Based on and named after a game run here in 2011-12 (link in part 1), this is a rollover game going through every ARIA top 20 hit from 1988 onwards. Each round, there are 10 songs in play, from which you vote your favourite 5. The 3 songs that get the most points survive, and the rest are eliminated - and replaced with the next top 20 hits chronologically. If a song survives 3 rounds, it gets inducted into the Hall of Fame. Rounds are open for 2 days each, with new ones posted by me or Hijinx after 7pm AEDT.
The centenary round! Thanks to all who've virtually never been more than 2 days away from this game all year (or for some number of months, for later arrivals), not only maintaining but even growing the voter base. The game has received a total of 1,739 votes so far (almost got the holy number), and while 14 voters in the first few rounds already felt impressive enough, as many as 61 rounds have had either 18 or 19 voters. Still not reached the elusive 20 though; maybe within the next 50 rounds? The Hottest 100 has been mentioned quite a bit lately as late 1994 has seemed to have had quite a high concentration of songs from it, and this round is about as relevant to it as you can get, as it was dominated by 2 songs that were the 1994 Hottest 100 top 2: "Zombie" and "Closer". This may never happen again, as though the 1993 and 1994 Hottest 100 top 2s were both both top 20 hits, that happened sparingly again until the 2010s (2000, 2001, 2003, 2008, 2011-14, 2016), and of course many of those pairs would be at completely different times of the year. Fittingly 1994 is my favourite Hottest 100 top 2. "Closer" has scored over 50 points all 3 times, so its quest is fulfilled, but just like it was surpassed by "Confide In Me" (and "Chains") previously, this time it ended up just shy of "Zombie", the inaugural appearance for The Cranberries even if prior singles "Linger" and "Dreams" are probably better known and loved than their future entries. "Zombie" not only spent 8 weeks at #1 (including the Christmas break) but held the album in the top 10 where it remained for 8 months, becoming the 3rd-biggest seller of 1995, and one place it particularly endures is YouTube, where it has 930 million views - ranking it as the #173 most-viewed music video of all, behind only "November Rain", "Bohemian Rhapsody", "Sweet Child O' Mine" and "Smells Like Teen Spirit" from the 20th century. A dance version by A.D.A.M. followed the original to the UK top 20 and Australian #65 slot in 1995, and more recently, the metal band Bad Wolves had a semi-hit cover of it in 2018, which Dolores O'Riordan had been scheduled to record vocals for, but died before it happened (allegedly on the exact day she was due to record). My cover of choice is the hardstyle version by Ran-D. Before the round began, I expected "Zombie", "Closer" and "All I Want For Christmas Is You" to be easily top 3, but I was very wrong on the 'easily' part, as #3 was never safe in any song's favour, ending up as close to #9 as to #2. But I was right about Mariah... by an extremely narrow 1-point margin. It's been a while since the major HOF success of "Emotions", with all of the "Music Box" singles doing well but not really contending for the top 3, but it seems all she needed was a Christmas song at practically the least appropriate - no, conventional - time of the year to listen to Christmas music. Though our timing would have a companion in Mariah herself, as she recorded the song in August of 1994, with Christmas trees and lights brought into the studio to set the mood, calendar be damned. But it's not just any Christmas song, of course, as anyone who's ever looked at a chart or lived through the month of December would know. In an alternate version of this game where annual re-entries were also re-entered into play, this would be its first of 6 appearances, with it finally having reached #1 last year, 24 years after release. Or might it have overtaken "Zombie" at the time if ARIA hadn't taken Christmas breaks? Well, it's finally moot now. Though it's outranked the "Music Box" singles, it probably benefited from a seemingly-easier round, as it has the lowest points for #3 in the last 30 rounds, pretty much on par with "Dreamlover" and "Anytime You Need A Friend". Mariah's entire career so far has happened in the time since we last met the artist she narrowly beat - Gloria Estefan, who scored just above 10 points with both of her 1988-90 ballad entries, and watched her Australian success dry up afterwards, including a US #1 that missed the top 50. But that turned around in a big way for her only top 10 hit ever "Turn The Beat Around", a cover of a 1976 disco hit by Vicki Sue Robinson, also recorded by Laura Branigan in 1990, who I'd say wins for having the loudest percussion. It was recorded for the 'spy action thriller' film "The Specialist", the video including clips I presume are from it, and then featured on her covers album "Hold Me, Thrill Me, Kiss Me" after she time-travelled her way to 1995 but wasn't quite comfortable with being suicidal. (Ok, this is the first I learn that U2 actually based their title on the song Gloria covered.) There's a 2017 episode of "Modern Family" called "Pig Moon Rising" in which a character apparently fails to name "Turn The Beat Around". For some reason I had Harry Connick Jr. in mind as being 40-50+ years old at this time. That was completely off, but he already had a lot of success behind him for his actual age of 27, with a streak of platinum jazz/big band(?) albums in the US, and here, a compilation of tracks from a few of those albums that was made for Australia reached the top 5 in 1992, and produced a #70 single. He switched to funk for his 1994 album "She", with enough momentum behind him that it was already in the top 20 2 months before "(I Could Only) Whisper Your Name" hit the chart. The song also featured in the 'superhero comedy' film "The Mask". I suppose my revelation for this round is that Shampoo weren't really a '90s mainstream pop act, but rather came from an alternative scene and wrote a Manic Street Preachers fanzine. The name 'Shampoo' was from their school nickname of 'The Shampoo Girls', given to them for turning down dates by claiming they were busy washing their hair. They named their next album and its lead single "Girl Power", and though the term came from the riot grrrl/punk scene in the first place, it was through Shampoo that Geri Halliwell heard it and chose to use it for her own group...'s branding. I'd thought "Lucas With The Lid Off" was only relevant in Australia but actually it was a US hit too, and he wasn't a total one-hit-wonder either as he ended up in songwriting for some major artists around 15 years later, including co-writing The Pussycat Dolls' "I Hate This Part", Kylie's "Get Outta My Way" and Stan Walker's "Black Box". I cannot claim to know how a Tom Jones song debuted at #5 in 1994, 23 years after his last top 10 hit (the #1 "She's A Lady"), apart from his vocal for The Art Of Noise's "Kiss" but even that was 5 years past. I also cannot claim to know how it made the Hottest 100 top 10. The one factoid I do have is that it was originally by the obscure white rap group Rise Robots Rise, a cover/rework idea that came from the producer Jimmy Iovine, who'd signed Tom Jones apparently on the back of a well-received charity performance with Sting. Having been a unit for only 6 months, the production group 20 Fingers came up with "Short Dick Man" out of wanting to do something 'shocking' to easily get played in clubs, and deciding to flip the tables on songs by men treating women as sex objects. Gillette, who was only 19-20 or so at the time, was a friend of theirs hired to perform the lyrics, and was central enough to the song that 20 Fingers went on to make an entire album with her, credited under her name. The song got edited to "Short Short Man" for the clean/radio version, enough for Gillette to get complaints thinking it was about literal short men, which she was sure to repudiate. We have a new Australian R&B group in play in CDB, and though they've placed at the bottom too, it looks like they're more popular than Kulcha. "Hook Me Up" had quite a pedigree behind it, being produced by The Rockmelons, and co-written by the singer of Wa Wa Nee.
59 - The Cranberries - Zombie (survived 1) 55 - Nine Inch Nails - Closer (survived 3; inducted!) 32 - Mariah Carey - All I Want For Christmas Is You (survived 1) 31 - Gloria Estefan - Turn The Beat Around 25 - Harry Connick Jr. - (I Could Only) Whisper Your Name 23 - Shampoo - Trouble 20 - Lucas - Lucas With The Lid Off 17 - Tom Jones - If I Only Knew 14 - 20 Fingers feat. Gillette - Short Dick Man 9 - CDB - Hook Me Up
Boyz II Men - On Bended Knee East 17 - Stay Another Day Guns N' Roses - Sympathy For The Devil Ini Kamoze - Here Comes The Hotstepper Kylie Minogue - Put Yourself In My Place Mariah Carey - All I Want For Christmas Is You Pato Banton feat. Ali & Robin Campbell - Baby Come Back Red Dragon with Brian & Tony Gold - Compliments On Your Kiss Severed Heads - Dead Eyes Opened (1994 Remix) The Cranberries - Zombie
Compliments to all nice and decent voters. Have some courtesy and taste, and pick your favourite murderers by Wednesday evening.
+5 Severed Heads - Dead Eyes Opened (1994 Remix) +4 Ini Kamoze - Here Comes The Hotstepper +3 Mariah Carey - All I Want For Christmas Is You +2 Kylie Minogue - Put Yourself In My Place +1 The Cranberries - Zombie
+5 The Cranberries - Zombie +4 Severed Heads - Dead Eyes Opened (1994 Remix) +3 Ini Kamoze - Here Comes The Hotstepper +2 Kylie Minogue - Put Yourself In My Place +1 Mariah Carey - All I Want For Christmas Is You
+5 Kylie Minogue - Put Yourself In My Place +4 Severed Heads - Dead Eyes Opened (1994 Remix) +3 Ini Kamoze - Here Comes The Hotstepper +2 Red Dragon with Brian & Tony Gold - Compliments On Your Kiss +1 The Cranberries - Zombie
This is... not a particularly great round for me, but here goes:
+5 The Cranberries - Zombie +4 Red Dragon with Brian & Tony Gold - Compliments On Your Kiss +3 Severed Heads - Dead Eyes Opened (1994 Remix) +2 Kylie Minogue - Put Yourself In My Place +1 Pato Banton feat. Ali & Robin Campbell - Baby Come Back
+5: The Cranberries - Zombie +4: Severed Heads - Dead Eyes Opened (1994 Remix) (I'd narrowly give the original +5) +3: Kylie Minogue - Put Yourself In My Place +2: East 17 - Stay Another Day +1: Red Dragon with Brian & Tony Gold - Compliments On Your Kiss
Great top 5! Would've liked to vote Ini Kamoze and Mariah too.
+5: The Cranberries - Zombie +4: Mariah Carey - All I Want For Christmas Is You +3: Red Dragon with Brian & Tony Gold - Compliments On Your Kiss +2: Kylie Minogue - Put Yourself In My Place +1: Severed Heads - Dead Eyes Opened (1994 Remix)
+5 Severed Heads - Dead Eyes Opened (1994 Remix) +4 Mariah Carey - All I Want For Christmas Is You +3 Guns N' Roses - Sympathy For The Devil +2 Ini Kamoze - Here Comes The Hotstepper +1 Red Dragon with Brian & Tony Gold - Compliments On Your Kiss
+5 Zombie +4 Put Yourself in My Place (close top 2) +3 All I Want for Christmas Is You +2 Dead Eyes Opened +1 Stay Another Day (didn't expect to be voting this, a toss-up between this & Ini Kamoze for +1)
+5 Kylie Minogue - Put Yourself In My Place +4 Mariah Carey - All I Want for Christmas Is You +3 The Cranberries - Zombie +2 Ini Kamoze - Here Comes the Hotstepper +1 Severed Heads - Dead Eyes Opened (1994 Remix)
It's a familiar story. You finish the prior round on what would be a monstrous lead if not for one song, but that song is now out of the picture and that lead is able to thrive. That's what's happened for The Cranberries and their tanks, and their bombs, and their bombs, and their bombs, and the drums, the drums, the drums, the drums, the drums, but nonetheless "Zombie" has not only lasted a second round, but made a sizeable jump in points. Mariah Carey also saw a decent jump in points but was even less safe than last round, but more on that later. In the meantime, something has been put in the place of Nine Inch Nails, and to the surprise of no one, it's Kylie Minogue who continues her unprecedented hitstreak of two songs. The artwork for the song has Kylie wearing headphones and showing off a particularly sizeable vein in her neck, so it was always going to go down a treat here. There were only 3 singles released from "Kylie Minogue" and the 3rd, "Where Is The Feeling?", missed the top 50 so it'll be a rather unprecedented amount of time before we encounter another lead artist entry from her. It's not the only new entry to go through to the next round however. I mentioned that Mariah cut it close. No lies were being told as she spent the majority of the voting period quite a way behind, only catching up at the end, and even then it was by the slimmest of margins as she could only manage to tie our last survivor. When King K. Rool ended up in Super Smash Bros. Ultimate, Gregg Mayles jokingly lamented that 25 years ago he should have spent a bit more than 5 minutes coming up with his slightly rubbish name. It's a similar situation to Tom Ellard. He was in the group Mr. & Mrs. No Smoking Sign with their name being decidedly pretty dumb, and so they opted for the more succinct Severed Heads name which has stuck ever since, but he still thinks is a really dumb name. Prolific ever since the early 1980s, the group's music was perhaps a bit too out there to really capture commercial success. Things briefly changed with their single "Dead Eyes Opened" which was initially just recorded to fill up space on a cassette tape but ended up being released as a single anyway. The spoken word on the song is taken from crime novelist Edgar Lustgarten's narration on "Scales Of Justice", and became a more prominent aspect of the single when it was remixed roughly a decade after initial release in 1994, which saw its way into the Australian top 20. Much like seemingly every aspect of the band, Tom Ellard does not have high admiration of the track at all. Those two third place songs are not the only contenders cutting it close however. Not far behind them is the first in a healthy selection of reggae or thereabouts tracks in this round. If nothing else, the hotstepper, the lyrical gangsta himself Ini Kamoze is Jamaican. One of the biggest one hit wonders of all time (until Lil Nas X does something about it), "Here Comes The Hotstepper" was a top 5 hit all across the world, even hitting #1 in the United States...only for him to promptly chart practically nothing else anywhere. The song is built around several samples, one of them being its drum beat taken from Taana Gardner's "Heartbeat", which was actually not originally in the song when first recorded. The version now known was originally a remix, but one that managed to garner attention to the point of effectively scrubbing the original out of discussion. This was all at the hand of producer Salaam Remi, for whom I believe this is their first hit. He's known best for some of his work with the Fugees & Amy Winehouse, though what he will be later featuring in this game for is seemingly random by comparison. This round's results has two 38's and thus it is appropriate that it should have two 17's. It just so happens that they're coupled together on the same song, as East 17 make up for "Around The World" missing the target by 1 point, getting to exactly 17 points with "Stay Another Day". By a decent margin, it's the group's most enduring song, helped in no small part due to the fact that it hit #1 in the UK around Christmas, and has some bells in it which means that it occasionally gets lumped into the Christmas canon which it probably doesn't really belong in. I am yet to see "Killing In The Name"'s mention of crosses warranting similar inclusion, but perhaps that's an Easter anthem instead. You could see it as a sort of send off for the group, as it was their last top 10 hit in Australia, though they will have one further entry later on in the year. Also back later in 1995 will be Boyz II Men, who have very quickly followed "I'll Make Love To You" with "On Bended Knee", the former still in the top 10 when the latter debuted on the chart. It was even more extreme in the US though, as the quartet replaced themselves on the top of the Hot 100, on the week "I'll Make Love To You" was bidding to break Whitney Houston's record for weeks at #1 (though they dropped to #4 anyway so they can't just blame the one song). Jimmy Jam & Terry Lewis who produced "On Bended Knee" were disappointed that their song got to #1 as they were rooting for their friend Babyface who wrote & produced "I'll Make Love To You". This was also the first time in 30 years that an act had replaced themselves at #1 on the Hot 100, previously done in the rock & roll era by only The Beatles & Elvis Presley, though nowadays it's not a super uncommon thing, and we've even seen several singles replace their supposed follow-ups at #1. They would have been at #1 for 5 straight months if not for Ini Kamoze interrupting in the middle of "On Bended Knee"'s 6 week run. If you consider "Here Comes The Hotstepper" as closer to hip hop than reggae, then you can consider "Compliments On Your Kiss" covering the middle point of the Venn Diagram in this round as the one reggae entry that's actually from Jamaica. That's true of all the artists involved on this song. Though the name may fool you, the duo Brian & Tony Gold are not related at all. If not for the fact that like many others, they adopted these names as individual stage names, then you could hope that one day they would release music under Tony Gold & Brian. Just Brian. Red Dragon has his own name curiosity as he originally went by Redman, conveniently changing it before the rapper better known as Redman burst onto the scene. Red Dragon only gave the world one hit song before he passed away a few years ago. Brian & Tony Gold though will be returning quite a bit later courtesy of SHOGGY! A decent way behind them we have a bit of a lacking send off for one of the most prominent bands of the early '90s. As they sold albums by the truckload and sent an endless supply of singles towards the top of the charts, it must have felt like the Guns N' Roses era was one that no one would live to see the end of. Then again with their Greatest Hits closing in on 9 years spent on the charts maybe we haven't yet. Nonetheless the point here is that admist a lot of inner band turmoil, things grinded to a halt around this time period. Between this and the "Use Your Illusion" albums, the band actually did release another album, "The Spaghetti Incident?", consisting entirely of covers (including a controversial inclusion of a Charles Manson song). They're here with a cover as well though it's not from that album. Instead it's a cover of the Rolling Stones classic for inclusion on the soundtrack to "Interview with the Vampire". To this day it's the band's last top 50 hit. The band didn't actually break up, but between 1994 & 1999, every single member apart from Axl Rose & Dizzy Reed left the band at some point. 1999 is also when Axl Rose announced the name of the band's upcoming album that had been in the making since 1994, "Chinese Democracy". Music's equivalent of "Duke Nukem Forever", 2006's Hottest 100 broadcast made a joke that the #1 song for that year was the opening track to "Chinese Democracy", before later realising that they meant 2016. However in 2008 that album was actually released to lukewarm response. It's another bad round for covers as they make up the bottom two slots. In a post-Ocean Alley word, you might be forgiven (or you might be me) if you saw "Baby Come Back" and assumed it was a cover of the 1970s track by Player. Instead it's going a bit further back to The Equals' track from the 1960s. If there was a song of the same name released in the 1980s, maybe then it would be acceptable to interpolate Calvin Harris into it. Here though we're looking at reggae singer Pato Banton, who is decidedly not Jamaican, though his stage name comes from the sound of a Jamaican night owl. There's a rumour that if a reggae cover is being recorded, UB40 will mysteriously appear on it, ald lo and behold we have both Ali and Robin Campbell, who for the sake of consistency I should clarify are genuinely brothers. Pato had previously collaborated with UB40 about a decade prior on one of their albums.
68 - The Cranberries - Zombie (survived 2) 49 - Kylie Minogue - Put Yourself In My Place (survived 1) 38 - Mariah Carey - All I Want For Christmas Is You (survived 2) 38 - Severed Heads - Dead Eyes Opened (1994 Remix) (survived 1) 33 - Ini Kamoze - Here Comes The Hotstepper 17 - East 17 - Stay Another Day 16 - Boyz II Men - On Bended Knee 15 - Red Dragon with Brian & Tony Gold - Compliments On Your Kiss 6 - Guns N' Roses - Sympathy For The Devil 5 - Pato Banton feat. Ali & Robin Campbell - Baby Come Back Last edited:
Arrow - Hot Hot Hot (World Carnival Mix '94) The Cranberries - Zombie Janet Jackson feat. MC Lyte - You Want This Joshua Kadison - Beautiful In My Eyes Kylie Minogue - Put Yourself In My Place Madonna - Take A Bow Mariah Carey - All I Want For Christmas Is You M.C. Sar & The Real McCoy - Another Night Severed Heads - Dead Eyes Opened (1994 Remix) Silverchair - Pure Massacre
Another round, another vote, but always top 5. It's the deadline of Friday night that seems to be true
+5 M.C. Sar & The Real McCoy - Another Night +4 The Cranberries - Zombie +3 Kylie Minogue - Put Yourself In My Place +2 Severed Heads - Dead Eyes Opened (1994 Remix) +1 Arrow - Hot Hot Hot (World Carnival Mix '94)
+5 Kylie Minogue - Put Yourself In My Place +4 Severed Heads - Dead Eyes Opened (1994 Remix) +3 M.C. Sar & The Real McCoy - Another Night +2 Madonna - Take A Bow +1 Janet Jackson featuring MC Lyte - You Want This
+5: The Cranberries - Zombie +4: Severed Heads - Dead Eyes Opened (1994 Remix) +3: Kylie Minogue - Put Yourself In My Place +2: Arrow - Hot Hot Hot (World Carnival Mix '94) +1: Madonna - Take A Bow
I'm glad for the tie because it gave me an extra slot for Arrow/Madonna by delaying [song] until the next round. Even then, I would've liked to vote Silverchair too, and Mariah deserved a vote at least once, and maybe Real McCoy. It was pretty much the first '90s dance song I knew... but it sounded a lot more flattering that way.
