re-issues of "Fools Gold" amounting to a little less then 100k all told (not taking into account the tracks 80s sales)....

Hey there,

Most of you will be familiar with my count downs in the main UK Charts section but I thought it was time to do something for the more indie kid-esque amongst you so here's the top 41 best selling Brit Pop singles of the 90s. I'm indebted to MFR for the figures, and these are OFFICIAL figures of the time so they're NOT my estimates. Ok it's a top 41 because I realised I missed a song out after I'd started posting- hey you get 1 extra! :D

Thanks to Wikipedia, Chart stats, You tube, and MFR for all their assistance in the rundown.

A few notes. "Brit Pop" is a hard term to define and many groups we could argue about all day over whether or not they should be included so I had to go with my gut instinct and I've erred on the side of caution. These are 90s sales only and the ones that were worked out at the time (these will have been revised since in many cases for the 94-96 period).

The songs had to have made the charts between 1993-1998, i'm aware that means acts such as happy mondays and the farm will not make it but then they may have influenced Brit pop but weren't part of the "movement. Anyway hope you enjoy....

27TH NOVEMBER- TRUE LOVE- Elton John & Kiki Dee (2 weeks)

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This was one of the biggest contenders for that festive top spot in 1993, a smultzy ballad betwixt Elton & Kiki from Elton's new "Duets" album. The pair had of course released a couple of singles previously back in 70's and scored the mammoth No 1 "Don't Go Breaking My Heart" , and were back with this cover of the Cole Porter "True love" made famous by Bing Crosby & Grace Kelly in the Film "High Society".

It's not a bad song, but it was released far too early for a shot at the Xmas No 1 which in any eventuality ended up being a tussle between Mr Blobby and Take That with this track being lucky to hold onto a top 10 placing by the time we tucked into the turkey. There's a undeniable warmth to the pair's tones and voices, and it's obvious there is genuine friendship there, but there's no getting round the fact we are seeing out 1993 with a wimper....

6TH NOVEMBER- PLEASE FORGIVE ME- Bryan Adams (3 weeks)

http://upload.wikimedia.org/wikipedia/en/9/90/Please_forgive_me.jpg

I mean, really, this is unforgivable. There was a time, let's say 1985, when Bryan Adams may have been acceptable (I'll give you "Heaven" and "Run To You") but in the 90s the guy was just awful, churning out this kind of crap like there was no tomorrow- and my how we lapped it up. Bonus's about this track are that it isn't "Have You Ever Really Loved A Woman" which is just like dying slowly inside listening to it, but that's about it.

Formulaic, droning, lasting far too long, and he over emotes in the video, the list of faults can go on and on, I can only assume that the dog on the cover is somehow linked to the one in the video, maybe it's equating disliking this song to kicking a puppy, I don't know and I don't really care, yes that's where I am with Bryan Adams in 1993.

EDIT: Perhaps it has something to do with the songs co-writer (Robert "Mutt" Lange") :D

30TH OCTOBER- U GOT 2 LET THE MUSIC- Capella (1 week)

http://upload.wikimedia.org/wikipedia/en/e/ef/U_got_2_let_the_music.jpg

Sometimes music isn't just about the age you are, or what you're friends are into and exposing you to, it's about location. Growing up in a small market town at the age of 17, doing my A-Levels my world consisted of house parties and the town pubs and I was happy enough with that, we didn't get Sky until 1995 and I never set foot in a club until 1994 partly because there were no clubs in my town and to get to the nearest city was just a mission. All of this is by way of explaining of how I got "Dance", which was melodic and radio friendly, but not "Club" music of which Capella circa 93 was most certainly so. Again it's partly to do with the fact that lyrics are fairly minimal so there isn't much to get our teeth into and I hated this song at the time.

Now listening to this for the first time since it left the charts probably, it isn't that bad, probably because I'm post clubing these days, but I understand it now, I get the context, I suppose it didn't help that most of my friends were by 1993 getting very into indie music, which as it turned out was where it was all going to be happening very shortly. In hindsight therefore I'm not going ot be so harsh on Capella as I would have been back in 93, the next song however I make no such promises on......

2ND OCTOBER- MOVING ON UP- M People (1 week)

http://upload.wikimedia.org/wikipedia/en/4/4a/MPeopleMovingOnUpCDSingleCover.jpg

1993's No 2 hits are only heading one way from here on in sadly, and isn't upwards! This starts us off brightly enough though, a sassy piece of daytime pop which I grant you has been overplayed over the years and comes to represent the blander end of dance music in the decade. M People sadly outstayed their welcome in my view, but certainly between 1993 and 1995 they producing a string of catchy pop hits that rank with the best that the 90s had to offer, it's just that from 96-99 they produced quite bland music that was immediately forgettable, but come let's listen to this for the first time again.

