Doctor Blind
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Posts posted by Doctor Blind
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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)
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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.
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Danny's Chart: 1st November 2015
TW - LW / Artist / “Song” / Chart Run (Wks on Chart)
01 - 01 Kurt Vile “Pretty Pimpin” *3 weeks at #1*
02 - 03 LoneLady “Silvering”
03 - 02 Kelela “Rewind” (02)
04 - 04 FKA twigs “In Time” (01)
05 - 09 Daughter “Doing The Right Thing”
06 - 08 !!! “Freedom ’15”
07 - 20 MØ “Kamikaze”
08 - 05 Oneohtrix Point Never “I Bite Through It” (05)
09 - 11 Beach House “PPP”
10 - 06 Julia Holter “Sea Calls Me Home” (02)
11 - 16 Neon Indian “Slumlord”
12 - 07 Bicep “Just” (04)
13 - 19 Suede “Outsiders”
14 - 31 Special Request “Amnesia”
15 - 10 Drake “Hotline Bling” (06)
16 - 24 Alex G “Kicker”
17 - 26 Majical Cloudz “Downtown”
18 - 28 Roots Manuva “Don't Breathe Out”
19 - 12 Carly Rae Jepsen “Run Away With Me” (01)
20 - 37 Deerhunter “Breaker”
21 - 14 New Order “Plastic” (14)
22 - 13 Para One & The South African Youth Choir “Elevation” (02)
23 - 35 Susanne Sundfør “Accelerate”
24 - 15 Autre Ne Veut “World War Pt. 2” (15)
25 - 34 Seinabo Sey “Pretend”
26 - 36 Chairlift “Ch-Ching”
27 - 33 The Maccabees “Spit It Out”
28 - 17 Battles “The Yabba” (14)
29 - 40 Adele “Hello”
30 - NE Grimes “Flesh Without Blood” *Highest New Entry*
31 - 38 Jack Garratt “Breathe Life”
32 - 18 ZHU x AlunaGeorge “Automatic” (12)
33 - 41 Clean Cut Kid “Runaway”
34 - 22 The Weeknd “The Hills” (22)
35 - 21 Lanterns On The Lake “Faultlines” (09)
36 - 23 Rae Morris “Don't Go” (23)
37 - 46 St. Lucia “Dancing On Glass”
38 - NE C Duncan “For (Autumn Rebuild)” *New Entry*
39 - 47 Format:B “Chunky”
40 - 25 Courtney Barnett “Nobody Really Cares If You Don't Go To The Party” (03)
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Edited by Doctor Blind
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.
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Hi Martin!
Great to see Låpsley still laying it down at number 1. Really want her debut/new music to be out soon, and excellent to see FKA twigs climb to the number 2 spot.
I loved Niki & The Dove's last era so look forward to listening to Play It On My Radio. MØ is fantastic and I am really enjoying Adele's newie too.
Look forward to a certain song debuting here very soon. :D
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Saturday Night sold 150K in Week 1, compared with 100K for Love Is All Around (though that was a >50% increase on its previous sale after 15 weeks at #1). In Week 2 it increased to 220K to give the singles chart its biggest weekly sale since Band Aid in 1984.
This song has become synonymous for me with the launch of the National Lottery and Noel Edmunds. Will 1994 end on a high? :D
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I don't know what Bruno was on that day. He didn't even correct himself - he just faded the song out.
Did he not even play the proper #40?
How bizarre. Quite an iconic chart too with Kylie Minogue making her indie comeback at #2 and Wet Wet Wet scoring a 15th (and as it turned out final) week at #1.
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Edited by Doctor Blind
Thing is with Simon Patterson's songs it just feels like they build up and then straight to the outro without the drop, good as they are it just doesn't feel right to have no uplifting drop in those kind of songs :( Maybe that's why they didn't do too wellSometimes in life it is better to skip dessert. :D (I see what you mean though)
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Tacky? How does that make it tacky? :lol: It's an excellent move to promote the song. The Score's Oh My Love almost went top 40 purely from Asda advert exposure, so that will work wonders for this song.