+5: M.C. Sar & The Real McCoy - Another Night (number one here when I was born, what a song to do it <3) +4: The Cranberries - Zombie +3: Arrow - Hot Hot Hot (World Carnival Mix '94) +2: Mariah Carey - All I Want For Christmas Is You +1: Kylie Minogue - Put Yourself In My Place
+5 Put Yourself In My Place +4 You Want This (did not come into this round expecting to vote for Janet but this song was a nice surprise!) +3 Pure Massacre (the least impressive of the Frogstomp singles for me) +2 Another Night +1 Zombie (I guess)
Super strong +5 for me. Only 1 song I didn’t really enjoy, but none of the other 8 I’m huge on.
+5 Severed Heads - Dead Eyes Opened (1994 Remix) +4 Mariah Carey - All I Want For Christmas Is You +3 Madonna - Take A Bow +2 Arrow - Hot Hot Hot (World Carnival Mix '94) +1 Kylie Minogue - Put Yourself In My Place
It's the same old theme since July 16; "Zombie" has secured itself a 3rd win. After 1992 and 1993 each had only 1 ARIA #1 make the HOF ("Hazard" and "All That She Wants"), "Zombie" makes 3 for 1994 (following "It's Alright" and "Confide In Me"), and it holds the 4th-highest total points in the game so far (behind "Hazard", "Confide In Me" and "The Day You Went Away"). You might have expected the simultaneous presence of 4 of the biggest '90s pop divas to have eaten up at Kylie's points, but it's actually "Zombie" that dropped, closing the gap between them from 19 points to just 6. But either way, those 2 were the clear champions of this round. It's lucky we went for the extension, as it certainly affected the results. Before the last 3 votes, it was looking like the top 3 would remain unchanged from last round, with "Dead Eyes Opened" sitting at #3 by a 5-point margin. But 3 more votes for "Another Night" and none for "Dead Eyes Opened" flipped them around, leaving "Another Night" surviving by a single point. I suppose as far as Eurodance ARIA #1s go, it's revenge for "Mr. Vain" missing out by 1 point - though unlike "Mr. Vain"'s record-high #4 points, "Another Night" got a pretty low (for #3 standards) 35 points. You can tell (M.C. Sar & The) Real McCoy had been around for half a decade at this point, as they were cut right from the early '90s mould of lip-syncing performers and concealed credits. They debuted in 1989 with a cover of "Pump Up The Jam" with extra rap, which hit the German top 20, maybe helped by foreshadowing the Tag Team formula and changing 'booty' to 'body' (ok probably not). In response to the growing success of the next single, a public face was formed, with a man hired to fill the role of 'M.C. Sar' and lip-sync to their existing rapper's vocals, alongside a woman who did in fact provide vocals. Following some unsuccessful singles over the next couple years, they chose to change paths from hip house to Eurodance, and produced "Another Night". The prior frontman was purged in favour of bringing forward the actual rapper, but the frontwoman was retained even though the female vocals were no longer by her, but instead a session singer recommended to them, Karin Kasar. Initially a minor European hit in 1993, "Another Night" had a successful push in Canada in early 1994, leading executive-cum-villain Clive Davis, who'd pushed Ace Of Base in the US, to sign (M.C. Sar & The) Real McCoy in pursuit of similar success. Their name was truncated to just 'Real McCoy' for the US, and they were re-branded as a trio, consisting of the actual rapper, the former singer turned lip-syncer, and another woman who I believe also only lip-synced (at least until the next album when, if I'm understanding the timeline correctly, both the actual singer and former singer left). Incidentally, the actual singer and rapper never met at the time, but only about a decade later, after he reached out to her online. "Another Night" was a huge success in the US, without doubt one of the biggest '90s dance songs, and following that it was re-released in the UK, where it reached #2, and finally brought to Australia. This was so US-led that the Australian single labelled itself 'US Mixes' (and noted that it was a 'US top 1 dance hit' - not #1, but top 1), but unlike the US, the 'M.C. Sar & The' was retained, though in smaller font. I can't remember exactly which single it was that they became just 'Real McCoy' here and I'll find out when we get there. Mariah had all the luck on her side twice, surviving by 1 point then by a tie, tending to trail behind then be saved by the last votes, but this round was always going to be a tall ask. Would she have done better if we were in closer proximity to Christmas? Who knows, but if the game continues at a rate of about 1 year per month, we'd reach Justin Bieber's "Mistletoe" just in time for Christmas 2020. Which will definitely solve the question. But speaking of songs that sound suitable for Christmas, it's Madonna's wintertime (for Northern hemisphere folk) hit "Take A Bow" - though the video didn't remotely go for that vibe, instead setting itself in 1940s Spain, with Madonna as the neglected lover of a bullfighter. Hence controversy in a whole new avenue, being accused of glorifying bullfighting; Wikipedia says that rage refused to play it during the top 50, and that Video Hits added a ticker disclaiming that the producers did not endorse the ''''sport''''. A collaboration with Babyface, who Madonna sought out to help create 'lush ballads', "Take A Bow" hit the sweet spot for a US chart climate where All-4-One and Boyz II Men had spent literally half of 1994 at #1 - and where, since advancing to monitored airplay and sales rather than manual reports in 1991, long-running #1s had become the norm - and thus it not only reached #1, but spent 7 weeks there, being her longest running #1 ever. It's quite a striking contrast because in the UK, it broke a massive top 10 streak she had going all the way back to "Like A Virgin" (that's 35 top 10 hits in a row, or 33 without separately counting the 1991 re-releases of "Crazy For You" and "Holiday"), with a #16 peak. I've heard it theorised that it got lost in the shuffle at Christmastime, or even that the UK CD single might've been unappealing to dedicated fans for only including the edit, album version and instrumental, but ultimately it seems the song just didn't connect half as well there. Given East 17's success with a sentimental ballad dressed up in Christmas bells, white coats and CGI snow, maybe Madonna should've instead fallen for an Arctic dogfighter to save her streak - though it would've ended in 1996 anyway when "Oh Father", responsible for killing her US and Australian hit streaks back in 1989 but not released in Europe at the time, became a single for her ballads compilation "Something To Remember", and duly spread its curse to the UK charts by peaking at, again, #16. "Take A Bow" reached the only-marginally-better #15 in Australia, but had a comfortable enough run to not be too much of a disappointment, first scraping a week at #20 in January 1995, dropping away, then rebounding 20 spots into the top 20 and onto a new peak, 2 months later. I have no idea what caused that. "Take A Bow" marginally outscored her last 2 singles to be her best performance since "Rain". Right off the back of "Tomorrow", Silverchair got an immediate #2 debut with "Pure Massacre" - blocked only by "Zombie", creating what must be one of the grunge-iest top 2s ever even if purists probably hate both. But though it did remain a little above "Tomorrow" for all of its chart run, it couldn't offset "Tomorrow"'s early January sales (and December I guess if any of that was included) and ended up 12 spots lower on the 1995 year-end chart, even though "Tomorrow" had already been top 10 of 1994. But it's done comparatively better here, with 72% as many points as "Tomorrow". "Pure Massacre" is obviously about war, but when Daniel Johns was asked about it, he said he was watching something on TV and couldn't remember which war it was. 'I think it was that Bosnia thing', he responded. Grand, well-informed political statement it clearly was not; then again, it still has more to say than if they tried to make "Stop The War In Bosnia", without even mentioning musical merit or questionable affiliations. Also, apparently the "Frogstomp" album once had the pending title "Llama's Revenge". After 3 top 20 hits, the 4th and 5th singles of the "janet." album had followed a natural decline, "Because Of Love" reaching #25 and "Any Time, Any Place", despite being a #2 US hit, only reaching #37 - possibly because the R. Kelly-produced remix was the main single version there (or at least that's what I've always thought), but it appears its Australian single included only a house mix (completely unlike the downtempo R&B original or R. Kelly versions) and 2 b-sides. But she had an ace up her sleeve here, as she toured Australia for the first time in February 1995, most likely helping 6th single "You Want This" climb into the top 20, becoming the album's 2nd-highest charter... so far (the next single possibly only existed because of the tour, given it was released in few other places). The album version was solo, but for the single and video, a rap verse from MC Lyte was added - and being a 6th single didn't mean skimping on said video; it was filmed in the desert with car action and a dance sequence and, for some reason, was filmed in black & white and first sent to music channels that way, then supplanted by a colourised version created by a colourisation company. In the US it was accompanied by a VHS of "janet." videos including both versions of "You Want This"; now, only the colour version exists on YouTube, and that's in a 240p upload from almost 13 years ago. It's her first entry to score below 25 points or rank below #6, but honestly it did better than I expected. A hit a long time in the making, Arrow, hailing from the Caribbean island of Montserrat, first released "Hot Hot Hot" in 1982, allegedly becoming the biggest-selling soca hit of all time. Until Meghan Trainor (who grew up playing soca in her family band) once proclaimed "All About That Bass" as soca, I suppose. "Hot Hot Hot" was apparently the official song of the 1986 FIFA World Cup held in Mexico, which I've now learnt is the event that popularised the 'Mexican wave'. In 1994 it was remixed, with the World Carnival Mix sounding to me like a precursor to the likes of future World Cup anthem "The Cup Of Life" and future all-around anthem "Carnaval De Paris", but I have no idea if there was a 1994 sports event it was attached to, or what made it take off in Australia, as it didn't chart anywhere in Europe apart from a minor UK #38 peak. Every song this round managed 9 points, but the relative runt award goes to "Beautiful In My Eyes". It was the higher-charting of Joshua Kadison's 2 hits (and the one I previously knew), but it seems we preferred "Jessie". It also seems that it's commonly confused for Elton John, as the 5th Google auto-complete result for it (after 'lyrics', 'Joshua Kadison', 'line dance' (?!) and 'chords') is Elton John, and there's a YouTube upload credited to Elton, though not with the viewership of, say, "Bob Marley - A lalala long" or "Bob Marley - Don't Worry Be Happy" (229 and 129 million views right there).
56 - The Cranberries - Zombie (survived 3; inducted!) 50 - Kylie Minogue - Put Yourself In My Place (survived 2) 35 - M.C. Sar & The Real McCoy - Another Night (survived 1) 34 - Severed Heads - Dead Eyes Opened (1994 Remix) 28 - Mariah Carey - All I Want For Christmas Is You 27 - Madonna - Take A Bow 18 - Silverchair - Pure Massacre 17 - Janet Jackson feat. MC Lyte - You Want This 11 - Arrow - Hot Hot Hot (World Carnival Mix '94) 9 - Joshua Kadison - Beautiful In My Eyes
Edwyn Collins - A Girl Like You Hocus Pocus - Here's Johnny! Janet Jackson - What'll I Do Kulcha - Soul Feeling Kylie Minogue - Put Yourself In My Place M People - Sight For Sore Eyes M.C. Sar & The Real McCoy - Another Night Max Sharam - Coma Nicki French - Total Eclipse Of The Heart The Offspring - Self Esteem
I'm hoping to catch me an eyeful of your votes by Monday evening.
I had forgotten, but now recall, that rage did not air the 'Take a Bow' video when it was in the top 50. They did, however, air the similarly-themed 'You'll See' video, which contained scenes of bullfighting. Well, for the last few weeks of its chart run, anyway - as there was a dispute over royalties for playing music videos with the ABC in the last quarter of 1995, and rage did not air the top 50 during that period, instead only airing videos from independent record labels and Festival Records! The dispute was not resolved until the first weekend of 1996, resulting in new release videos that you'd assume rage would have had on high rotation, such as The Smashing Pumpkins' 'Bullet With Butterfly Wings', not receiving their first airing on rage until then! It was a weird period. Last edited:
This round is my favourite of the game so far. All 10 songs deserving not only of points, but at least a +3. Sad to have to leave 5 out.
+5: Hocus Pocus - Here's Johnny! +4: M.C. Sar & The Real McCoy - Another Night (sooo hard to pick between the top 2, both would be in my 5 favourite songs in the game to date) +3: Edwyn Collins - A Girl Like You +2: Kylie Minogue - Put Yourself In My Place (this has grown on me hugely throughout its 3 rounds, if I thought of it now what I did in its first round it'd probably be #9 or #10 this round) +1: Nicki French - Total Eclipse Of The Heart
+5 Kylie Minogue - Put Yourself In My Place +4 M.C. Sar & The Real McCoy - Another Night (I've never before thought about whether the girl in the videos was the real singer, or what her name was. Unlike other similar acts, she's quite generic) +3 Nicki French - Total Eclipse Of The Heart +2 The Offspring - Self Esteem +1 M People - Sight For Sore Eyes
+5: Hocus Pocus - Here's Johnny! +4: Max Sharam - Coma +3: Kylie Minogue - Put Yourself In My Place +2: The Offspring - Self Esteem +1: Nicki French - Total Eclipse Of The Heart (Edwyn Collins close with the last 2)
For the first time ever we've had 20 different voters, which means that all songs can have their scores judged out of a maximum of 100, in a cruel, twisted zero sum game where there are only 300 points distributed overall. But under such a system, just one song manages to get a passing grade, that being "Put Yourself In My Place". It gives Kylie Minogue a second consecutive Hall Of Fame entry. She scored 19 different votes so it was hardly ever in question, that uncertainty was instead carried by the rest of the competition. These songs instead served to disprove my previous comment because the amount of voters didn't match up with the most points at all. The 4th & 6th place songs both had more votes than the 2 that survived ahead of them. The 2nd place song was aided by the fact that exactly half of its votes were +5's. That honour went to Scotland's own Edwyn Collins. In a world where New Order didn't exist, it would feel somewhat surprising to say that Edwyn Collins got his start in a post-punk band before breaking out with a international pop hit. It's often attributed to the song's appearance in "Empire Records". In reality the film didn't do much at the Box Office, and "A Girl Like You" was becoming a hit around the world at totally different times of the year, with Australia being one of the first to get on board, long before the US, UK, and even home of Sløtface, Norway. Following that was a battle between the first two long running #1 hits of the year. The artist soon to be known as Real McCoy just narrowly got through last round, and improved their score this time, but in a round where the vast majority of points were distributed among just 7 of the songs, it proved not enough to get them through the next round. Nonetheless there'll be many additional nights for them to prove their might as one of the more consistent Eurodance hitmakers of their time. This time they've been bested by Hocus Pocus. Though the name Hocus Pocus is new here, it's not our first time talking about this group. They of course eponymously recorded "Doop" under the name of Doop. Perhaps hoping to doop people into disassociating from that name, in case they think all future releases would just be dooplicates of that, they also recorded under the name Hocus Pocus. While they haven't managed to quadoople their points, they've done considerably better this time with their single "Here's Johnny!", a single so lovably ridiculous that Australia sent it to the top of the charts for over a month. The titular quote of course comes from "The Shining" and was an ad lib reference to the Johnny Carson show from Jack Nicholson which ended up being one of the most iconic movie quotes of all time. Nowadays Jack's blurry likeness spends his day buying not nearly enough candles and reminding everyone reading this that you are important, you are loved, and you belong in this world, if you have over 5000 followers. Though I remember many murmurs of short memory jeopardising the triple j Hottest 100 results in the 2000s, it really is the 1990s that should be put more under the microscope. For 1994's top 10, the first song to enter the ARIA top 50 was The Offspring's "Come Out And Play, in the last chart published in September 1994. This might go some way towards explaining how perennial favourites like "Black Hole Sun" and "Berlin Chair" didn't even make the top 20. Of the top 10, we cover all but one in this game, with Veruca Salt's "Seether" peaking at #34 at the start of the year (so we have the eerie coincidence that we reached its timeline roughly around when the original actress who played Violet Beauregarde passed away). I'm saying all this now because every time a bunch of these Hottest 100 entries turn up, it's not my round to write up commentary, but as luck would have it, the last 2 have arrived together under my wing. First of those is Max Sharam. She moderately spoils all of my previous comments because "Coma", despite only appearing now, really was fairly old at this point. Not just in terms of having been released months ago, but the song was performed to great praise on Australia's "New Faces" in 1992. By the time the song was actually released, the 30 year old TV program was no longer airing. Nonetheless when the music was out there, she made a heck of an impression, being nominated for 8 ARIA Awards, and consolidating a win for Best Cover Art, so she wouldn't have to fall back on the superior feeling of the crowd going apeshit. What's even more impressive to me is that within a year, she scored 3 ARIA top 40 hits (though "Coma" is the only one appearing in this game), which is such an extreme rarity when it comes to Australian solo female artists who got their start on triple j that I can only think of 3 more since who've done the same. On the "Gimme Sympathy" spectrum, she went so far off the scale that The Beatles look like The Rolling Stones themselves at this point, by which I mean she never put out a second album. That's not to say she disappeared completely from the public eye. She's stayed very much within the arts, just not the charts you could say. When I was researching last year to make a massive chart of degrees of separation of every Hottest 100 entrant I learnt that she supposedly performed at several Melbourne International Comedy Festivals, though I was unable to verify that she truly rubbed shoulders with other Hottest 100 greats like Peter Helliar and Paul McDermott. Just behind her is that other Hottest 100 entrant, The Offspring. Though it's kind of arbitrary, their single here, "Self Esteem" ranked at #3, just ahead of "Come Out And Play" at #4, which to this day is still the highest ever set of back to back entries (though if the 1991 countdown were limited to 1991 songs, the results suggest Nirvana would have held the top 2 spots together). If this seemed like another case of short memory in favour of the shiny new song (considering "Come Out And Play" had a much longer chart run), retrospective history is airing to the side of "Self Esteem", which polled as the only Offspring song in the station's 20 Years countdown in 2013. It was also at the height of "Self Esteem"'s popularity that the album, "Smash" managed to climb to #1 on the album chart here. It was such a success around the world that it became the highest selling album released on an independent label of all time, a record which I don't believe it retains now as every record is taken by Richard Russell, and his label's low key release of "21" by Adele. In hindsight it's somewhat crazy to think that the dreadlocked punk frontman singing about being abused is now a licenced pilot with a Ph.D. in molecular biology while also nowadays looking like Guy Fieri (and appropriately, he has his own brand of hot sauce). Nonetheless, The Offspring aren't having the best luck here as they do perform a decent way better than last time, but still only land in 6th behind strong competition. For a lot of artists, the tag of one hit wonder can be an unfortunate one, partly because it forces you to serve people the one song they know you for, everywhere you go for the rest of your life. I am not sure if Nicki French ever feels this pressure because her one hit goes a further two degrees as being a cover version, but one that doesn't ever supersede the original at all. I mean when we had that total solar eclipse in 2017, only Bonnie Tyler's name was brought up. That being said, Nicki French's cover of "Total Eclipse Of A Heart" made a solid effort in living up to the original. It charted only 1 place lower at #2 (for 4 non-consecutive weeks), and spent one less week in the top 10 (although in the June 1983 setting of Higurashi no naku koro ni, Bonnie has arguably been #1 for hundreds of years). Nicki and #2, name a more iconic duo. Incidentally she initially didn't even want to record the cover as she felt it would cheapen the impact of the original which she loved. After a couple of iterations, it ended up in the hands of Mike Stock & Matt Aitken, who had been fairly absent from the charts after their productions ruled the charts from the mid-80s to early-90s (Pete Waterman parted ways with them during the off period). In a sense this is a last hurrah for them as they will mostly only appear from here on in via samples & covers of their work, and not actual new contributions. To my knowledge they have one more original just barely top 20 hit after this one (update: and a song in the next round actually oops). As for Nicki, she actually took a similar route to Max Sharam and got into the world of theatre, though she still trots out musical performances every now and then. She also performed for the UK in Eurovision in the year 2000, when it was in the ethical state of Sweden. In the midst of her Australian tour, Janet Jackson wasted no time in racking up the hits, appearing for the 2nd round in a row with a new song. Of course, it looks a little less impressive when Ed Sheeran just scored 4 new top 20 hits this week in addition to the other 3 he already had riding that high...but times were different. "What'll I Do"'s release was somewhat unusual in that it was it was a double A-side with the song "Whoops Now"...except depending on where in the world you were, you may have only gotten one of those songs. The two songs were released together in Australia, but that was shortly after "What'll I Do" was released with a remix of "That's The Way Love Goes" alongside it which became a top 20 hit. The combined single only barely scraped the top 50. It's been a year on the chart since M People first landed a #4 hit with the promise of a #20 on the way. We're still yet to have a #20 hit reach the Hall Of Fame and the British quartet didn't really come close to changing that. Their return to this game may be helped by "Sight For Sore Eyes" being the first single following the big success of "Elegant Slumming", though in the UK it looks like just another in their long line of top 10 hits at the time. After "Moving On Up" got in the way of "One Night In Heaven"'s #6 peak and "Don't Look Any Further"'s #9, "Sight For Sore Eyes" and its follow up got to #6 & #9 respectively, meaning that M People may well be the nicest band in the world. They won't be appearing again in this game which might be for the best, lest they find themselves up against the unstoppable momentum of Kulcha. First scoring 1 point, then 2, and now 5 points with "Soul Feeling", I can only imagine we'll have to invent a new number to encapsulate the unprecedented extrapolation promised for the group's 4th and final top 20 hit.