Small's vocals, which murder and trample over the latter tracks in their discography, are rather sublime on this track, a naturally follow up to "One Night In Heaven" in which big vocals are needed to match the production, this is more quiet determination. The tale of the wronged woman who has had enough of her wayward partner is not something to shout about, but just a situation that needs to be got out of, and quickly, the piano at the start of the song is neat and clean in sound reflecting the situation, there is logic in the narrative, the protagonist will not be argued with on this one.

The physical appearance of Small is also of benefit, she is physically dominant in the video clad in black with that ridiculously high hair, it's the perfect theme for her. A string of 7 top 10 singles would follow this but the glory of 1993 would ever elude them right through to their demise.....

18TH SEPTEMBER- GO WEST- Pet Shop Boys (2 weeks)

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"Go West" is an important single in the career of PSB's. Not only was it the last time they came anwhere near the top spot, but it marks the point at which the band emerge from "smash hits" territory and into "attitude" where Tennant came out in a 1994 interview. In short the message becomes unambiguous, and well, if you're going come out of the closest why not burst out? Covering a 1979 Village People single should do it, and with a video stuffed with very muscular men few were surprised by that "revelation" the following year, but again the price paid was sales.

As a song it's based around the famous Horace Greeley quote from 1865 "Washington is not a place to live in. The rents are high, the food is bad, the dust is disgusting and the morals are deplorable. Go West, young man, go West and grow up with the country.", and was a call to arms for civil war veterans to claim land and start their own communities and businesses. However the Village people hit of 1979 re-interpreted this to be a clarrion call for the homosexuality community to come to San Francisco as some haven of tolerance, and it's this meaning that the PSB's are toying with here, but as with the 1979 message, it isn't that clear, whilst the Village people introduced a new subtext to the existing meaning of the phrase and did play on the Greeley message so the Pet Shop Boys played on the Village people whilst introducing a new subtext of soviet relations.

Originally performed at a AIDS benefit at the Hacienda nightclub in Manchester by the boys at the behest of Derek Jarman, the organiser, "Go West" marks the beginning of "Gay" Pet Shop Boys if we compare videos- the videos that stem from this period (just look at "Paninero 95" or Se A Vida E" for examples) are clearly the male gaze observing men. Even their 80s homo- erotic videos such as "Domino Dancing" or "Rent" attempt to blur the message by portraying the female gaze. It is therefore a coming out record for the group.

Of course putting the song to a Hi-NRG beat perfectly suits the purpose and the song, it has a kind of honesty that is hard not to love, withthemes of inspiration, aspiration, and solidarity it is a song with heart and soul, incidentally the album that it comes from "Very" is in my opinion their finest post 80s album. It's a track which has a lot to offer under its glossy exterior, all the best dance music does, but primarily it's fun....

4TH SEPTEMBER- IT KEEPS RAININ' (TEARS FROM MY EYES)- Bitty McLean (2 weeks)

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In a year of Shaggy, Shabba Ranks, UB40, Apache Indian, and Chaka Demus & Pliers, i've already made my point about it being a great year for the reggae chart wise, and here's further proof. Birmingham born Mclean launched his UK career with this cover of a 1961 Fats Domino track, and whilst it isn't awful (like in the way "Tease Me" is- the WORST record of the decade) it was never a record I liked let alone loved. It has enough pop music injected into it notto make it "pure" reggae and I suppose that salvages it from my wrath but it's just a dull record that fails to grip you from the off and lies under the umbrella of benality just enough to escape any real strong opinion being held on it.

Mclean also produced a string of similar reggae lite tracks until 1995 when the game was finally up for him, and rightly so. 1993 is really a year looking for character, holding its breath waiting for the next great pop movement, and would you believe it that movement was just getting going and it would demonstrate that music with passion was about to make this kind of thing rather redundant, for a while at least...

Nephew Mclean also had a top 10 hit in 2009 with "My Name"

14TH AUGUST- THE KEY THE SECRET- Urban Cookie Collective (2 weeks)

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Ah now this, for me, is where 90s dance really starts to be represented in this thread! Made up of a "collective" of Manchester producers and musicicans, it included former memebers of A Guy Called Gerald and Together who had been hit makers at the turn of the 90s, an this is a very hard song to dislike. I have no idea what the song is about, but that's not essentially to either enjoyment of the track or to understanding the purpose of the record, in this case to get moving and shaking their booty! We're going to be quite fortunate in this thread to be able to chart the evolution of the dance scene throughout the decade, from rave to trance, and UCC are just a step along this timeline.

Naturally for a genre altering so frequently it now sounds particularly 1993 but it's all the better for it, it has a charm and cutesy-ness (?) that many other dance records in the year simply failed to have and we'll come across one of the most charmless ones later in the year....