Using a budget supermarket to launch a new artist is not the right kind of image for Fleur East is it really?
The Score are hardly 'major big star' material and the hit single missing the Top 40 kind of proves that. It will no doubt lead to a lot of promotion however, so if you want that (and not the credibility) then fine.
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Classic! I think the Rapino Brothers Radio Version (which is the one you posted) was the one I heard most at the time.
Subsequently ruined by Bastille in 2013, after which Rob Swire (of Pendulum) tweeted:
Bastille, you are not good enough to cover "Rhythm of the Night". Please stick to 90's songs within your talent range, like Mambo No. 5MEIOW! :D
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Dance Chart Number Ones 1990 - 1999
in UK Charts
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Edited by Doctor Blind
N-Trance - Set You Free
http://i294.photobucket.com/albums/mm82/TheMagicPosition86/rsz_n-trance_zps4qkuqbaj.png
Date 5th February 1995
3 Weeks
Official Chart Run 6-3-3-3-2-3-5-5-8-19-27-47-64-69-72 (15 weeks)
*Positions in red are the weeks when the track would be number 1 if just dance music was chart eligible.
It was third time lucky for Oldham duo Kevin O'Toole and Dale Longworth, both aspiring sound engineer students’ of The Oldham College, when in January 1995 “Set You Free” finally met expectations and crashed into the UK Top 10, spending an impressive 9 consecutive weeks there - not bad for a group who 5 years earlier were messing around in the college sound recording studio trying their best to emulate the chart rave hits of the time. For what is now largely considered a dance classic, it was not an easy journey to its #2 breakthrough however it provided the springboard for both vocalist Kelly Llorenna and parent record label, the recently formed All Around The World - who continue to achieve hits today - however Kelly has struggled to have as much success.
The group were formed in 1990, and their first production Roobarb was typical of the time - a remix of the children’s TV theme, inspired by the rave sound that had permeated much of dance music at the start of the decade. The following year in 1991 Mike Lewis joined and the group caught the attention of Pete Waterman's label PWL when they produced the sample-laden “Back to the Bass” however sample clearance prevented the track being released. N-Trance changed their name from Quartech and went on the search for a female vocalist to give their productions a more commercial edge.
Once again, as with “Let Me Be Your Fantasy” the origins of the track date back to 1992, original band members Kevin and Dale went in search of a female vocalist and back to the band’s college, The Oldham College which was attended by the then 16 year-old singer Kelly Llorenna. She was recommended to the group and agreed to meet and eventually went on to provide her hugely impressive vocal acrobatics on a roughed out mix of “Set You Free” which was recorded in July 1992. PWL were keen to put this song out and a release date was set, however due to a number of unforeseen problems the release of “Set You Free” was postponed a number of times during the next 12 months until eventually the band had had enough and they split from the record company. N-Trance bought themselves out of this contract and then in 1993 agreed to sign with Matt Cadman and Cris Nutall, original founders of All Around The World.
The track itself is another nostalgic nod to the chart rave era of 91-92, filled with rave sirens, crowd noise and whistles, fading into and then slowly back out of the uplifting yet melancholic twinkly piano intro - the thunderstorm and rain almost signalling the reluctant breaking/ending of the seemingly endless summers of rave - simultaneous with Llorenna belting out the plea Wanna stay in your arms forever. There are some well executed changes of pace throughout the track whereby vocal effects bridge the transition from hugely energetic rave dance floor filler to emotionally charged love story.
After a rather unsuccessful release which saw it chart at #81 in 1993, bizarrely All Around The World went with the incredibly tame and ethereal Lost Soul Mix to lead out the second release for “Set You Free” which went down like a lead balloon and charted at a dismal #39 in May 1994, though the reaction in clubs - particularly in Scotland was strong - and such was the demand daily for the record in shops that the label decided to try one last time for a hit. For the third proper promotional push in 1995 the original rough mix was cleaned up and vocals re-recorded - it delivered on its promise and debuted at #1 in Scotland (#6 in the UK) and eventually went on to become the 8th biggest hit of 1995 - opening up new markets for the band abroad and beginning what would be a relatively successful career in the UK and Europe!