62 - Kylie Minogue - Put Yourself In My Place (survived 3; inducted!) 46 - Edwyn Collins - A Girl Like You (survived 1) 44 - Hocus Pocus - Here's Johnny! (survived 1) 38 - M.C. Sar & The Real McCoy - Another Night 37 - Max Sharam - Coma 31 - The Offspring - Self Esteem 21 - Nicki French - Total Eclipse Of The Heart 8 - Janet Jackson - What'll I Do 8 - M People - Sight For Sore Eyes 5 - Kulcha - Soul Feeling Last edited:
Annie Lennox - No More "I Love You's" Bon Jovi - Someday I'll Be Saturday Night Céline Dion - Think Twice The Cranberries - Ode To My Family Edwyn Collins - A Girl Like You Green Day - When I Come Around Hocus Pocus - Here's Johnny! Mozaic - Nothing In The World Newton - Sky High Tina Arena - Sorrento Moon (I Remember)
Wednesday night might just go your way if you post your top 5 votes by then Last edited:
+5 When I Come Around +4 Here’s Johnny! +3 Sky High (could’ve easily been my number one) +2 A Girl Like You (really hope this survives, despite not being in my top 3 ever yet) +1 No More I Love Yous (close between this Ode and Sorrento)
This round was a clear battle between 5 popular choices, all of which were trending in the top 3 at some point. Ultimately they ended up only 12 points apart, with near-record high #5 points, and pretty low #1 points for recent standards. Taking that top spot is actually a reversal of last round - Hocus Pocus consolidated their support and gained an extra 2 +5s, whereas Edwyn Collins lost 4 of his. 2 of those were redirected to Green Day, who received the most votes this round (15/19), squeezing themselves in between the 2 carryovers. The latest big '90s alt rock band to debut into the game, "When I Come Around"... wasn't quite a debut, not only because they'd released 2 albums independently before signing to a major label, but also because they'd already released "Longview" and "Basket Case" as singles before getting around to "When I Come Around". The former hit the top 50 but "Basket Case", despite ranking as their most played song on Spotify now (possibly influenced by "Boulevard Of Broken Dreams" previously being only available as an 8-minute double track in much of the world), and being their first and only UK top 10 hit until 2004, only reached #85. "When I Come Around" reversed that trajectory by climbing all the way to #7, and furthermore pushed the album to #1, ending up as the 10th-best seller of 1995. In the US, all their '90s singles fell victim to physical releases being withheld, but "When I Come Around" did reach the airplay top 10, their biggest hit until "Boulevard Of Broken Dreams". We of course will be meeting them again long before then, but with a song in a completely different vibe to "When I Come Around", so they're lucky to have made the most of their appearance so far. Incidentally, we've got a top 3 of artists new to the game, blocking 2 artists who are following HOF successes, so it's a good round for spreading the love. Tina Arena's success may have...broken down fast after her initial hit, but even if "Chains" and "I Need Your Body" can look like comparably-sized hits on paper, "Chains" clearly had an easier time getting people invested in her as an artist, with it single-handedly sending the album to a top 10 debut in the busy pre-Christmas season. Following that re-breakthrough, she went for the safe nostalgia cash-in with genericised references to tick everyone's boxes... no, wait, she wrote about a specific small Victorian beach town her family used to vacation in. To those living anywhere but Victoria it would probably be easy to assume she meant the Italian town (or one of the other Sorrentos in the world), but despite her Italian heritage, she hadn't ever visited Italy's Sorrento until 3 years ago. The Australia-specific reference might've been taken into account by her international management, as the next Australian single "Heaven Help My Heart" (a #22 peaker here) was instead chosen to follow "Chains"'s pretty sizeable UK success, and furthermore, the cover of "Show Me Heaven" she recorded for the album's international edition was released there 3rd, before eventually getting to "Sorrento Moon" in 1996 (all 3 peaked in the 20s either way). In the US, they went from "Chains" straight to "Show Me Heaven", then seemingly didn't bother trying anything else afterwards. Currently available for $12 online at Spotlight is a 'Kitchen & Co Sorrento Salt Pig'. Whereas Tina's last entry just passed a couple rounds ago, it's been a few years since Annie Lennox snuck into the HOF with "Why". That album was a successful project, by any standards I think, so she can't have been desperate for success in 1995, yet she chose to record an album of entirely covers, not making another original solo album until 2003. But the catch would be that few of the songs were obvious classics, and in fact, part of the reason she chose to cover "No More 'I Love You's" - originally a 1986 #58 UK hit by the new wave duo The Lover Speaks - was that she felt it was a song that should've made its mark, and she wanted to give it another chance. Her wish particularly succeeded in the UK, where her version debuted at #2, blocked only by... Céline's "Think Twice". Incidentally, the original had been unsuccessfully re-released in 1988, upon which Smash Hits praised them for trying to turn the song into the success it 'deserved', so Annie Lennox wasn't the first to the cause. Her version was sampled in Nicki Minaj's 2010 lead single "Your Love", which I had no idea was a sample until I heard Annie Lennox's track a few years later. "No More 'I Love You's" scored only slightly less than "Why" did in its rounds, so it's been comparatively quite unlucky with its timing, and it's the last time she ever reached the top 50 (with or without her fellow Eurythmic). The other cover here, on the other hand, is of a song that had been a big hit: "Sky High", originally a 1975 single by the British pop group Jigsaw (credited as 'British Jigsaw' here due to a name clash with a local 'Jigsaw', presumably the one who had a few hits in the early '70s). The debut single of Newton, its original 1994 release in his home country of the UK did next to nothing (reaching #78 or #83 depending which version of the chart you look at), but somehow there was enough of a budget to try it in Australia, and well, it certainly clicked here. That budget might be to do with it being produced by Stock & Aitken, them finding a short-lived renaissance via Newton and Nicki French - and one thing both tracks have in common is that they both have a version that starts as a ballad then builds into dance, and one that's dance throughout. I'm pretty sure the latter is the version of "Sky High" that was released here. Newton was not the first brush Stock & Aitken had with the song; a PWL remix of the original was released in 1989. Newton's version would go on to be re-released in the UK twice, slightly improving itself to #56 in 1995 and #76 in 1996; his other song of note did reach the top 40 (in 1997), but his major success would remain completely isolated to Australia, as far as I can tell. This album era of Céline's was very spread out: "The Power Of Love" hit #1 in April 1994, and "Think Twice" reached its #2 peak an entire year later in April 1995. Even more dramatically, the album 'only' made it to #9 at the time of "The Power Of Love", but when "Think Twice" hit, it came right back around and reached #1, spending its last (non-consecutive) week there in September 1995. Pretty amazing how an album can have all the exposure a #1 hit brings, and still have enough of an untapped audience to be #1 17 months later. The gap between the 2 smash singles does conceal some lower 50 chart action though; there was an in-between single, the #55-peaking "Misled", and then "Think Twice" debuted in October 1994, with a slow start for months: 60-52-51-49-51-45-64-60-61-(break)-58-63-38-38-41-41-28-17-11-11-7-4-4-4-3-2. Comparable is the UK, where it hit #1 in its 16th week charting, which I think was a record for the slowest climb to #1 there until... something in the last 5 years or so, probably "Thinking Out Loud". Further adding to its unique chart stats is that, while huge in Europe and Australia, it peaked at a whopping #95 in the US. Unfortunately there was no Beverly version for more complication. It got some strong early votes that made it seem like it was on track to outscore "The Power Of Love", but ultimately it fell short, both of them ending up in 7th place. "Zombie" had won the hearts and/or wallets of plenty, so the natural spin-off was to expand that pacifist, animate family of hers into an entire song. In the process, something broke in the algorithm and the electric guitars that must've provided half the appeal of "Zombie" went missing, but hey, audience curiosity was still high enough for it to reach the top 5. Another UK dance artist with a song that did little there, then made the ARIA top 20? Sure, why not. Mozaic's "Nothing In The World" peaked at #86/#92 there in 1994; they reached #14 the next year with "Sing It (The Hallelujah Song)" (yep, incorporating exactly the song you're thinking of) but it missed the top 100 here. From the "Sing It" video, they appear to be a group with 3 women singing and a man playing keyboard, but how many of them were the actual singers? I could believe anything. The real star of the song anyway is probably Motiv8, who produced the main mix. Alongside "Always", "Someday I'll Be Saturday Night" was the other new track included on Bon Jovi's "Cross Road" compilation, and even with said compilation having crammed enough sales into the last few months of 1994 to be the year's 3rd-highest seller, there were still enough buyers for the single to bring the band back to the peak position where they belong, #10. Which is also where they've ranked, for the 2nd time after "Miracle" (counting solo Jon Bon Jovi).
48 - Hocus Pocus - Here's Johnny! (survived 2) 46 - Green Day - When I Come Around (survived 1) 43 - Edwyn Collins - A Girl Like You (survived 2) 39 - Tina Arena - Sorrento Moon (I Remember) 36 - Annie Lennox - No More "I Love You's" 20 - Newton - Sky High 17 - Céline Dion - Think Twice 16 - The Cranberries - Ode To My Family 15 - Mozaic - Nothing In The World 5 - Bon Jovi - Someday I'll Be Saturday Night
4 P.M. - Sukiyaki Divinyls - I'm Jealous Edwyn Collins - A Girl Like You Faith No More - Digging The Grave Green Day - When I Come Around Hocus Pocus - Here's Johnny! Londonbeat - Come Back Madonna - Bedtime Story Rednex - Cotton Eye Joe TLC - Creep
You're allowed to vote your favourites by Friday evening no matter what Cotton Eye Joe thinks.
+5 TLC - Creep +4 Hocus Pocus - Here's Johnny! +3 Madonna - Bedtime Story (love the album version and Junior's Single Mix is also worth hearing) +2 Green Day - When I Come Around +1 Divinyls - I'm Jealous
This is another one of those rounds where none of the new songs make it through the round, so all comments come with a shade of despondency, or maybe that'll just be me, we'll never know for sure. Things have re-arranged quite a bit from last round though, this time Green Day come out on top, as the only one of the three who still has some concerns over their future performance. But for Edwyn Collins and all recordings released under the name of Hocus Pocus, it's a perfect run of success in this game with "A Girl Like You" and "Here's Johnny!" both simultaneously entering the Hall Of Fame. This is through a round that was pretty close for most of the running. Running the closest is TLC. If you're expecting me to make a remark on the relative success of their song "Creep" in comparison to other songs with similar names...I can't imagine why anyone would want that. We miss another opportunity for a #20 hit to go through to the Hall Of Fame, which is something of a stark contrast to the fact that it hit #1 in the US. Like most popular TLC songs, it has an enduring legacy courtesy of Michael Keaton inadvertedly referencing it in "The Other Guys". Now it's time to delve back into the much disparaged discography of Madon...no wait that doesn't sound right, hey, it's been a while. It took until the 3rd single of "Bedtime Stories" for the album to dish out its initial promise, with the aptly named "Bedtime Story", though to my knowledge it's the only song of that name she's released. It's also the only time Björk has written a song on one of Madonna's album, and actually the only time Björk has written a song that turns up in this game, in yet another cruel let downs of the cards being dealt here. If you don't adjust for inflation, then about a week ago, "Avatar" ended its reign as the highest grossing film of all time. What also happens under that system is that Madonna released the most expensive music video of all time with "Express Yourself", only to match it again with "Bedtime Story". She would surpass herself again in the early 2000s, giving Madonna 3 of the 4 most expensive music videos of all time, but not the #1 slot which will be appearing soon in this game. We're never far from 1980s Australian rock hold outs in this game, and here we've arrived at the final stop for Divinyls, who scored their last top 50 hit in 1995 (though "I Touch Myself" would return in 2013 after Chrissie Amphlett passed away) with "I'm Jealous". While for many, this comes about through diminished returns, Divinyls never really had a chance to put that into practice as 1996's "Underworld", released over a year after this single due to production delays, and ended up barely scraping the top 50, is the last studio album the band has ever released. Unlike their other two entries beforehand, I do not know of any movie soundtrack "I'm Jealous" features on, though it did appear in "Melrose Place". With a similar time frame of top 20 hits up to this point in the game as Divinyls, Faith No More return with their 3rd entry. Unlike their other two entries, "Digging The Grave" was not an ARIA #1 single, and is their first song to not make the top 3. Despite the singles success, Faith No More were still not yet able to reach the top of the albums chart, perhaps burning too many potential buyers with "Angel Dust", but more likely due to the unfortunate timing resulting in "King For A Day... Fool For A Lifetime" coming out the same week as Silverchair's "Frogstomp". This time around they promoted the album release with hard rock leaning singles only to jebait a different audience with far more eclectic influences on the rest of the album. The band will return one last time in the future with a different, if slightly less original choice of words in relationship to memorialising the dead. Not coming back will be Londonbeat, though their comeback with "Come Back" makes for an impressive return, a good 4 years after their #1 hit "I've Been Thinking About You", and the significant changes in musical landscape that they managed to overcome despite not sounding all that much different. In a strange twist of events, in addition to not netting them a #1 hit, it's their own home country of the UK who never gave the group another top 20 hit after "I've Been Thinking About You", though "Come Back", in addition to prior single "That's How I Feel About You" did peak at #69. At this same time, the UK did not select the group for inclusion in the Eurovision Song Contest, but the song they recorded for that, "I'm Just Your Puppet On A ... (String!)" did chart higher at #55. Maybe they forgot to take their shoes off. Speaking of Eurovision, I all of a sudden regret naming Sweden as an ethical state because now I have to come across the Swedish musical executives who thought that a bunch of performers pretending to be a caricature of rural southern Americans would be a fun novelty and not at all classist. The image for the group seems to be more important than any one member linked to it, as the band has had over 20 different members come and go, with no current member having lasted longer than 10 years. Use of the term 'member' is very loose as it's more of a live brand for music that's produced by studio musicians. Because of the group's success with their eurodance re-working of the traditional folk song "Cotton-Eyed Joe", the band was able to boast an extremely qualified claim last year. Reportedly they are the first pop band with a world wide hit to their name to live stream on twitch 24/7 during a run of shows. Personally I would prefer to see how the group would handle both of the Beaver Bother challenge barrels in Creepy Castle. Perhaps I'm not alone in that, because the group only have 36 followers, and thus I am 6 times more popular than Rednex. The team behind them seem to have loftier perception than that though, as if you have a spare €2,000,000, you will be able to purchase the licence and control of Rednex for whatever you may wish, though maybe instead just give the money to Mermaids UK or something similar. It's been a fairly balanced round, not only were all the top votes spread out with 6 different songs getting at least two (and "Creep" actually getting the most), everything has cracked double digits again, something that last happened 22 rounds ago. So getting the less-dubious-than-usual honours of last place are US vocal group 4 P.M., which I'm obliged to mention stands for 'For Positive Music'. The group were very invested in this manner of play on words & numbers, as they previously went by the name 'IV Real', which I don't have confirmation, but suspect was in reference to the phrase 'for real', made famous by Ryuji Sakamoto, a fictional character who bears no relation to the extremely coincidentally named artist I'm about to mention. Much like Nicki French two rounds ago, the group have the genuinely dubious honour of being best known for a less popular rendition of an already popular song. This time it's a little more of a deep cut than "Total Eclipse Of The Heart", but nonetheless it's a Billboard #1 hit in "Sukiyaki" by Kyu Sakamoto. "Sukiyaki" was actually the first Billboard #1 hit by an artist of Asian descent, which wouldn't happen again until nearly 50 years later with Far East Movement's opus named after a fictional jet plane. Tragically Kyu Sakamoto was killed in the largest airplane disaster of all time in 1985 along with over 500 others.