24TH JULY- WHAT'S UP?- 4 Non Blondes (2 weeks)

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Six weeks, that's how long it took "What's Up?" to make it to No 2 back in 93, a genuine case of a hit growing week by week something which by this point in 93 was becoming a rarity, I recall this track climbing week after week almost unnoticed and uncommented on, yet guitar driven ballads were just about to become a staple in the charts thanks to brit pop. 4 Non Blondes contained main songwriter Linda Perry, who's claim to fame (in addition to datinf Cybil Shepard's daughter) wrote many hits for most of the 00s biggest female solo artists Gwen Stefani, Pink, Kelly Osbourne and Christina Aguilera to name but a few, and whats on show here is very competant songwriting.

Lyrically a song challenging the notion of men-centric society it may be slightly ham fisted but it's actually not a song that bludgeons its message overly (though I confess the remix by DJ Miko just one year later rather stripped all meaning out of the track), but it's a great song to sing drunk I can confirm that. It seems rather an innocent song now, post Morissette, more angry teenager than homicidal maurader, not a bad song certainly but I haven't heard it in years!....

..And when we just let anyone buy a home WITHOUT the tight regulations, we got sub-prime lending (with the likes of Northern Rock offerering 105% mortgages and the like, oh, and it just so happens that they were one of the banks we had to bail out..) and a massive property bubble (although not as bad as the one on the US) and now these days, first-time buyers have absolutely no chance at all of getting on the property ladder because they're priced out... Frankly, I prefer the time when mortgage lending was regulated better....

You may be right about the points you raise above but you're arguing a DIFFERENT point here. You stated that if people wanted to buy a house back in the early 80s there were more than enough wimpy and Barrat homes to buy without snapping up discounted social housing/ LA Properties.

I stated that it was too overly regulated in the early 80s for mortgages to be obtained easily by working class families and so that wasn't that option, and they depended on that discount.

I really do not believe that Attlee's Cabinet discussed whether providing new homes would be a vote winner. Nor do I believe that they even gave it a moment's thought in private. They were faced with the fact that many homes had been destroyed and many of the homes still standing were woefully inadequate. As a party with broadly socialist principles, they decided that the state should provide new homes.

 

Thatcher's right to buy, OTOH, was a calculated attempt to win and keep votes. People often accused Blair of being obsessed with winning the next election. That's a fair criticism but he was just following the example set by his predecessor but one.

 

As for the mortgage market, that had been largely deregulated by the mid 80s.

I never really see politicians, of any colour, being altruistic but we'll agree to disagree on that one! :)

Precisely... If Thatcher had allowed councils to use the proceeds to build replacement housing, then it may no have been so bad...

 

But, Gezza, I am totally ideologically opposed to people buying Social Housing stock... It's a principle, and I'm not going to apologise for that, if they wanted to buy houses so badly, there were plenty of Barratt and Wimpey homes out there as I recall....

 

And you cannot possibly compare the noble intentions of the Labour Government of the POST WAR when people were homeless and the country was utterly wrecked after six years of destruction and Blitzkrieg warfare which had totally FLATTENED entire cities in this country, and NEEDED Social housing to be built.....

 

CONTEXT is everything.... -_-

No one asks you to apologise for anything this is merely an exchange of opinion, in any eventuality we're both adult enough to deal with differences. The Atlee government COULD have, for example, given subsides to private builders to build homes post war and created houses that way but it chose that way for ideological purposes, if people had the state as landlord and Labour government had given them that property I think it was a vote winner by the back door, if the decision to build them was ideological then the subsequent refusal by Thatcher to let them build more was equally ideological, governments of any political hue rarely do anything that does not advantage themselves.

I don't dispute the need for housing post war i'm saying that there were options. As for intentions being "noble" or otherwise well I certainly wasn't there so I can't assume or comment on that.

Thatcher obviously believed that owning your property would increase the pride you had in it, and you'd have a motivation to maintain it and improve it, i think that that is certainly a valid point, also the money slushing about the economy in terms of mortgages etc is greater and the state isn;t responsible for improving homes etc so has a smaller bill to pay, however this is getting off the point slightly so apologies for that.

As for Barratt and Wimpey homes the mortgage market was so heavily regulated until the mid 80s that many people could still not have got a mortgage without the discount so it was in many respects a case of their FIRST opportunity, though I don't den there were also those who saw the opportunity to get a cheap house and grabbed it!

What was terrible about the right to buy was the massive discount people got and, even worse, the fact that councils were not allowed to use the proceeds to build replacement stock.

No doubt it was ideologically driven I don't think anyone could argue that- then again no more or less ideologically driven than the state choosing to build them all in the 40s post WWII.