45 - Green Day - When I Come Around (survived 2) 42 - Edwyn Collins - A Girl Like You (survived 3; inducted!) 38 - Hocus Pocus - Here's Johnny! (survived 3; inducted!) 33 - TLC - Creep 29 - Madonna - Bedtime Story 28 - Divinyls - I'm Jealous 25 - Faith No More - Digging The Grave 20 - Londonbeat - Come Back 14 - Rednex - Cotton Eye Joe 11 - 4 P.M. - Sukiyaki
Alpha Team - Speed Dionne Farris - I Know East 17 - Let It Rain Green Day - When I Come Around Merril Bainbridge - Mouth Real McCoy - Run Away Sheryl Crow - Strong Enough Silverchair - Israel's Son Take That - Back For Good Tokyo Ghetto Pussy - Everybody On The Floor (Pump It)
Whatever I said, whatever I did, I didn't mean it, I just want your top 5 votes (want your votes, want your votes, in by Sunday night)
The inductions of Edwyn Collins and Hocus Pocus helped clear the stage for Green Day to take their final round to the fullest, crossing 50 points, and receiving as many as 7 +5s while no other song got more than 3. "When I Come Around" enters the HOF as 1995's best performer so far, though with a lower total than 9/11 of 1994's HOF entries; 1995 is yet to produce a hugely dominant song. I'll be interested to see if Green Day's future hits can manage as wide a spread of votes. The remaining 9 songs weren't really a close race in terms of tension, as the 2 survivors placed themselves in the top 3 early in the voting and never budged afterwards, but they certainly did end up close in points, particularly with #2 and #8 only 14 points apart - a record, tied with rounds 9 ("I Want Your Love" to "I Still Love You") and 69 ("Accidently Kelly Street" to "Erotica"), with this round having more voters than both. 24 points for #8 this round also sets a new record (previously held by both "The Globe" and "Erotica" with 22), and #7 and #9 are among their highest too. As for this round's 2 survivors, if all the votes had been generated by an ARIA chart bot, they'd be perfectly on the mark, as both the ARIA #1s in this round made it. For Take That it was quite a while in the making; before "Back For Good", 5 of their last 6 singles had been UK #1s, all but one for multiple weeks, but only "Pray" reached our Australian cutoff, and even that took a re-release and the group journeying to Australia. But the UK charts making "Back For Good" look like it was on par with all those prior #1s would be misleading; it opened with nearly 350k sales there (compared to no more than ~133k for their previous #1s), the highest weekly sales since Band Aid and Wham! in 1984, and apparently 1 in every 5 singles sold that week was "Back For Good" - a striking contrast to the modern streaming world, where the current Spotify #1 is responsible for 2.5% of the plays in the top 200. I believe it's also, still, the highest-selling boyband single of all time there, probably maintained against the streaming tide only via the lack of current popular Western boybands. "Back For Good" was also a rare moment of a UK boyband succeeding in the US, where it reached the top 10. Merril Bainbridge's #1 peak was also a while in the making, but in a different way; it was her debut single, but as Nugs mentioned a few months ago, it was released in October 1994 to a #228 debut, before eventually hitting the top 100 in March 1995, and #1 in May. She'd been signed by producer Ross Fraser and John Farnham after the former received a tape in the mail and was impressed, which has been proven the best decision Farnham played some part in this side of 1988, as he's finally ~kind of~ made the top 3. The "Mouth" single included a cover of the Pet Shop Boys' 1990 single "Being Boring", the only song I know of that has its own fansite: https://10yearsofbeingboring.com/ . Whereas "Back For Good" went international fast, hitting the Australian chart only a week later than the UK (which seems pretty remarkable without digital distribution?), "Mouth" made the speed of its Australian trajectory look like child's play when it began climbing the US chart in September 1996 - eventually reaching #4 near the end of the year, no doubt among the biggest US hits by an Australian artist in the '90s. It didn't do much in Europe though, and has only managed to amass 2.7 million Spotify plays and barely a million YouTube views over the years, so it's almost as if it hadn't made it out of Australia in the first place. Kept at bay by a huge top 4 last time, Sheryl Crow was able to inch closer and score slightly more points with "Strong Enough", a #3 hit made doubly impressive by the impossibility of any prospective buyers confusing the title with her previous single. Furthermore, the album had only reached #14 under "All I Wanna Do", but with a 2nd hit single to solidify it, it rebounded and climbed all the way to #1. It might've gone by with under 10 points, but we previously met Dionne Farris in 1992 via Arrested Development; though not an official member of the group, she contributed vocals to 3 songs on their album, including "Tennessee", and performed and toured with them. Departing and working on a solo album, "I Know" was a particularly big hit in the US, most notably on pop radio where it spent 9 weeks at #1 and was ranked the most played song of 1995, which was always a curiosity to me as a song with mild success elsewhere, little endurance (its Spotify/YouTube numbers aren't even half that of "Mouth") and from an artist never seen again on the charts. Apart from NZ, Australia is the non-North American country it did best in, reaching #16 while bubbling in and out of the top 20 numerous times. The answer to when Real McCoy dropped the 'M.C. Sar' is "Run Away"... well, kind of. In Europe it was released with 'M.C. Sar', but the Australian CD single was in an in-between state of saying 'The Real McCoy' on the cover but 'M.C. Sar...' on the disc, and the cassette version couldn't even decide on its front cover, with 'M.C. Sar...' on the artwork but 'The Real McCoy' on the plain-font text beside it. It seems to be their next single where they truly settled on just 'Real McCoy' outside of the US, even denoting it with 'Previously released as M.C. Sar...' on the back cover. For "Run Away", it seems ARIA took the initiative to not only move to just 'Real McCoy', but to change "Another Night" to the same too, an admirable level of diligence when viewed from an era where the Skrillex remix of Kendrick Lamar's "HUMBLE." outsold the original for maybe one week in 2017, and then ARIA continued to credit the remix for eternity, EOYs included. Not to mention "Young And Beautiful", or the reverse in remixes like "Waves" that got 90% of the sales but were not credited. "Run Away" has a video mix that's fairly distinct to the airplay mix/album version, and there might have been 2 separate singles in Australia (I say 'might' because the only place I see an Australian release for the video mix-including one is on this site's database), though the name 'video mix' is misleading, as the European video used it, while the US video used the album mix. (I hadn't heard the video mix before and I prefer it.) Most '90s dance acts were lucky enough to get one US hit, but "Another Night" was so huge (and/or Real McCoy had found the formula to fit Eurodance into MOR-heavy playlists) that radio were all over "Run Away", and it charted higher in the US than any other country. "Pure Massacre" had debuted at #2, but with the album now out and already shipped platinum within 3 weeks, the audience left to buy "Israel's Son" and 3 live tracks was only enough for #11. But as far as this game goes, it doesn't seem "Israel's Son" was any less popular - possibly due to easier competition or not, it even matched the points of "Tomorrow" - and Wikipedia says it was the only "Frogstomp" song they continued to play until their [s]conscious uncoupling[/s] 'indefinite hibernation'. The most information on "Israel's Son" I can find directly from the horse's mouth is that it was inspired by a video of an execution that Daniel Johns saw on TV, so I suppose the rest, relevance of 'Israel' included, is for you to project your own interpretations onto. I wouldn't normally bother mentioning these things but it seems like it was widely reported, so... in a 1996 murder trial in the US, of 2 teenagers responsible for a triple murder of one of their parents and brother, their attorney tried to argue they were encouraged by listening to "Israel's Son". Not by the actual violence and war depicted, but by the song written about it. Silverchair's label ended up re-editing the video, which originally included a man setting up a gallows and a dog in a cage, to feature only the band playing. I think of "Speed" as an interesting oddity in the depths of the charts, but that may be partially because I don't know of "Speed Racer" otherwise; I had originally assumed it was a kids TV cartoon from this era. Actually, it's an anime from the '60s that was seemingly re-broadcast in the early '90s, and I assume that's why Alpha Team, a Chicago duo who only ever made the one song under that name, produced it. It's actually much older than the Australian charts suggest; it was released in the US in late 1992, and surprisingly reached #74 on the Hot 100 in early 1993. When I saw that I assumed it was from entirely sales with no airplay, but no, it even reached #61 on the airplay chart. It didn't chart in Europe anywhere, but 2 years later it made it to Australia; I'm guessing the re-broadcasting was later here, or it kept airing for years, but I have no idea. It got a lot more votes than I expected though. We sent Jam & Spoon to the HOF not long ago, but now under their new project Tokyo Ghetto Pussy, they could only manage to rank 9th. It seems Australia was the country that took most to Tokyo Ghetto Pussy, with both of their hits charting highly in few other places, which I suppose makes an interesting map to have a German band under some faux-Japanese branding catering best to a third continent. A micro-pig cafe (like cat cafes, but not cats) was opened in Tokyo this year. Given Take That and East 17's former(?) rivalry (I'm guessing the mega-success of "Back For Good" didn't leave much of an equal leg to stand on), I suppose it's fitting for them to have ended up in the same round. They almost did before, with "Around The World" and "Pray" one round apart, and that time, Take That didn't match the performance of any of East 17's entries thus far. But now, Take That have gotten their "It's Alright" top 3 moment and East 17 have landed at the bottom; the turntables have tabled. I voted 7/8 of East 17's songs and "Back For Good" was my least favourite song in this round, so obviously I have no dog in this fight. With a song called "Let It Rain", from an album called "Steam", with versions 'Thunder Radio Edit' and 'Overworld Storm Edit', and a weather map with a '17' pointing easthttps://www.discogs.com/release/5636059-Let-It-Rain/images , no one can accuse them of not committing to the theme. I imagine it might've helped bring fans of the likes of "House Of Love" back on board after their biggest ballad, but it wasn't to last in either direction in Australia, as this is the last time we'll be seeing them.
52 - Green Day - When I Come Around (survived 3) 38 - Take That - Back For Good (survived 1) 36 - Merril Bainbridge - Mouth (survived 1) 31 - Sheryl Crow - Strong Enough 27 - Dionne Farris - I Know 26 - Real McCoy - Run Away 25 - Silverchair - Israel's Son 24 - Alpha Team - Speed 17 - Tokyo Ghetto Pussy - Everybody On The Floor (Pump It) 9 - East 17 - Let It Rain
Alex Party - Don't Give Me Your Life Brandy - I Wanna Be Down Brownstone - If You Love Me CDB - Hey Girl (This Is Our Time) Corona - Baby Baby Jimmy Barnes - Change Of Heart JX - You Belong To Me Merril Bainbridge - Mouth MN8 - I've Got A Little Something For You Take That - Back For Good
If you love these songs, vote them by Tuesday evening.
TAKE THAT...anyone who was after a result that would not perpetuate the success of one of the biggest boybands of all time, who would go on to spawn one of the biggest pop stars of all time, and one of the biggest tax cheats of all time. Yet again we see the benefits of the strongest competition bowing out, allowing "Back For Good" to move up to the top of the list. Merril Bainbridge also sees an increase on points though remains in third place with "Mouth", which depending on who you ask, is arguably a mood. Finding a spot in-between is an artist we've seen before. It was in late 1994 that British DJ Jake Williams, under the name JX scored a top 10 hit with "Son Of A Gun", which finished in 5th place in this game. Unlike many others of his ilk, he managed to return to the chart to even greater success the second time around, this time with "You Belong To Me". Though we are still 20 years away from when he would release "Sicko" under the name Rex The Dog (avoiding copyright issues with Cartoon Network by not retaining his real name), he's well and truly in sicko mode here as he was leading the race for most of the way and only fell short by 1 point. While "Son Of A Gun" was based on a sample, the few words of "You Belong To Me" are provided by house-vocalist Shèna, who has featured on many singles since, most notably JX's next single "There's Nothing I Won't Do", and Michael Gray's 2004 hit "The Weekend". Given the song's lyrics, it's possible that JX's logo as seen on the single is an expression of excitement from Shèna upon seeing JX, before proclaiming that she wants to take him home with her. JX is the winner of the mini eurodance lottery of this round of 3 and definitely not 4 songs. Just missing out is one of the more unlucky artists in this game, Corona. They came in 4th with "The Rhythm Of The Night" and have now done the same with "Baby Baby". Despite the former being much more popular nowadays (perhaps Bastimental could reform to tip the scales), "Baby Baby" is actually Corona's highest charting single on the ARIA Chart, outpacing its precedessor by 1 spot to #7. The big link in the mid-section of this list is Hype Williams. One of his earliest music video productions was for Brandy's "Baby", a lack of committal to baby booming that might explain why Corona have held up as the superior beverage. But his main relevance is that he directed a music video for Brownstone's "If You Love Me", which I believe is his first contribution to this game's canon, which will see him popping up sporadically, as recently as 2018 with Nicki Minaj's "Bed". The latest in the growing collective of R&B groups to reach the charts, Brownstone were formed, signed to Michael Jackson's label, and on the charts with "If You Love Me" in the space of about a year. It would prove to easily be their biggest hit, going top 10 in the US, top 20 here, and #1 for several weeks in New Zealand. In 2015, member Charmayne Maxwell died in a freak accidental fall in her own home, while later in the year, "If You Love Me" was given another lease with Tory Lanez heavily sampling it in his breakout hit "Say It". Next, swapping back to the eurodance, we go to Italy for the first hit by Alex Party. The group's four members contain just one Alex so that is where the vanity lies. They also have two brothers, Paolo & Gianni Visnadi, who just a week before "Don't Give Me Your Life" hit the top 20 here, were riding at #1 in the UK as members of Livin' Joy, with the song "Dreamer". Much like with JX, there is difference of results across the world. "Don't Give Me Your Life" was a #2 hit in the UK, but the follow up single which was more successful in Australia could only manage a Fetty Wap inspired chart run over there. Most releases of the single contain an 'LWS Bitch Mix', which sadly does not live up to the precedent set by The Movement. Flipping the dial back to R&B, next is the previously mentioned Brandy, with the first of her 6 entries in this game. She may have only finished 7th, but she's a fine girl. She's also a rare case of an R&B artist finding their way here with their first single, though it was about 8 months after its initial US release that "I Wanna Be Down" found its way up our charts. Next on this list is a series of rejected rhymes from "Miami 2 Ibiza", and a group who seem to exist only to make my Brandy observation less potent. Because this time we're in the world of British R&B, and the very shortlived success of the group MN8. Once again it's debut single territory, with "I've Got A Little Something For You" reaching the top 10 across the world, something they'd struggle to do afterwards. Such was the handling of their success that they followed up their debut album with 3 UK top 10 hits only a year later with their 2nd album...which didn't quite make the top 100 and was the last album the group released. Two artists who last appeared at the bottom of this table were gifted a golden opportunity: appearing alongside each other in the same round. There can only be one winner of the coveted 9th place, and it goes to CDB. While "Hey Girl (This Is Our Time)" didn't chart quite as high as their last single "Hook Me Up" over here, the decision to promote it in New Zealand pays dividends as it is another song in this round that inexplicably went to #1 there. Their next single did too, though that also got pretty close over here so it might not seem as strange. This round is favouring fresh faces, with the entire top 9 artists having only 1 or 2 entries all up in the game at this point. If you include Cold Chisel, then Jimmy Barnes has had as many entries in the game as all of these artists put together, though unfortunately for him this is the 10th one to finish in 10th place. "Change Of Heart" is the only top 50 hit to come from his 1995 album "Psyclone", his 3rd consecutive to peak at #2, but with the sales starting to fall short of previous efforts. It was the first time he released an album in an eligibility period without netting an ARIA Awards nomination for Best Male Artist, though he would be back in the graces of both high sales figures & ARIA nominations with his next Greatest Hits compilation. As a matter of fact though, after winning two ARIA Awards for his album of soul covers in 1992, Jimmy Barnes would not win another ARIA for 25 years, by which point he had aged into making children's music alongside The Wiggles.
49 - Take That - Back For Good (survived 2) 48 - JX - You Belong To Me (survived 1) 44 - Merril Bainbridge - Mouth (survived 2) 37 - Corona - Baby Baby 33 - Brownstone - If You Love Me 28 - Alex Party - Don't Give Me Your Life 24 - Brandy - I Wanna Be Down 11 - MN8 - I've Got A Little Something For You 8 - CDB - Hey Girl (This Is Our Time) 3 - Jimmy Barnes - Change Of Heart
Bryan Adams - Have You Ever Really Loved A Woman? Diana King - Shy Guy Duran Duran feat. Melle Mel & Grandmaster Flash & The Furious Five - White Lines (Don't Do It) JX - You Belong To Me Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) Merril Bainbridge - Mouth Michael Jackson & Janet Jackson - Scream N-Trance - Set You Free Rick Price - River Of Love Take That - Back For Good
I don't want no fly guy, I just want your top 5 votes by Friday night
+5 Merril Bainbridge - Mouth +4 N-Trance - Set You Free +3 Take That - Back For Good +2 Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +1 Duran Duran feat. Melle Mel & Grandmaster Flash & The Furious Five - White Lines (Don't Do It)
Mostly giving White Lines my +1 because I'm amazed that it exists.
5. Bryan Adams - Have You Ever Really Loved A Woman? 4. Take That - Back For Good 3. Diana King - Shy Guy 2. Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) 1. Rick Price - River Of Love
+5: Merril Bainbridge - Mouth +4: Kenny "Dope" & The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +3: N-Trance - Set You Free +2: JX - You Belong To Me +1: Diana King - Shy Guy Last edited:
+5 Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +4 Michael Jackson & Janet Jackson - Scream (very heavy nostalgia with this song that I couldn't deny... i'll just be voting for the Janet half) +3 Diana King - Shy Guy +2 N-Trance - Set You Free (weirdly this was a surprise packet for me, i can't remember this song at all from back in the day, and it's not one that i remember hearing on radio ever... wait, i'm apparently listening to the wrong mix on Spotify, oh well I like this 1995 version [4:22] a lot!) +1 Take That - Back For Good
+5 Take That - Back For Good +4 N-Trance - Set You Free +3 JX - You Belong To Me +2 Duran Duran feat. Melle Mel & Grandmaster Flash & The Furious Five - White Lines (Don't Do It) +1 Michael Jackson & Janet Jackson - Scream
+5 Michael Jackson & Janet Jackson - Scream +4 Kenny "Dope" presents The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +3 Diana King - Shy Guy +2 Take That - Back for Good +1 JX - You Belong to Me
+5 Michael Jackson & Janet Jackson - Scream +4 JX - You Belong To Me +3 Diana King - Shy Guy +2 Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +1 Bryan Adams - Have You Ever Really Loved A Woman?
In a quest to prove my prediction as wrong as possible, this round was a very tight race between 5, or even 6, songs. Before the last vote, there was even a 3-way tie for #3. The winner scored only 44 points, the least since Janet's "If" 28 rounds ago, and going by average to account for growth in voters, the 2nd lowest ever, ahead of just the "Sweet Lullaby" and "True Tears Of Joy" tie. Meanwhile, #5 (well, tied #4) landed only 7 points behind, matching the record for #5 points, and setting a new record for the smallest #1-#5 gap, the previous being the 9 points separating "7 Seconds" to "Stay (I Missed You)". #6 also surpassed "Self Esteem"'s 31 points for a new record of 34. JX, who (despite having my +5 last round) I thought was lucky to make the top 3 by getting low-key competition, managed the best combination of receiving the most votes this round (14/19) and, unlike "Shy Guy" which got just as many, them leaning more to the top than the bottom. It will be looking to become the first Eurodance song in the HOF since "Right In The Night" - not a huge timespan, but one in which many others have failed, including bigger hits or more obvious classics. You might think "Mouth" seems more in line with what's made the HOF than "Back For Good", but "Back For Good" has ranked slightly ahead all 3 times, and it's the one that's made it. The other slot went to one of the 2 remaining dance songs. Is it the one with a 5.7* or a 3.2* English review average (5.7* or 2.8* among only people who are participants in this game) on this site? You can probably guess from me saying that. I had no idea "The Bomb!" was particularly popular and would've just expected it to rank #7 or something, but it's beaten the song I thought was an obvious shoo-in with missing the top 3 not even plausible, and also "Mouth". "The Bomb!" indeed samples the aforementioned 9-minute Chicago song "Street Player", from their disco-experimenting 1979 album "Chicago 13", the lowest rated of their first 19 albums on Rate Your Music (only marginally higher than current internet icon Peppa Pig's debut album) - and it makes the Chicago song even longer, as the full version of "The Bomb!" times just under 15 minutes. Though it samples several other songs too, the 'these/street sounds' lyric and the horn riff both come from "Street Player", and that riff was also (via another song) sampled into Pitbull's 2009 breakthrough hit "I Know You Want Me (Calle Ocho)", a connection I had not realised until just now. I had also assumed Kenny "Dope" and The Bucketheads were different people, but no, Kenny "Dope" Gonzalez, an American house producer also part of the duo Masters At Work, was merely 'presenting' his new 'disco-sampling solo project', which unfortunately means there's no chance that Lord Buckethead was a member. Then there's what I thought was among the most beloved of '90s dance classics, but maybe that's just in the UK? "Set You Free" has its beginnings in 1992, around the peak of rave music, and was recorded with the vocalist Kelly Llorenna when she was only 16, who N-Trance found by visiting her college and asking if anyone sung (everyone replied 'Kelly sings!'). N-Trance had been signed to a PWL subdivision following an earlier track (that never got released due to sample clearance issues), and "Set You Free" was released in 1992, but only as a limited-run white label 12". N-Trance bought out their contract and signed to AATW, the hugely successful UK dance label of the next 15-20 years or so, and a full-fledged release finally followed in 1994 (with Kelly given a feature credit on this occasion), 2 years of potential pent-up demand from club play and whatnot leading to... #39 success. But there's a huge asterisk there, as the 1994 single was led by 2 mixes completely unlike the one I assume we all know - the 'Lost Soul' mix, which is pretty much a completely different song under the same name, and the 'Pop Mix', which is like they tried to fit the main non-1994 version into a Eurodance mould, removing the frenetic rave beat and adding a house beat and even a rap. Another UK release followed at the start of 1995, scrapping the 1994 mixes for a radio edit much like the original 1992 white label version, but polished up, and this is where everything came together - it debuted in the top 10 and reached #2 behind the reign of "Think Twice", becoming one of the biggest-selling non-#1s of 1995, leading us to the Australian charting that finds it here in this game. It only reached #11, though maybe that's impressive enough compared to, say, the UK #1 "Let Me Be Your Fantasy" peaking at #54 here, while Australia has seemed to have been generally more interested in Eurodance. And "Here's Johnny!", of course. "Set You Free"'s Australian success shouldn't be too understated though as despite the shiny top 3 peaks of a certain 2 cover versions that I presume only exist because they felt "Set You Free" would be impossible to match and they shouldn't bother trying (disclaimer: I've never heard a 4th N-Trance song), "Set You Free" did spend longer in the top 100 than both. The thunder and rain at the beginning were supposedly added to mask the cracking of a vinyl record (whether that means they were working off an already-cracked record, or for people who'd play it in the future, I don't know), but also, the song was intended to be one that DJs couldn't mix in, because 'the song you remembered on the way home was always the last one played', and they wanted to create that. Whether or not they were the inspiration for East 17's "Let It Rain", for 5 weeks, there were 2 songs beginning with thunder and rain in the Australian top 50. Unfortunately they never landed closer than 8 spots apart. Kelly Llorenna worked with N-Trance on further songs then branched out into vocals for others and herself, including a pair of UK top 10 hits in 2002, with Flip & Fill's "True Love Never Dies" and her own cover of "Tell It To My Heart", and I believe her voice is pretty synonymous with the Clubland style/brand of UK dance. Me being the only +5 for "Set You Free" is one of the most unexpected results the game has produced for me (and quite a disappointing one, honestly). Remember Jimmy Cliff's "I Can See Clearly Now"? It came from the "Cool Runnings" soundtrack, and the track right after it was a cover of Bob Marley's "Stir It Up" by Diana King, her first release (after some backing vocals on a Notorious B.I.G. album track). "Shy Guy" followed, leading the soundtrack to the 1995 'action comedy' film "Bad Boys" presumably because the Inner Circle song would be a tad too predictable, as well as her own album, with 2 different music video made. Presumably to the ire of many, if Rihanna's more recent showcase of Jamaican patois is anything to go by, it was a major success - coincidentally reaching #3 just like the "Bad Boys II" single 8 years later, that being Nelly's "Shake Ya Tailfeather". Diana King was pretty much a one hit wonder with "Shy Guy" in most places - except Australia. I've always heard "Scream" hyped up, particularly for having (allegedly) the most expensive music video of all time - Wikipedia says it still is, with the next highest being Madonna's "Express Yourself" or "Die Another Day" depending whether you do or don't adjust for inflation, but the director disagrees and says there were (unnamed) other videos of the era that cost millions more. And the hype is certainly understandable, for how much of a guaranteed major event such a collab had to have been - in a way it's surprising it didn't hit #1, being blocked by "Mouth". But at the same time, the song has always seemed to me like a complete relic, not holding up anywhere near either artist's classics (and not even being included on the expansive "The Essential Michael Jackson"). It's maybe lucky for the song if it had already faded, because in a post-"Leaving Neverland" world, it would probably be one of the hardest songs of his to justify keeping on the air. With all that, it's... interesting to see how it's performed. It has the 2nd-highest points (and most +5s) Michael has managed, after "Give In To Me", and it's outdone Janet's last 2 entries too. Also scoring his 2nd-highest points is Bryan Adams (his highest has been "Thought I'd Died And Gone To Heaven") with the last of his ARIA #1s, this one coming from the 'romantic comedy-drama' film "Don Juan DeMarco"'s soundtrack, hence the Spanish guitar. Then there's 2 songs that scored barely anything. For some reason, Duran Duran chose to follow their major comeback with a cover album... which is the same thing I said for Annie Lennox, but while hers worked out fairly well, Duran Duran's was critically panned, even declared the worst album of all time by "Q" magazine - not at the time, but 11 years later when it could've easily faded from everyone's memory. Here we have its only Australian charting single "White Lines", a cover of a 1983 hip hop song about the dangers of cocaine addiction by Melle Mel, also crediting Grandmaster Flash (who, like Melle Mel, was part of Grandmaster Flash & The Furious Five) even though he had no part on the song. Duran Duran's release consolidated that credit into, somehow, featuring (a) Melle Mel and (b) Grandmaster Flash & The Furious Five, which I suppose is like Spotify credits of new songs that tag both a solo member and their group so it gets filed under both names, unless the non-Melle Mel guys recorded some new backing vocals or something. If Duran Duran seem... ill-equipped to have covered such a song, it's probably still better than the album including a cover of Public Enemy's "911 Is A Joke", which that "Q" magazine review particularly highlighted for losing its power when performed by a bunch of middle-class white boys. Rick Price's pair of initial hits could've looked like a promising career was to come, but "River Of Love" couldn't do more than hanging around the bottom of the top 20, then the further 3 singles from the album only got to around #70, and that was basically the end. Well, except in 2017, when he got a top 10 album of covers of '60s/'70s California songs in collaboration with Southern Sons singer Jack Jones.
44 - JX - You Belong To Me (survived 2) 43 - Take That - Back For Good (survived 3; inducted!) 39 - Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) (survived 1) 37 - Merril Bainbridge - Mouth 37 - N-Trance - Set You Free 34 - Diana King - Shy Guy 24 - Michael Jackson & Janet Jackson - Scream 22 - Bryan Adams - Have You Ever Really Loved A Woman? 4 - Duran Duran feat. Melle Mel & Grandmaster Flash & The Furious Five - White Lines (Don't Do It) 1 - Rick Price - River Of Love
Bon Jovi - This Ain't A Love Song Foo Fighters - This Is A Call JX - You Belong To Me Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) Madonna - Human Nature Montell Jordan - This Is How We Do It Paula Abdul feat. Ofra Haza - My Love Is For Real Real McCoy - Love & Devotion The Outhere Brothers - Don't Stop (Wiggle Wiggle) U2 - Hold Me, Thrill Me, Kiss Me, Kill Me
I can't get enough of all that love and devoting by Monday evening.
at the closeness of the top 6 in the previous round. Poor Merril & N-Trance
Personally, I loathe 'Back For Good' and am quite surprised at its popularity here. It would have come 10th for me in the first two rounds it appeared in, only beaten by 'Scream' in the last one.
+5 Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +4 Paula Abdul feat. Ofra Haza - My Love Is For Real +3 JX - You Belong To Me +2 Madonna - Human Nature +1 The Outhere Brothers - Don't Stop (Wiggle Wiggle)
+5 U2 - Hold Me, Thrill Me, Kiss Me, Kill Me +4 JX - You Belong To Me +3 Madonna - Human Nature +2 Foo Fighters - This Is A Call +1 The Bucketheads present The Bucketheads - The Bomb! (These Sounds Fall Into My Mind)
+5 Paula Abdul feat. Ofra Haza - My Love Is For Real +4 Montell Jordan - This Is How We Do It +3 Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +2 Madonna - Human Nature +1 The Outhere Brothers - Don't Stop (Wiggle Wiggle)
+5 JX - You Belong To Me +4 Bon Jovi - This [s]End Of Summer[/s] [s]River I Cried[/s] [s]Imperfect Crime[/s] [s]Masquerade[/s] Ain't A Love Song +3 U2 - Hold Me, Thrill Me, Kiss Me, Kill Me +2 The Outhere Brothers - Don't Stop (Wiggle Wiggle) (Aladino Mix) +1 Montell Jordan - This Is How We Do It
Agree with Nugs - I never liked Back for Good, Take That's ballads were all way to drippy and too Gary Barlow for me to enjoy back then or now. Babe does have somewhat of a nice quality though (and less Gary Barlow).
+5 Madonna - Human Nature +4 Paula Abdul feat. Ofra Haza - My Love Is For Real +3 JX - You Belong To Me +2 Montell Jordan - This Is How We Do It +1 Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind)
--- This was a hard round, every track is a classic!
Honestly, Back For Good is one of my 2 least favourite songs in the HOF, so I'm glad I'm not alone
+5: JX - You Belong To Me +4: The Outhere Brothers - Don't Stop (Wiggle Wiggle) (my favourite version is.... X & Hell - Don't Stop Movin', which heavily samples it [and not the S Club 7 track, which I, as the only person to ever confuse The Outhere Brothers and S Club 7, once thought might be the case before I'd heard either], but not counting that, the Townhouse Radio Edit, which seems like it's a shortened version of the Aladino Mix mentioned) +3: Paula Abdul feat. Ofra Haza - My Love Is For Real +2: Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +1: Montell Jordan - This Is How We Do It
Definitely a stronger round than the last few for me. A clear top 3, then a very close #4-#9 (Bon Jovi being the exception, but even they are a decent #10).
+5: Kenny "Dope" & The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +4: JX - You Belong To Me +3: The Outhere Brothers - Don't Stop (Wiggle Wiggle) +2: Montell Jordan - This Is How We Do It +1: Paula Abdul ft. Ofra Haza - My Love Is For Real
By contrast for me a pretty weak round, probably the weakest of 1995
+5 You Belong to Me +4 Human Nature (my second favourite Bedtime Stories single! this is in a similar position to Put Yourself in My Place because it's weird to give this more points than I gave Secret *war flashbacks*) +3 Hold Me, Thrill Me, Kiss Me, Kill Me +2 My Love Is for Real +1 The Bomb! (These Sounds Fall Into My Mind)
Another great top 5, I really love the top 3 and Paula's song was really impressive (though her Australian chart history is still puzzling to me ). Foo Fighters & Real McCoy were the closest to my vote.
Re: Paula's chart history, I'm not sure if the record label (Virgin, in Australia) was part of the problem, as a number of dance artists distributed through Virgin locally did rather poorly on the Australian singles chart in the late 80s/early 90s (e.g. Neneh Cherry, Inner City), despite overseas success. Or maybe Australia just wasn't ready for a dance music onslaught on the charts.
Songs like 'Forever Your Girl'. 'Cold Hearted', 'The Way That You Love Me', 'Manchild', 'Kisses On the Wind', 'Big Fun', 'Good Life', 'Ain't Nobody Better' *feel* like they were 'hits' to me (I was around then), even though they all peaked in the 51-70 region of the chart (other than 'The Way That You Love Me').
+5 Foo Fighters - This Is A Call +4 Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +3 U2 - Hold Me, Thrill Me, Kiss Me, Kill Me +2 Montell Jordan - This Is How We Do It +1 Madonna - Human Nature
the nostalgia factor couldn't save Outhere for me for this round, good quality round for me and i was even quietly impressed by that Paula song!
+5 Madonna - Human Nature +4 Kenny "Dope" presents The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +3 JX - You Belong to Me +2 Montell Jordan - This Is How We Do It +1 Paula Abdul feat. Ofra Haza - My Love Is for Real
5. The Bucketheads present The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) 4. Montell Jordan - This Is How We Do It 3. Bon Jovi - This Ain't A Love Song 2. U2 - Hold Me, Thrill Me, Kiss Me, Kill Me 1. JX - You Belong to Me
+5 JX - You Belong To Me +4 Madonna - Human Nature +3 Kenny "Dope" presents The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +2 Paula Abdul featuring Ofra Haza - My Love Is For Real +1 Montell Jordan - This Is How We Do It
After finding his way on both sides of a 1 point margin for the top spot, JX has firmly solidified himself with the final placing of "You Belong To Me" with the comparatively monstrous margin of 4 points which sees it as the latest induction. Also moving on up is Kenny "Dope" whose dropping of "The Bomb!" must have been followed by some 'yvan eht nioj' action as he continues to garner support. If he can make it through one more round, we may have the first instance of a song listing being unable to fit on one line of text. If not, I'm certain that Macklemore, Delta Goodrem and certain Frenzal Rhomb members have ideas of their own to rectify it in the future. The rest of this round's list was filled out by the 8 new arrivals, which saw fierce competition primarily between 4 of them. Taking out the important victory for the last slot is U2. After the quick duo of Hall Of Fame successes with "The Fly" & "One", it's been quite a while since they've last seen the top 3, as their next 5 entries failed to do so. Turning the tide we have their contribution to the "Batman Forever" soundtrack. "Batman Forever" is actually the only Batman film I've ever seen, but I spent much more time with the Super Nintendo game based on it, where I could never get past the 3rd level because there's a time limit that causes instant game over, while the game requires you to master a gliding technique that was not remotely taught previously, possibly the first time I ever recognised bad game design in my life. At least the training mode was fun. Oh and regarding U2, that song is "Hold Me, Thrill Me, Kiss Me, Kill Me". It took its name from the 1950s song "Hold Me, Thrill Me, Kiss Me" which had been a hit for Gloria Estefan less than a year prior. Though it now falls a bit by the wayside in U2's discography (not being on a studio album not helping matters), it was a monster hit in its time. Of the 12 weeks that U2 have spent at the top of the ARIA Singles Chart, 6 of them are via Me(Hold+Thrill+Kiss+Kill). It was less fortunate in the UK where it spent 2 weeks at #2 stuck behind Bronn from Game Of Thrones singing a cover of "Unchained Melody". That same fate also befell Pulp's "Common People" which we tragically don't get to cover in this game. Though another entry in this round might cause some case for disagreement, the fact that we have U2 in this round means that we are still 'way before Nirvana', and adding to that is the fact that in 4th place we have Madonna. It would be remarkably unlike me if I didn't mention the fact that the only two songs titled "Human Nature" to make the ARIA top 50 have peaked at #17 and #38. While Madonna's "Bedtime Stories" was a toning down of the explicit nature of her previous "Erotica" album, Madonna still had grievances to air about the whole situation and wrote the song "Human Nature" as a response to such critics. While it was one of her less successful singles at this stage of her career (it was her lowest charting single in the US since her debut), it remains a live staple for her, and notably was the song that Madonna was performing before her infamous on stage kiss that left Drake with a disgusted look on his face immediately after. Next up we have the debut and biggest hit for Montell Jordan, "This Is How We Do It". After finishing high school, Montell chased a music career right away, but wouldn't get a record deal until he was 26. After that, he put together his debut album, one of the last tracks recorded being "This Is How We Do It", a song built on a sample of Slick Rick's "Children's Story", which Montell considered a hip hop classic and something he considered so delicate that it took him 9 months to finish writing the song in order to do it justice. I can only imagine how stage struck Montell Jordan was when he got Slick Rick to feature on "I Like", the lead off single to his 2nd album. In researching this I've learnt that Mos Def's excellent Madlib produced, Slick Rick featuring "Auditorium" is no longer on Spotify and I am displeased. While I hope it makes a return, someone that is making a return here is Paula Abdul, who had gone 4 years without new music before the release of her 3rd album "Head Over Heels", I am unsure if she acquired any Louboutins in the interim period. I cannot say if this lengthy break or the album itself killed off Paula's music career as it stalled at #18 in the US (following two multi-platinum #1's) and she hasn't released a studio album since. However at least in Australia, the single "My Love Is For Real" did tremendously well all things considered by making the top 10. Featured on the single is Israeli singer Ofra Haza, commonly dubbed as "The Madonna of the East" who was extremely prolific until her untimely passing in 2000 due to AIDS. Paula would later eclipse her singing career and be better known as one of the original judges on American Idol, possibly befuddling many an under 30 year old upon being told she actually had a really successful music career before that. At this point in the game, it's been a year since Kurt Cobain died. While we can point to a handful of successful artists as having indirectly emerged in the wake of his void, without a doubt the most direct result comes from a fresh new solo project called Foo Fighters. Nirvana drummer Dave Grohl would often write songs by himself but was too ashamed to show them to Kurt. When Nirvana broke up, he was expected to go and play drums for other bands, but instead, for the one and only time in his career, he decided to subvert people's expectations and front a new band of his own. In fact it was so completely on his own that he didn't even have a band, and instead wrote and recorded every song on the self-titled "Foo Fighters" album by himself. It wouldn't be until the 2nd album that Pat Smear, Nate Mendel & Taylor Hawkins would join to form the classic line up, all of whom are with the band to this day. The most prophetic thing that can be said comes from the 1995 triple j Hottest 100, where Foo Fighters made their first ever appearance with the song "I'll Stick Around", and they have proceeded to do just that, eventually tying for the most appearances in the annual countdown in 2014 with 22. Placing higher in that list was "This Is A Call", their debut single. Possibly helped by the hype of the project, it quickly became an ARIA top 10 single, and remained their highest charter until 2005's "Best Of You", though it quickly became apparent that the album chart was their proving ground, with the last 6 studio albums going to #1. Oddly enough, the debut album provided the band's biggest ever radio hit in the US with "Big Me", which would prove much more emblematic than anything else from this era, due to its comedic video which would become a regular calling card for the band in the future. Perhaps signalling how much further things have come along than expected, the artwork for "This Is A Call" features UFOs, a term for which is where the name 'Foo Fighters' comes from, and something Dave Grohl has retrospectively admitted is 'the stupidest f**king band name in the world'. If Foo Fighters were a fresh face at this time that have later become an institution, then Bon Jovi were very entrenched in the latter at this point. Just 9 months after their Best Of, they released their 6th album "These Days", giving us a fresh batch of entries to talk about in this game. They share an odd thing in common with Foo Fighters as the opening track "Hey God", much like Foo Fighters' "Times Like These" has a guitar riff that bears a striking similarity to "She Sells Sanctuary" by The Cult. The first and biggest single "This Ain't A Love Song" became one of their highest charting singles at #4. I have lived my life in moderate unsure doubt of how exactly to pronounce The Outhere Brothers. It is fortunate for me that the group did an interview just last year and introduced themselves, so if you were like me and thought it was 'out there', it is in fact 'out here'. On the other hand it is clearer that they are not actually brothers. They would prove one of the more peculiar successes of 1995 with their remarkably sexually explicit hip house singles. The first of which to gain major traction was "Don't Stop (Wiggle Wiggle)", which depending on where you heard the song, you will have a differing experience on just how many times you're told to 'wiggle'. A big top 5 hit in Australia, but they would defy expectations and come back with an even bigger hit later on, arguably making them the JX of 1995. Finally we have Real McCoy whose first two singles were well received in this game, but now find themselves at the bottom of the table with the reggae-infused "Love & Devotion". Australia was disproportionately kind to the track, sending it to #7 where most charts had it linger in the top 20.
47 - JX - You Belong To Me (survived 3; inducted!) 43 - Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) (survived 2) 39 - U2 - Hold Me, Thrill Me, Kiss Me, Kill Me (survived 1) 37 - Madonna - Human Nature 34 - Montell Jordan - This Is How We Do It 32 - Paula Abdul feat. Ofra Haza - My Love Is For Real 21 - Foo Fighters - This Is A Call 15 - Bon Jovi - This Ain't A Love Song 12 - The Outhere Brothers - Don't Stop (Wiggle Wiggle) 5 - Real McCoy - Love & Devotion
Brandy - Baby Chris Isaak - Somebody's Crying Hootie & The Blowfish - Let Her Cry Jann Arden - Insensitive Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) Live - Lightning Crashes Seal - Kiss From A Rose The Steppers - Alice, Who The F**k Is Alice? Strike - U Sure Do U2 - Hold Me, Thrill Me, Kiss Me, Kill Me
Did you know, that when you vote, your top 5's points become larger and the Wednesday night deadline can be seen?
+5 U2 - Hold Me, Thrill Me, Kiss Me, Kill Me +4 Seal - Kiss From A Rose +3 Lival Kilmer - Lightning Crashes +2 The Bucketheads present Kenny "Dope" - The Bat! (These Soundtracks Fall Into My Mind) +1 Strike - U Sure Do Live In A Society
To my surprise (I hadn't really thought of 1995 being a strong year for top 20 hits, previously), this is one of the toughest rounds for me. I'd happily give a score of +5 to 4, maybe even 6 of the songs in this round (while the other 4 I don't care for at all).
+5 Live - Lightning Crashes +4 Seal - Kiss From A Rose +3 Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +2 Strike - U Sure Do +1 The Steppers - Alice, Who The F**k Is Alice?
Chris Isaak, unfortunately, misses out.
@Hijinx, one of the Outhere Brothers introduces the group early on in their next hit, 'Boom Boom Boom', during a spoken part ("it's The Outhere Brothers"). Last edited:
+5 Seal - Kiss From A Rose +4 Kenny "Dope" presents The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +3 Strike - U Sure Do +2 Jann Arden - Insensitive +1 The Steppers - Alice, Who The F**k Is Alice?
+5: The Steppers - Alice, Who The F**k Is Alice? +4: Kenny "Dope" & The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +3: Chris Isaak - Somebody's Crying +2: Seal - Kiss From A Rose +1: Live - Lightning Crashes
what a top 5!!! Originally I thought my +5 would be between Alice and Kiss From A Rose but The Bomb holds up well and Somebody's Crying is awesome!
+5: The Steppers - Alice, Who The F**k Is Alice? (and not either of the versions that charted in the UK in 1995, which are horrific) +4: Live - Lightning Crashes +3: Jann Arden - Insensitive +2: Seal - Kiss From A Rose +1: Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind)
+5 Seal - Kiss From A Rose +4 U2 - Hold Me, Dril Me, Kiss Me, Kill Me +3 Live - Lightning Crashes +2 Kenny "Dope" & The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +1 Chris Isaak - Somebody's Crying
1. Hold Me Thrill Me Kiss Me Kill Me 2. Somebody’s Crying 3. Let Her Cry 4. Kiss From A Rose 5. Insensitive
This is easily the strongest round of the game for me so far, I’ve had such a tough time deciding my vote. There were six songs which I found worthy of a +5 (sorry Live!) and The Steppers are a very strong 7th which I’d have loved to vote for too.
+5 Seal - Kiss from a Rose +4 Kenny "Dope" presents The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) +3 Live - Lightning Crashes +2 Strike - U Sure Do +1 Jann Arden - Insensitive Last edited:
1995 so far has been struggling to produce anything to amass big points - the highest total of 143, from "When I Come Around", is beaten by at least 5 songs from every prior '90s year - but this round has made a good start, with the winner scoring 56 points, the highest of 1995 so far, and getting 16/19 votes. That song, if you hadn't already guessed from the consecutive +5s, is "Lightning Crashes", the most famous song about the circle of life released in 1994/95 . I honestly easily forget Live aren't a one hit wonder as "Lightning Crashes" is their only song I know, but the singles chart easily proves me wrong, with a gold-certified single (their only one) in 1999, and a second top 20 hit in 2003. That I had seen before, but I hadn't realised just how huge their album sales were. For every person who heard "Lightning Crashes" and went out to buy the single, it would seem many went for the album "Throwing Copper" - after originally reaching #30 in 1994, buoyed by the #49 single "Selling The Drama", it returned, climbed to the top 5 and spent a month at #1, and returned there again in January 1996 (possibly after the Q4 market faded?). It spent over 160 weeks in the top 100, was the 8th-biggest seller of both 1995 and 1996, and ranks at #30 on this site's albums BOAT list, and maybe around #60 on the best selling albums of all time. They had further multi-platinum albums too, continuing to chart high even when diminishing returns had kicked in hard in the US. "Lightning Crashes" itself also charted higher in Australia than anywhere else but Canada, in part because we've entered the infamous era of popular singles not being released as literal physical singles in the US. 5 months (real time) and 4.5 years (chart time) ago, Seal's "Crazy" entered the game with 51 points scored, and now that he's finally made his return, he's done the exact same. But (as you might remember being discussed in the thread back then), this wasn't a huge instant comeback when he dropped his second album. The lead single "Prayer For The Dying" was as modest a hit as you'd expect such a title to likely be (though it spent months between #21-#30 in the US), followed by "Kiss From A Rose", which reached #20 in the UK, and #87 in Australia (that was in September 1994), even with 2 separate CD singles of the original and Adamski remixes, and that was that. Although it did re-enter the Australian top 100 for a week after 3 months out, so maybe it was bubbling around for a while? Or just ended up in a lot of discount bins. Cue "Batman Forever" and its ambitious soundtrack. Apparently, "Kiss From A Rose" was submitted for a love scene, but the director decided it fit better under the end credits, where it played after "Hold Me, Thrill Me, Kiss Me, Kill Me" (I don't know if it also played elsewhere during the movie proper). Re-released as a single only weeks after "Hold Me...", it became a 6-week #1 just the same, and unlike U2, actually kept selling, ranking #3 (compared to U2's #29) on the 1995 EOY. At one point, it featured on 3 separate albums in the top 50 at once: the "Batman Forever" soundtrack, the "Seal II" album, and a combined package of his 2 albums that actually went higher than the singular one - which is probably why the singular one didn't have the major effect of other delayed hit singles, having debuted at #2 in 1994 and only returning as high as #13 in 1995. "Kiss From A Rose" also reached #1 in the US, won Grammys, and ensured "Crazy" or "Killer" would never be his defining song again. Quite a journey for a song that almost never got released in the first place; Seal had written it in 1988 and didn't even find it worth considering for his debut album, and it was only revived for his second album, and saved from culling, through the encouragement of his producer and friends. Just as fast as he returned, Seal never hit the Australian top 40 again (except when "Kiss From A Rose" re-entered while he was a judge on "The Voice"). He did a bit better in the US with the "Space Jam" soundtrack single "Fly Like An Eagle". And now..... "The Bomb!" has done it again. Managing to beat the likes of Merril Bainbridge, N-Trance and now what I thought was one of U2's most popular songs on this site along the way, it has somehow survived 3 rounds. I think it's the most surprising song in the HOF ever for me. By narrowly surviving on around the middle of the 30-50 points range all 3 times, it sets a new record for the lowest average vote among HOF songs (+2.05, from 117 points across 57 votes), replacing that 3-5 minute song about the place where feral hogs and small children sometimes meet, "Accidently Kelly Street" (+2.11). This isn't from it having a limited fanbase either - it was voted 70% of the time, more than "A Girl Like You", "Here's Johnny!" and "Back For Good" - more from a relative lack of top-end dedication. One of the songs that "Crazy" helped block from the top 3, in a round with a massive top 5, was "Wicked Game". 4 years later, Seal and Chris Isaak managed to coincide on their second top 20 hits too, and once again, Seal has landed in the top 3 and Chris Isaak just a few points outside. One difference between the 2 artists is that Chris Isaak had actually released an album in between, in 1993, producing just a #73 single. Unlike the rest of the world, "Somebody's Crying" outcharted "Wicked Game" to become his biggest Australian hit, and the album sold better too. And now he'll return to scheduled hibernation for another 4-year period, until "Somebody's Crying"'s follow-up single was re-released and improved on its original #27 peak. An unwritten rule of internet music discussion would be that at some point, someone will bring up one hit wonders, and trying to come up with agreeable criteria will devolve into an endless creation of rules to cover exceptions to cover rules to cover exceptions to rules and so on. But chart-wise, the maximum possible extent of a #1 hit and no other entries is one that'll satisfy any definition, and that's exactly what Jann Arden did in Australia, putting her alongside company like..... Dimples D, who might not have released anything else and certainly didn't have a hit album, or José Carreras and Sarah Brightman, who probably rarely released singles? That's the best I've found for 1988-1995, thanks to pesky low charters from Fairground Attraction and Julee Cruise (the latter a feature). Jann Arden is Canadian and though "Insensitive" wasn't her first hit there, it was her first #1, in January 1995, a feat it repeated 7 months later when it snuck a week at #1 in Australia between the 2 "Batman Forever" megaliths. Nowhere else did it make the top 10. In the US, her previous Canadian hit "Could I Be Your Girl" was seemingly attempted instead of "Insensitive", it being a minor airplay hit in mid-1995. It was the "Kiss From A Rose" route that saved "Insensitive" a year later; it was used in the 1996 romance film "Bed Of Roses" (no Bon Jovi to be found on the soundtrack), and that pushed it to a #12 US peak in mid-1996. Even then, she never charted again there either, though her following albums continued to sell decently in Canada. "Insensitive" received an impressive 12 votes, but was nobody's favourite; only one of those votes was above +3. It wouldn't be a 1995 round without a Eurodance song, so this time it's Strike's turn. Strike were a British trio, one of whom was also part of Freestylers (of eventual "Push Up" fame), and another of whom, vocalist Victoria Newton, was actually Australian (from Perth), and otherwise a jazz singer. "U Sure Do" had probably one of the most curious chart runs of the mid-'90s, climbing to #25, declining and exiting the top 50 for 2 weeks, and then rebounding from #56 to its peak of #9, in one week. Did it receive a mammoth 9-minute, million-dollar music video? Not quite. The more mundane reason, which I only happen to know because I once saw Nugs mention it on another forum I lurk, was just a change of distributors, from Possum Records (licensed to BMG) to Fresh/Liberation(/Mushroom). Possum (who previously brought British acid house to Australia) had successfully distributed some recent international imports (Ace Of Base, Twenty 4 Seven, DJ BoBo), so you wouldn't think their reach was impossibly stunted, although maybe things had changed since those 3 artists, as "U Sure Do" was seemingly the last Possum release to ever chart, and one of the last to exist. Maybe they were outclassed by the Fresh/Liberation version of "U Sure Do" including twice as many mixes. Written by a pair of songwriters/producers also responsible for '70s/early '80s hits including Suzi Quatro's "Can The Can", Exile's "Kiss You All Over", Racey's pair of Australian #1s and the Racey song that became Toni Basil's "Mickey", "Living Next Door To Alice" was first released in 1972, by the Australian pop group New World, who seemingly specialised in recording songs that were bigger for other artists either before or after. Their version charted at #20 here. The song made its way to the British rock band Smokie in 1976, probably less because they were connoisseurs in moderately-successful Australian pop and more because their album was produced by the same pair... although actually, New World were more successful in the UK, just not with that song. The Smokie version became the defining hit for a band who'd been doing well before and after, and was particularly popular in Australia, where it spent 10 weeks at #2 or #3, most of its time at #2 being behind another song soon to be covered, "Don't Cry For Me Argentina". Almost 20 year passed, and somewhere in the interim, it became popular to chant 'Alice, who the f**k is Alice' in the gaps in the chorus (a similar case of inserting expletives was Billy Idol's 1987 hit "Mony Mony", and also The Angels' "Am I Ever Gonna See Your Face Again"). A commenter says the Alice line was common in Australia in the '80s. The first artist to record it with the interjection was probably - it's a Beverly/Céline case of release dates being close enough that it's hard to be completely sure - Gompie, a Dutch novelty act formed specifically for this purpose, when a record company executive heard "Living Next Door To Alice" played in a Dutch café named Gompie, where the DJ would turn down the volume for the whole room to scream the phrase, and that executive recruited 2 other people to form the group with him. I had long assumed this was a competing dance cover, before I listened to it in the recent past; it's actually just a soft rock cover (i.e. basically the same as the original) that, during the chorus, fully drops out the music for a drunk crowd to yell the phrase. They may as well have just taken a tape recorder into the café if not for copyright. This version hit #1 in the Netherlands and Flanders (later #2 in Germany and Switzerland) and even lead to a full Gompie album of parodies, and follow-up singles, hopefully not dissuading too many artists who put actual effort into their music and saw none of the same success. Within 2 months of their version of "Alice" though, Smokie themselves had already re-recorded it, with the so-called comedian Roy 'Chubby' Brown - who seems to mainly enjoy vulgarity, most specifically racist jokes, or simply racial slurs whether they fit into jokes or not, but also assaulting fans who swear at him - speaking the expletive and a couple other lines on top. I attempted to listen to it and could not get more than halfway, and that was before I'd even looked up who he was. Yet, that version did best in the UK, climbing to #3 and ranking as the 18th-biggest seller of 1995, while Gompie just reached #17 around the same time, though luckily still providing 9 weeks for their café origins to have hopefully been recited. But for this little moment, I'm feeling patriotic because Australia sidestepped all that mess (well, mostly; Gompie reached #54 here) and instead directed the attention a perfectly lovely techno cover, blissfully the first version of the song I heard. Who were The Steppers? Where did they come from? Where did they go? Apparently they were Belgian, but that's all I've got. They released one non-charting follow-up called "No Sex No Drugs No Rock 'N' Roll", and that's seemingly it. While their version was a #2 hit and ranked #15 of 1995 in Australia, it otherwise only charted in NZ, and even that was just at #21, barely outperforming the Gompie version. And just like that, the 1995 "Alice" wave ended and I don't believe it's received any notable covers since; presumably the song just lives on through the original Smokie version, so maybe the expletives will be forgotten with time. Less likely to swear at this time would've been Brandy, given she recorded this album at age 15 and profanity would've likely interfered with its intended marketing, as valid a question as 'who the f**k is baby' would be. "Baby" actually outpeaked "I Wanna Be Down" in the US by reaching #4, and honestly I'm quite surprised she managed to get 2 hits here so easily when so much US R&B struggled to connect overseas. Minus the R&B part, the same could apply to Hootie & The Blowfish, a massive success story in the US with the album "Cracked Rear View" being not only the biggest seller of 1995 there (with over 10 million copies shipped that year alone), but around #20 of all time. It was led by a trio of particularly big hits there: "Hold My Hand" (my preference), "Let Her Cry" and "Only Wanna Be With You", of which only the ballad "Let Her Cry" reached a similar level here, though the album continued selling well after it departed. Even in the US though, they peaked just as quickly as they arrived. Their second album followed in April 1996 when their prior singles had barely left the charts - maybe wise if they needed to capitalise on fragile momentum, but in this case it seems the first album was still suiting people just fine; it ranked #9 on the biggest-selling albums of 1996, 12 spots ahead of its follow-up, and I can say firsthand that the 2 moderate hits the second album produced are extremely forgettable. Lead singer Darius Rucker went solo with an unsuccessful R&B album in 2002, then debuted as a country artist in 2008, with many #1 (i.e. like, top 10 when converted to the standards of charts that don't have new #1s each week) country hits since, most notably including his 2013 cover of the song "Wagon Wheel", it becoming probably the biggest non-crossover country hit of 2013, and a constant presence in the lower reaches of the Australian iTunes chart in recent years, with 141 weeks and counting spent in Hijinx's unofficial catalogue chart.
(I assume I've broken some sort of wall-of-text record)
56 - Live - Lightning Crashes (survived 1) 51 - Seal - Kiss From A Rose (survived 1) 35 - Kenny "Dope" pres. The Bucketheads - The Bomb! (These Sounds Fall Into My Mind) (survived 3; inducted!) 33 - U2 - Hold Me, Thrill Me, Kiss Me, Kill Me 32 - Chris Isaak - Somebody's Crying 28 - Jann Arden - Insensitive 18 - Strike - U Sure Do 12 - The Steppers - Alice, Who The F**k Is Alice? 11 - Brandy - Baby 9 - Hootie & The Blowfish - Let Her Cry
Alanis Morissette - You Oughta Know Corona - Try Me Out F.C.B. - Excalibur Herbie - Right Type Of Mood Interactive - Forever Young Live - Lightning Crashes Merril Bainbridge - Under The Water Michael Jackson - You Are Not Alone Seal - Kiss From A Rose Take That - Never Forget
I'm here, to remind you, that you can vote your top 5 until Saturday evening.
Yay for Bucketheads just scraping through. Hootie coming last is also justice.
+5 Interactive - Forever Young +4 Live - Lightning Crashes +3 Seal - Kiss From A Rose +2 Corona - Try Me Out +1 Merril Bainbridge - Under The Water
Another strong round.
As for 'U Sure Do', I can only assume that all of the copies pressed by Possum sold out, and it wasn't re-pressed until Festival took over. Something like that (though not due to a record label folding/merging) happened with 'Gangsta's Paradise' in its second week on the chart, later in '95. Last edited:
+5: Alanis Morissette - You Oughta Know (with very strong preference to the Jimmy The Saint Blend version, which was in the video and on the Australian single. I willingly listen to the 8-minute hidden track version on Spotify for it) +4: Interactive - Forever Young +3: Live - Lightning Crashes +2: F.C.B. - Excalibur +1: Seal - Kiss From A Rose
Solid round, Corona or Herbie could've gotten a vote in some of the last few.
This has been unquestionably one of the closest rounds ever. The lead has shifted constantly with only the slimmest of margins to decide it all. These statements just come with the caveat of whether or not you're invested on who comes out on top of the list, as opposed to which 3 songs will be going through to the next round because that was probably set in stone as soon as the voting list was published. Live have consolidated their win from last round, as they alone take the title of being all over the rest of the competition. We do not have a dolphin handy to decry these standings, but we do have a Seal, who declines to 3rd place although he gained 8 points on last round (compared to Live who just gained 5). Stuck in the middle with them we have a new artist making their first impression. One I've had no shortage of opportunities to write about as she has appeared frequently in QLVG this year, but it's time for the era of Alanis Morissette. There have been big albums before in this game, but Alanis is setting a new bar with "Jagged Little Pill", which would have hypothetically been #1 on the ARIA Albums Chart linear points system for roughly 2 years. Like many before and since, it was initially just a moderate seller, climbing to #13 as interest surrounding the first big single "You Oughta Know" peaked, but with future singles proving it a very enticing package, it would climb to #1 the next year and spend almost the entire year in the top 10, even though "You Oughta Know" was arguably the biggest hit on it. The single and album marked a significant shift in style for Alanis, who had actually released 2 albums already by this point, with several hits on the Canadian charts whose sound could fit somewhere between Paula Abdul and Robin Sparkles. Maybe it was a little too drastic to take in for her Canadian audience as "You Oughta Know" only peaked at #6 there, but climbed to #4 here, while her next 4 singles from the album would all hit #1 in Canada. She even managed to land 3 songs in the 1995 Hottest 100, despite conflicting reports on whether or not she was actually played on the station at the time, and despite the fact that one of them, "All I Really Want", was not released as a single in Australia until 1997 (though it had already been in the US). Much in the way that Beyonce scored success in 2016 with a song whose credits include Yeah Yeah Yeahs, Father John Misty, Ezra Koenig & Diplo, perhaps the contributions of Dave Navarro (of Jane's Addiction) and Flea (from some band who I can't imagine warrant mentioning) on this song aided her credibility. Much like "You're So Vain", the target of the ire directed in this song is rife with speculation, although while Carly Simon freely admits that there are 3 specific targets, Alanis does not seem to want to confirm anything. I could not want to fathom having one of the most vicious beat-downs in song form this side of "The Story Of Adidon" written about me. While it is very apparent that Alanis's success peaked with this album, she is fairly active in this game, with 8 top 20 hits, going as far forward as 2004. With less to look forward to, we have Merril Bainbridge. She fell just short on the final round with "Mouth", and here she is in 4th again, though with considerably less points (still plenty ahead of the rest though). "Under The Water" proved quite a big hit to show that she wasn't just a one hit wonder, however it also proves to be her final entry, with follow up single "Power Of One" stalling out at #21. Bryce Courtenay was 55 when he wrote "The Power Of One" though so who's to say Merril (age 51) can't still lay another stamp on Australian pop culture. Supposedly "Under The Water" is a song about a lover who drowned even though Merril apparently 'could be swimming out to save you', to the outrage of Phil Collins. Also finishing their journey with us is Corona, with the 3rd of the 3 consecutive top 10 hits "Try Me Out" being impressively followed by nothing else making the top 100 I'm led to believe. While it might be too much to ask for Corona to line up in the same round as Brandy again, we have other avenues to get slizzard as it's obviously time to talk about Carlton Draught. Because of course if you had a television in the mid to late 2000s, there's a good chance you are aware that they commissioned the "It's A Big Ad" commercial, creating a living, breathing, absolute unit of a Big Art Attack to advertise their wares, complete with monk-like vocals chanting lyrics to the tune of "O Fortuna". This was not Australia's first notable brush with the 13th century poem turned Nazi Germany regime fanfare however. In 1995, a trio of Italian DJs teamed up, and similarly to the Gullwings at the start of Final Fantasy X-2, put together their own names to make the initials F.C.B.. I can't say for certain what the timeline of events is, but the release of their single "Excalibur" was buoyed by some remix work from Australia's own Nick Skitz. He's not credited on the Templar version of the song, which notably does not have the "O Fortuna" sample, but it seems apparent that the only reason the song is called "Excalibur" in the first place is because the early '80s film "Excalibur" had "O Fortuna" on its soundtrack. All that can be said is that it joins the canon of unusual dance hits in the mid-'90s, seemingly only charting in Australia but spending 3 weeks at #2. It wouldn't be the last time Nick Skitz helped remix a weird source material for a #2 hit in Australia either. On the topic of songs that have been rinsed more than a few times in Australia, "Forever Young"! Originally written and recorded by German synth-pop trio Alphaville, it was a big hit in mainland Europe, not quite as much in Australia, the UK or the US. For the latter two, it was perhaps better known through a cover version by another German group, Interactive. Cover is perhaps a misnomer as it's more just a reworking of the chorus. Not being a silly enough premise for a dance hit, it only got to #15 here, though that would put Australia pretty closely aligned with Europe this time. Things would only escalate a decade later, as you imagine we'll get to that when we do. As for Interactive, they actually were not just a one off novelty single, but were sporadically scoring hits in their native Germany for several years before and after "Forever Young", the two singles that followed it peaked at #17 and #38 respectively. With these descending fortunes, they quickly raced back to '80s new wave and covered a-ha's "The Sun Always Shines On T.V."...it did not bring them back to the charts. It must have been a right nuisance to them that Take That would go and score a #1 hit with a cover that very next year...which we'll get to soon. For the time being, they followed up "Back For Good" with "Never Forget", in which the ARIA Charts and this game are joined in having it fall a fair way short of "Back For Good"'s success. Much of the news with Take That around this time centered around their youngest member Robbie Williams, who despite the band's squeaky clean image, was dabbling with drugs & alcohol. Though he appears on the artwork and video, by the time "Never Forget" was released (going straight to #1 in the UK), he'd already left the group, seemingly choosing the debauchery over Take That in an ultimatum. His contract with the band actually prevented him from releasing solo material while they were still together, conveniently for him, that would come about just one single later, with our last outing with Take That. 15 years after going bananas, Herbie was in the "Right Type Of Mood". Despite the sheer force of personality on show in the song, Herbie's career as a performer is outshined by his role as a songwriter & producer. He's worked with countless pop artists from the US, UK & South Korea, recently enough that he has writing credits on both of ZAYN's albums, as well as two songs around the turn of the century we'll encounter in this game. Of course, his reputation is far outstripped by his co-writer on "Right Type Of Mood", none other than Max Martin. In 1995, Max Martin had just left his glam metal band It's Alive and was hired as a producer in his native Sweden, though he was very inexperienced initially. "Right Type Of Mood" is his first contribution in this game, before becoming one of the most successful writer/producers of all time, having contributed to 22 different Billboard #1 singles, all but one of which we'll be encountering - I guess you can't tap every market every time. As far as mega successful pop producers go, Max Martin is fortunately not one embroiled in controversy, which is something I cannot say for another artist, who is making their arrival here, working with Michael Jackson on "You Are Not Alone". R. Kelly had actually already had a US #1 hit by this point, but Australia must have seen something wrong with a little "Bump n' Grind" as it only reached #82 here. Stunningly we don't actually encounter him properly in this game until his most famous song was fresh out the kitchen and debuting at #1 8 years from now. Despite being "You Are Not Alone", Michael Jackson had another huge hit. It went to #1 in the US and #7 in Australia, but actually landed higher in Australia's Year End Chart, where it was #10 (compared to #21 in the US). It was one of his longest running chart hits, to my knowledge only "Don't Stop 'Til You Get Enough" spent longer in the top 50 (although "Ben" is only 3 weeks behind with only a top 20 chart to go by in its original run). Perhaps the most noteworthy feat of the song is that it became the first song ever to debut at #1 on Billboard's Hot 100, seeming to mark yet another radical shift in chart proceedings as such an act would become relatively commonplace afterwards. If not for "Old Town Road" it would have happened 6 times in the US this year so far. Michael Jackson's initial interest in recording the song was through an empathy that could only be understood by someone with as much controversy in their life as him.
61 - Live - Lightning Crashes (survived 2) 60 - Alanis Morissette - You Oughta Know (survived 1) 59 - Seal - Kiss From A Rose (survived 2) 26 - Merril Bainbridge - Under The Water 20 - Corona - Try Me Out 17 - F.C.B. - Excalibur 17 - Interactive - Forever Young 12 - Take That - Never Forget 8 - Herbie - Right Type Of Mood 5 - Michael Jackson - You Are Not Alone Last edited:
Alanis Morissette - You Oughta Know Blessid Union Of Souls - I Believe Live - Lightning Crashes Mariah Carey - Fantasy Michael Bolton - Can I Touch You...There? Red Hot Chili Peppers - Warped Scatman John - Scatman (Ski-Ba-Bop-Ba-Dop-Bop) Seal - Kiss From A Rose Technohead - I Wanna Be A Hippy Vanessa Williams - Colors Of The Wind
Can I acquiesce your top 5 votes...here? I believe the deadline is Monday night
+5: Alanis Morissette - You Oughta Know (Jimmy The Saint Blend) +4: Technohead - I Wanna Be A Hippy (would be +3 off just the remix that was the hit, but the original gives it an edge to get +4) +3: Live - Lightning Crashes +2: Vanessa Williams - Colors Of The Wind (love this top 4, deserves higher!) +1: Seal - Kiss From A Rose (close with Scatman)
The same 3 songs have been at it again. They've finished just as close together; the only difference is that this time, instead of being miles ahead of #4, they're miles ahead of #5 with one song in the interim. We've decisively not left Live neglected; "Lightning Crashes" has narrowly won all 3 rounds, sending it to the HOF with a grand total of 175 points, higher than all but 5 other songs ("Hazard", "Confide In Me", "The Day You Went Away", "Zombie" and "Sleeping Satellite", and also tied with "What Is Love"), and a top 15 rank by average too. It is, in fact, the first #13 hit to ever make the HOF - previous close calls were "What's My Name?" and "Diamonds And Pearls", which both lasted until their 3rd rounds, and "Mr. Jones" which just missed the top 3. The only peak left with no HOF entries is #20; meanwhile, #11 has 7 and #10 has only 1. Every step Seal has taken in this game has led him closer to the HOF, and now he's made it twice. Among artists with multiple songs in the HOF, the only ones to have done it with 100% of their entries are Seal and The KLF (Martika, Belinda Carlisle, Shakespears Sister and Duran Duran have done 2/3). That leaves Alanis with a little more time to rock in order to seal (no pun intended) her spot next round. Among the 14 other songs this round and last, the one that's managed to really rise against the pack is "Fantasy". As a new lead single following her biggest album to date, it must've been one of the most anticipated singles of 1995, and it can't have disappointed, becoming her first Australian #1 and matching "Dreamlover"'s 8-week #1 run in the US... soon to be made seem trivial by comparison. "Fantasy" was based on a sample of the 1981 song "Genius Of Love" by the new wave band Tom Tom Club, a side project formed by 2 members of Talking Heads. That song had been a #2 hit on the US R&B (or 'Soul Singles' as it was then called) chart at the time, and Mariah got the idea to sample it when hearing it on the radio for the first time in a while, making it timeline-wise essentially the equivalent of every recent song that's come out with an early-mid '00s R&B/hip hop sample, like Saweetie's current single - though that appeal wouldn't have worked in Australia for "Fantasy", as Tom Tom Club only ever reached #44 here, and with a different song. "Fantasy" had an accompanying remix made with Wu-Tang Clan member O.D.B. (Ol' Dirty Bastard), which wasn't just any old remix; it's been regularly credited as one of the first major R&B/hip hop collabs (at least from artists as opposite as Mariah and O.D.B.), helping popularise a form that's been present ever since. The remix, as well as adding O.D.B. and changing up the production, fully replaces the chorus with a new one very similar to the original "Genius Of Love" chorus, as well as interpolating its opening 'what you gonna do when you get out of jail?' lyric towards the end. It was produced by... The Man Of Many Names, who I think was going by 'Puffy' at the time; he'd worked with Mary J. Blige and The Notorious B.I.G., but I don't think he'd put himself on the map in Australia yet. The remix was considered relevant enough to be included on her 1998 "#1's" album in place of the original, whether international buyers liked it or not; on her 2015 update to the compilation, it was changed to the 'Bad Boy Fantasy' version, which is mostly like the remix but incorporates the original chorus too. "Fantasy" managed over 40 points, the best she's done with any of her 10 non-"Emotions" entries so far, and only the 3rd time she's made the top 4. A professional jazz pianist, with even an album recorded in 1986, Scatman John was almost 50 when he moved to Berlin in 1990 in search of a greater audience for his jazz performances. He'd learnt scat singing as a way to get around his stutter, and added it to his act after a well-received performance while entertaining on a cruise ship in 1984. In Berlin, his wife handed a tape of his scatting to his agent, who tried to get him onto a jazz record to no avail - then came up with the idea of making a dance track. Scatman John, who was open to anything after having recovered from addiction, agreed, and was directed to 2 producers with whom he created the song "Scatman". Both producers had plenty of work before and after, but no connection to any notable hits as far as I can see. He chose to write about his stutter in the song so that, if 'by some fluke' it became a hit and he had to do radio & TV promo, it'd already be known that he stuttered and he wouldn't have to explain or feel ashamed about it. Creating one of the most unlikely and inspiring success stories, the song hit #1 around Europe and made him a brief star, at 53 years of age - in his words, turning his greatest problem in childhood into his greatest asset. In Europe, he even followed it with a second #1 hit, developing his branding into "Scatman's World" (here it reached #84 and never overtook "Scatman") - the ballad follow-up "Song Of Scatland", about a utopian society of Scatland, where they've 'never even heard of political corruption' (and speak in Scattish), went a little too far though and he remained firmly a 2-hit-wonder in Europe. His success was greater in Japan, where his debut album still ranks as (according to Wikipedia) the 17th-highest-selling album by a foreign act of all time, and there was a counterpart to Tori Amos' cornflake boxes: Scatman John Coke cans. "Scatman" is furthermore one of a limited set of '90s dance songs that posts sizeable numbers on Spotify and YouTube nowadays, with over 50 million plays on each, and for some '90s somewhat-one-hit-wonder cross-promo, a collab with Lou Bega sampling "Scatman", called "Scatman & Hatman", was released 2 months ago. Technohead were a husband-and-wife duo who released music under many aliases, wanting to spread them out so the music press would cover them all without realising they were constantly writing about the same duo. One of those aliases had hit the charts in 1990, Tricky Disco with a self-titled song that... I don't even know how to describe, reaching #14 in the UK and... #141 in Australia, I see. They began using the alias Technohead in 1993, and signed to the Dutch then-underground hardcore label Mokum Records, where they released the first form of "I Wanna Be A Hippy" in early 1995. Its vocals come from musician/activist David Peel's folk rock song "I Like Marijuana", originally from his band's 1968 debut album, but sampled from him performing it in the critically-panned 1989 comedy film "Rude Awakening". The original version of "I Wanna Be A Hippy", a much heavier hardcore track (more like a "Here's Johnny!", in Australian hit terms), was hugely popular in an Amsterdam club opened by the duo Flamman & Abraxas... to the point they were sick of it, and suggested a remix be made. Another producer did a hardcore remix and suggested to the label manager that someone make a radio mix; he called everyone on the Mokum roster, and Flamman wished to try - only as a joke, viewing radio mixes as something American producers did, and not thinking there was any chance for the song to get played on Dutch radio (let alone elsewhere) anyway. Flamman & Abraxas took the guitar from "I Like Marijuana" in the movie and added it to "I Wanna Be A Hippy", becoming the prominent accordion-like guitar line you hear in the song, while softening the beats into more of a light ditty, comparatively. With the radio mix, it quickly hit #1 in the Netherlands, and Germany, and luckily scraped #20 over here, coincidentally just ahead of fellow happy hardcore crossover "Forever Young". It was probably helped by its memorable video featuring 3 bald youths chasing a hippie around an Amsterdam park (until he disappears into a mirror), and fun fact: where the hippie appears to be smoking something was in fact a smoke machine placed behind him, as they weren't allowed to show a joint on-screen. Despite producing the remix that brought all the success beyond the local Dutch scene, Flamman & Abraxas made no money from it, as they'd produced it as part of a swap deal with Technohead, where they'd each do a remix for each other (I don't even know which song Technohead's remix for them was for, which says enough about how successful it was). But Flamman & Abraxas didn't resign to the shadows; they formed their own group, the Party Animals, and their first 3 singles all hit #1 in the Netherlands - Technohead themselves came nowhere near again. From what I've heard, other artists and labels capitalised on hardcore/gabber's popularity with increasingly commercial/novelty records (which in turn may have been predecessors to a particularly well-known pop-dance group: the Vengaboys), and it died the same death as many, if not most, dance subgenres: alienating its original audience and exhausting its commercial potential. In the UK, "I Wanna Be A Hippy" became a belated top 10 hit in early 1996 (performed on TOTP with 'stoned' and 'high' blanked along with, bizarrely, just the 'juana' part of 'marijuana'), but it wasn't the biggest version of the song. Reaching #4 later in 1996 was a parody by The Smurfs, turning it into "I've Got A Little Puppy", in which 'marijuana' becomes 'pooper scooper'. I did not make that up. It's annual Disney single time, and one thing I learnt the other day is that when "The Lion King" and "Pocahontas" were concurrently in development, "Pocahontas" was expected to be the more prestigious and successful one, and many of Disney's animators chose to work on it instead. "Colors Of The Wind" was sung by Broadway performer Judy Kuhn in the movie, and Vanessa Williams, only 3 years removed from "Save The Best For Last" even if her recent lead single hadn't gone far, was chosen for the pop version. All 4 Disney singles we've had ("Beauty And The Beast", "A Whole New World" and "Can You Feel The Love Tonight" prior) have landed between 10-16 points. Both Vanessa Williams entries placed 6th (tied with Technohead in this case), but "Save The Best For Last" scored twice as many points, with so much of this round's points going to the top 4; Technohead have the lowest points for #6 in 45 rounds, since "Love Is In The Air". Disney followed those 4 huge films with an adaptation of "The Hunchback Of Notre Dame" the next year, whose soundtrack... had a single I've never heard of called "Someday", recorded by All-4-One for North America and Eternal internationally... which was a #27 hit here actually. 1997's "Hercules" had its song "Go The Distance" recorded by Michael Bolton, which didn't chart here (or in many places at all). 1998's "Mulan" had "Reflection" performed by Christina Aguilera, to negligible success of its own but leading her to being signed for her debut album. 1999' "Tarzan" soundtrack was written and performed by Phil Collins, and that attracted greater chart attention; the single "You'll Be In My Heart" reached #43 here, but with 24 weeks spent in the top 100, and also ranks among the most popular Disney recordings (whether pop or soundtrack) on Spotify now, and as Phil Collins' 3rd-biggest song. I haven't even heard of some of their next few films, and without checking them all, I'm not aware of another hit single until the flurry of "Let It Go" in 2014. A major US radio hit, Blessid Union Of Souls turned "I Believe" into a low top 20 hit here... similarly to Dionne Farris' "I Know", which was (still) #1 on the US airplay chart while "I Believe" hit its peak of #3. In between was Hootie & The Blowfish's #70 AU hit "Hold My Hand", and at #4 was Martin Page's "In The House Of Stone And Light" which I'm not sure anyone in Australia who's never worked their way through US radio hits would've ever heard, so we were low on synchronicity at that moment. Lisa in "I Believe" was a real person, who singer Eliot Sloan had dated for 2 years until her father threatened to cut off her college tuition, and he wrote in the album's liner notes, in a list of people who inspired the songs, asking her to give him a call sometime to say hello. I don't know if she ever did, but I choose to believe her father was the same person who inspired MAGIC!'s "Rude". Though an earlier album track (promoting a new compilation) and a soundtrack single had both followed "Blood Sugar Sex Magik", "Warped" was RHCP's first proper new lead single since, hence being able to debut at #12 despite not exactly being one of their most commercial songs. That showed in its later performance, falling hard afterwards; the next 2 singles charted longer. The song might've been more memorable for its scantily-clad video and kiss between 2 of the band members, retained to Warner's dismay, but then I doubt anyone was that surprised about it from a band not exactly famous for covering up in the first place. Their previous 3 entries made the top 5, but "Warped" scored much fewer points. Somebody made a 'Red Hot Chili Peppa' logo, and there are shirts, bags and hats on Amazon sporting it. When I wrote my dissertation on "Sweet Lullaby" and said 'the closest thing I know of/can think of on the Australian charts is the 1995 #76 hit "Yeha-Noha" by Sacred Spirit', I was clearly wrong. The closest thing is actually Michael Bolton's similar-sounding panpipes on "Can I Touch You...There?" - though not as similar as the near-identical (to Bolton) opening note on Ultrabeat's 2003 UK dance hit "Pretty Green Eyes". And as I say that, I find that Wikipedia says Ultrabeat actually sampled theirs from House Traffic's "Every Day Of My Life", a minor 1997 dance hit (with some peak '90s dance video animation). And via that, Whosampled directs me to the actual source: the sound library of the 1984 E-mu Emulator II sampler, and now I know it was also used in Peter Gabriel's "Sledgehammer", and.... ok, a lot of other things, including my 3rd-favourite Enigma song "Principles Of Lust", which I somehow didn't think of. And that it's not actually panpipes, but a shakuhachi, a Japanese/Chinese bamboo flute. "Can I Touch You...There?" was the lead single to his "Greatest Hits 1985-1995" album, and did best in the UK where it reached #6, his 2nd-highest charter ever after "How Am I Supposed To Live Without You". Whether he explored its somewhat more beat-based sound or samples of woodwind instruments further I don't know, but it was his last ever top 50 hit in Australia, and it shatters his pattern of each entry of his scoring more points than his previous.
58 - Live - Lightning Crashes (survived 3; inducted!) 55 - Alanis Morissette - You Oughta Know (survived 2) 55 - Seal - Kiss From A Rose (survived 3; inducted!) 41 - Mariah Carey - Fantasy 22 - Scatman John - Scatman (Ski-Ba-Bop-Ba-Dop-Bop) 14 - Technohead - I Wanna Be A Hippy 14 - Vanessa Williams - Colors Of The Wind 13 - Blessid Union Of Souls - I Believe 12 - Red Hot Chili Peppers - Warped 1 - Michael Bolton - Can I Touch You...There?
AC/DC - Hard As A Rock Alanis Morissette - You Oughta Know All-4-One - I Can Love You Like That Christine Anu - Party Coolio feat. L.V. - Gangsta's Paradise Janet Jackson - Runaway N-Trance feat. Ricardo Da Force - Stayin' Alive Nick Cave & The Bad Seeds & Kylie Minogue - Where The Wild Roses Grow Peter Andre feat. Bubbler Ranx - Mysterious Girl TLC - Waterfalls
Why don't you come join this round? Let's move it till Thursday evening.
+5 TLC - Waterfalls *huge gap* +4 Alanis Morissette - You Oughta Know +3 Nick Cave & The Bad Seeds & Kylie Minogue - Where The Wild Roses Grow *best of a bad lot* +2 N-Trance feat. Ricardo Da Force - Stayin' Alive +1 Coolio feat. L.V. - Gangsta's Paradise
There's nothing I'm hugely fond of in this round, so here goes:
+5 Christine Anu - Party +4 Coolio feat. L.V. - Gangsta's Paradise
Kind of OK:
+3 Alanis Morissette - You Oughta Know
We're in least-worst territory now:
+2 Nick Cave & The Bad Seeds & Kylie Minogue - Where The Wild Roses Grow (gets a bonus point for not being a pointless cover) +1 N-Trance feat. Ricardo Da Force - Stayin' Alive
I somehow never knew until now that 'I Wanna Be a Hippy' sampled an old song. One thing you didn't add was that one half of the Technohead duo died from cancer in early August 1995, just as 'I Wanna Be a Hippy' was taking off. That no doubt partly explains why 'they' didn't score further success. Last edited:
+5 Christine Anu - Party (the fight to get a #20 peaker inducted continues) +4 Coolio feat. L.V. - Gangsta's Paradise +3 TLC - Waterfalls +2 Janet Jackson - Runaway +1 Alanis Morissette - You Oughta Know
+5 Alanis Morissette - You Oughta Know +4 Christine Anu - Party +3 Janet Jackson - Runaway +2 Nick Cave & The Bad Seeds & Kylie Minogue - Where The Wild Roses Grow +1 Coolio feat. L.V. - Gangsta's Paradise
+5: Alanis Morissette - You Oughta Know (Jimmy The Saint Blend) +4: Christine Anu - Party +3: Nick Cave & The Bad Seeds & Kylie Minogue - Where The Wild Roses Grow +2: N-Trance feat. Ricardo Da Force - Stayin' Alive (lol, I guess it has more merit than I give it credit for) +1: Peter Andre feat. Bubbler Ranx - Mysterious Girl (close with TLC)
um wtf i loooooove this round! definitely 4 songs that could get a +6 for me (not a typo ), and then 3 more songs that would easily get +3s in past rounds!
+5 Where The Wild Roses Grow +4 Waterfalls +3 Gangsta's Paradise +2 You Oughta Know (yeah, that's how much i like those songs above this!) +1 Party (very tough between this and Janet for the last spot, with Peter just behind them)
I bring with me the least surprising news I could ever give you: "You Oughta Know" by Alanis Morissette has made its way into the Hall Of Fame. She may not have won her first two appearances but nothing has come through this round to topple her. But after what happened last round, there had to be at least 2 new songs getting through this round, which is exactly what we got. Though it's his first time here, Coolio had already made a name for himself a year prior with "Fantastic Voyage", a #3 hit in the US. That hit got him the attention of Kathy Nelson who was supervising the soundtrack for the upcoming Michelle Pfeiffer film "Dangerous Minds", who pitched for him to make a song for the movie. It was then Larry Sanders (aka L.V.) who was working on a sample of Stevie Wonder's song "Pastime Paradise" which helped bring together the song we all know now as "Gangsta's Paradise". Coolio finished the whole thing in 3 hours, though had to later remove vulgar language from it so Stevie Wonder would approve of the sample. With a "Stand And Deliver"-esque story of a teacher going to an under-privileged school to teach we have Coolio's fictitious tale of gangsta life. Despite the lyric, Coolio had quite easily lived to see 24, and though we wasn't supposed to make it past 25, jokes on you, he was 32 by the time "Gangsta's Paradise" became a #1 hit. And what a #1 hit it was. While in the US it had to settle with just arriving before Mariah Carey's "Fantasy", leaving it with 3 weeks at #1, and spending all 8 weeks of "Fantasy"'s reign at #2 (as well as an additional week behind "You Are Not Alone" before it hit #1). In Australia it was even more impressive, spending 13 weeks in a row at #1, making it the longest running #1 hit of the '90s, and technically its consecutive weeks record has not yet been beaten in the ARIA era, thanks to Harry Styles interrupting Ed Sheeran's reign, and then incidentally, Ed Sheeran interrupting Lil Nas X's reign. The single of course set a ridiculously high watermark that Coolio couldn't hope to match, though he will have future entries in this game. "Weird Al" Yankovic released a parody of the song titled "Amish Paradise" resulting in the most noteworthy instance of artist backlash as Coolio denied having reportedly having given permission for the parody, possibly due to not liking the way it undermined the original song. Coolio has more recently said that he's cool with it nowadays and regrets the way he acted at the time. Coolio also has since regularly appeared on TV programs, having twice appeared on Celebrity Big Brother in the UK, and later Celebrity Wife Swap. In addition to that, he endears himself to multiple generations of children as in the '90s he rapped the theme song to Kenan & Kel, and in the 2010s he appeared on Gravity Falls. Featured artist L.V. had considerably less future success, notching up one further chart entry in 1996 with "Throw Your Hands Up", which actually spent 14 weeks in the top 100 despite a peak of only #84. After a close call with their prior entry "Creep" landing at #4 8 rounds ago, TLC have picked up their points by about 40% to land in the top 3 with "Waterfalls". "Waterfalls" was expressly written for TLC by production group Organized Noize, which ironically was intended to be the name of a girl group that never eventuated so Sleepy Brown, Rico Wade & Ray Murray kept the name for themselves. This production trio will be seen a few more times the future in this game, as recently as a month ago in fact as they produced much of OutKast's first 4 albums, and "So Fresh, So Clean" which sadly only peaked at #46, was interpolated by 50 Cent on Ed Sheeran's "Remember The Name", what a wild sentence that is. As for "Waterfalls", it would probably be seen as TLC's signature hit if not for the fact that the streaming generation tends to favour a later single of theirs, but it proved a massive hit becoming their first top 10 in Australia and spending 7 weeks at #1 in the US. Much like Salt-N-Pepa's "Let's Talk About Sex", "Waterfalls" deals with (though perhaps not as explicitly) HIV/AIDS (and also illegal drug trade) and proved to be an uplifting song for the time. The music video made these themes much more apparent and helped majorly contribute to the song's popularity. In case you were wondering how many waterfall, there is one in the video. It's not the first time I've had to unpack a massively storied career into the space of a one-time entry in this game and it probably won't be the last, so let's talk about Nick Cave & The Bad Seeds. The Birthday Party have previously been mentioned for having originally written and recorded "Shivers", later covered by The Screaming Jets. The band split in 1983 due to creative differences, which would lead members Nick Cave & Mick Harvey to form their own band which still persists to this day, though Harvey has since left. For several albums, they were just as under the radar as The Birthday Party were, lucky to even scrape the ARIA top 100. Mass acclaim & beloved singles would soon come, followed by differing flirts of commercial success. It wasn't until 2013 that they scored their first #1 album with "Push The Sky Away", a feat repeated with their next and most recent album "Skeleton Tree", which would provide a strong challenge to David Bowie's "★" as the saddest #1 album of 2016. Before that, it wasn't particularly unusual to see the band on the ARIA singles chart, though it was still on the periphery of course, you'd never hear Nick Cave on Mix and the like. Except "Murder Ballads" happened. Much like the name suggests, it features all manner of detailed songs about murder, some traditional, some new, none about the 1500 second process of murdering one's friend's abusive uncle. Among these is "Where The Wild Roses Grow", a duet with Kylie Minogue, which must have sounded almost preposterous at the time, let alone 5 years prior. The single debuted at #2 on the ARIA Chart, and would go on to win the ARIA Award for Single Of The Year some 12 months later in 1996, beating out other classic '90s alumni we don't get to cover in this game in Ammonia & You Am I. It would certainly prove to be a one off fluke for The Bad Seeds, who would quickly recede to their usual domain outside of the ARIA top 50, with the exception of "Into My Arms", arguably their most famous song nowadays, which reached #26. Kylie Minogue would actually only trouble the top 20 once more for the rest of the '90s, though unless she manages to improve her fortunes here, I'll have to deduce "Kylie Minogue" as a fluke album and go back to ironically dismissing her as a flop artist whenever I get the chance. But wait, I've got not just one noteworthy one time entrant in this game from Australia, because right behind is Christine Anu's "Party". Christine Anu had one of the more impressive career beginnings in triple j's Hottest 100, namely with the first 3 songs she ever released making it in, though nothing after those. The first of those, "Last Train" was a duet with none other than Paul Kelly, whose status in this game I refuse to lock down because I believe in "How To Make Gravy". After some ya wah action, she reached her most famous recording, a cover of Warumpi Band's "My Island Home". It's a song she was already two degrees away from, as she'd previously been a backing vocalist for Neil Murray, who wrote the song. She did however change the lyrics to reflect her own background, and ended up singing it at the Sydney Olympic Games in 2000. It would also end up in various forms on her next single "Party", which would chart much higher, possibly helped by the one-two punch of the two songs which is advertised on the front cover. It would prove the only time she troubled the top 20 (at #20 in fact), though she'd gain another long running chart hit in 2000 with "Sunshine On A Rainy Day" before drip, drip, dripping away from the charts. In addition to this Torres Strait Islander content, we also have Aboriginal content from...Janet Jackson, well at least she mentions them in the song "Runaway". Up there with future ARIA EOY feats involving Avicii & Aloe Blacc (but not "Wake Me Up" or "SOS"), in 1995, "Run Away" by Real McCoy landed at #36 in the Year End list, while "Runaway" by Janet Jackson was #37. Bridging the gap between "janet." and her next album was a Greatest Hits compilation titled "Design of a Decade: 1986-1996". Janet had previously released all of her albums on A&M, though changed labels to Virgin for "janet." This meant for a rather misleading name on the album as it largely stuck to the first half of that timing window, and left out all of her successful singles from "janet." save for "That's The Way Love Goes" seemingly included in the same way that Nova is probably playing nonstop Australian content as I type this up. Unlike say, Radiohead's Best Of album, it wasn't a totally unamicable mess, as the album itself spawned two singles in "Runaway" and later "Twenty Foreplay" which didn't quite make the top 20 here, but its January 1996 release allowed for the album to justify its title. Incidentally the album remains on Spotify now with both of these singles greyed out in Australia. Something I didn't get to mentioning with "Gangsta's Paradise" is that it naturally ended up as the highest selling single of 1995, however that's the sort of demand that just cannot be predicted. Because of this, the single's top 5 debut was followed by a crash down to #16 before shooting right to #1 as it was re-stocked, the sort of thing that doesn't really happen now outside of the Billboard Hot 100 and the awkward transition from early sales booms to radio smash, and of course harley's chart. The week that "Gangsta's Paradise" plummeted can only call for speculation of whether or not it was due to soar right to #1 had it been readily available, doing so would have pushed "Where The Wild Roses Grow" to a #3 peak, and caused N-Trance's "Stayin' Alive" to join the leagues of "Moves Like Jagger" or "Starboy", rather than its current lucky #1 status alongside "Señorita" or "Have You Ever Really Loved A Woman?". Of course, by the mid '90s, the idea of the Bee Gees having another hit was a ludicrous concept and this statement should not be questioned further. Instead, N-Trance followed up their much beloved breakout hit "Set You Free" with a heavy sample of "Stayin' Alive" with some very '90s pop rap over the top of it. They must have taken to heart the fact that "Stayin' Alive" was the more successful of the two, as they would go on to repeat this sample based formula with 5 of the 11 tracks on their 2nd album, including a Stevie Wonder sample, which I like to believe is because they finished at #2 behind Coolio in the ARIA End Of Year list. Though not officially a member, just like with "Set You Free", Kelly Llorenna supplies vocals, giving her two uncredited UK #2 hits, much like similarly named Kelli-Leigh has two uncredited UK #1 hits. When I was in high school, a friend of mine would bring up Peter Andre's "Mysterious Girl" in an ironic context, and I went along with the joke even though I don't think I even knew the song by name at this point. If you were to do a UK version of this game, "Mysterious Girl" would be the only song to feature in both, as this single marks something of a passing of the torch (though he does have one more entry to come here) over to the UK where he would start racking up many hit singles, including two back to back #1 hits that didn't trouble the top 50 here. He would also score a 3rd #1 hit in 2004 with..."Mysterious Girl", which was re-released after his appearance on "I'm A Celebrity, Get Me Out Of Here!", a series which somehow still exists 15 years later, sending it to a renewed #1 peak after originally reaching #2 over there. Bubbler Ranx's Wikipedia article ominously states that his whereabouts after "Mysterious Girl" were unknown, which makes me assume he ran away with Eliza, eating boys like you for breakfast. He would eventually meet again with Peter Andre on "Never Mind The Buzzcocks" during the segment where they have to identify a (usually not very famous) music star from the past, on an episode Peter Andre was hosting. An Australian artist we are farewelling however is AC/DC, with their final top 20 hit "Hard As A Rock". It comes from their album "Ballbreaker", which also features their only annual Hottest 100 entry "Hail Caesar". The album is their only one to be produced by Rick Rubin, who had also produced their prior entry here "Big Gun". I can only attribute the lack of future entries for the band due to the only measured critique I can ever recall of AC/DC's non-canonical output, with Frenzal Rhomb's "Forever Malcolm Young" noting that Malcolm shouldn't have a superiority complex with his brother as he wrote "Highway To Hell", however he shouldn't get too cocky because he wrote "Stiff Upper Lip" as well, that being their next album. "Hard As A Rock" avoids the 10th place fate of the other not "Thunderstruck" entries in this game for the band, instead being half of a 9th place tie. A common occurrence in the Billboard Hot 100 is witnessing a song have a second life in the chart, as it moves from one radio format to another. One of the more common examples is that of a song going from country radio to pop radio. Dan + Shay have had two singles in a row linger endlessly in the top 50 as the decline in country airplay for "Tequila" and "Speechless" is offset by their gains in pop airplay, which in turn stops them from getting much better peak positions. I am very curious if "All To Myself" will continue this pattern and solidifies pop radio as very slow by being stuck one single behind an already notoriously slow format. I bring this whole tangent up because back in 1995 there was a similar transition for the song "I Can Love You Like That", except via a cover. John Michael Montgomery's song was released in February 1995 and went to #1 on country radio in April 1995. If that sentence didn't give you immense whiplash then you don't follow country radio charts in 2019. This is my incredibly round-about way of saying that both of All-4-One's hits in this game are covers of country hits by John Michael Montgomery. Incidentally, while "I Swear"'s original version charted well on the Hot 100, John Michael Montgomery's "I Can Love You Like That" didn't chart as all, presumably as one of the many casualties (especially in country) of Billboard's rules at the time. After this, All-4-One they tried their hand at being a Peabo Bryson or Alessia Cara in a Disney soundtrack but their success dramatically dropped off. Some argue the follow up single is still charting to this day though.
59 - Alanis Morissette - You Oughta Know (survived 3; inducted!) 52 - Coolio feat L.V. - Gangsta's Paradise (survived 1) 49 - TLC - Waterfalls (survived 1) 41 - Nick Cave & The Bad Seeds & Kylie Minogue - Where The Wild Roses Grow 29 - Christine Anu - Party 23 - Janet Jackson - Runaway 10 - N-Trance feat. Ricardo Da Force- Stayin' Alive 10 - Peter Andre feat. Bubbler Ranx - Mysterious Girl 6 - AC/DC - Hard As A Rock 6 - All-4-One - I Can Love You Like That Last edited:
Bon Jovi - Something For The Pain CDB - Let's Groove Coolio feat. L.V. - Gangsta's Paradise Meat Loaf - I'd Lie For You (And That's The Truth) The Outhere Brothers - Boom Boom Boom Portrait - How Deep Is Your Love Real McCoy - Come And Get Your Love Sophie B. Hawkins - As I Lay Me Down Tina Arena - Wasn't It Good TLC - Waterfalls
As I lay this new round down and contemplate going to sleep, I pray that you will post your top 5 votes by Saturday night
+5 Bon Jovi - Something For The Pain +4 Coolio feat. L.V. - Gangsta's Paradise +3 Meat Loaf - I'd Lie For You (And That's The Truth) +2 The Outhere Brothers - Boom Boom Boom +1 Tina Arena - Wasn't It Good
+5: The Outhere Brothers - Boom Boom Boom +4: Sophie B. Hawkins - As I Lay Me Down . +3: TLC - Waterfalls +2: Coolio feat. L.V. - Gangsta's Paradise +1: CDB - Let's Groove
I'd just stick all my points on the top 2 if I could. The last 2 are very lucky to be in this round to make my vote, and none of the other 5 are remotely close. I wish Natalie Merchant - Carnival had peaked 4 spots higher instead
for me, we're just getting to the era where i started buying cds from HMV, Sanity, etc. so i'm gonna have a lot of nostalgia influenced votes over the next few rounds! if i recall correctly, CDB were on Hit Machine 13 which is one of the first compliation albums i bought!
+5 Waterfalls +4 Gangsta's Paradise +3 As I Lay Me Down +2 Let's Groove +1 Boom Boom Boom
Tina was next closest but it was a weak undercard today.
+5 Waterfalls +4 Boom Boom Boom +3 Gangsta's Paradise +2 As I Lay Me Down +1 Something for the Pain
Sophie would probably miss my vote in most rounds & Bon Jovi is probably my least favourite +1 in the game so far (I would only consider Meat Loaf & Real McCoy close, but voting them would feel wrong when I didn't have space to vote either of I'd Do Anything for Love & Run Away) Last edited:
We've kept having big #3-#4 or #4-#5 gaps in the last few rounds, so here's another; this time, #3 scored over 20 points more than #4. The focus on those 3 songs was so strong that 13/19 voters picked all 3, which... is actually a new record (12 people voted the whole top 3 in rounds 15, 65, 76 and 97, and 11 or 10 did so in the previous 4 rounds). With Alanis out of the way, Coolio and TLC both got even higher (16/19 voted both of them, and nobody voted neither), leaving 3rd place to an artist familiar with racking up votes from almost everyone in her previous visit: Sophie B. Hawkins. Unsure what Ms. Hawkins was up to in the 3 years between her pair of isolated hits? You wouldn't be alone, given that she didn't hit the chart once in between (well, higher than #104). Her second album wasn't off to a hot start either, with the 1994 lead single "Right Beside You" only a moderate hit elsewhere, and not charting here at the time (if it was even released). Then "As I Lay Me Down" began taking off on US radio in mid-1995, a delayed post-album revival making it seem like a TV or movie placement could've been a cause... and indeed, it featured in the 1995 film "Now And Then", which was mostly set as a flashback to summer 1970 with a soundtrack consisting entirely of songs from the '60s and 1970 (*Bowling For Anne-Marie bursts in* except 2 that were released too late in 1970 to have actually belonged there), but the film started and ended in 1995 so I suppose that's where "As I Lay Me Down" fit in. Likewise it was also in the TV series "Party Of Five" (which I believe popularised a September 1996 #11 hit), when 2 characters went to a Sophie B. Hawkins concert, featuring actual Sophie herself performing the song. On the other hand, songfacts dot com attributes its success more to radio loving it for being an 'accessible, non-threatening tune without a trace of grunge or hip hop', which... is true, but also applies to most of what US pop radio was playing in the mid-'90s, and I can believe "As I Lay Me Down" was a striking enough song within its form that it was naturally popular. It reached #7 in Australia, leaving the question of which of her hits was bigger here without a straightforward answer, as they peaked at the same position, got the same certification, and spent the same number of weeks in the top 100. That lead single "Right Beside You" was repurposed as the follow-up to "As I Lay Me Down" in Australia and reached #41, her last appearance on the chart. Her next album saw a dispute with her label and though it got released, Sony 'declined to promote it', but luckily for her, she was able to leave the label afterwards (or was dropped; either way) and didn't have to record "Damn! I Wish My Life Didn't Suck Without You" or work as a Sony FC Ambassador. "Damn" began on 48 points and increased considerably in both of its following rounds; "As I Lay Me Down" is actually slightly ahead at this point, though increasing next round will be a challenge given Coolio and TLC aren't going anywhere. Of the 3 cover versions of well-known songs in this round, CDB's take on Earth, Wind & Fire's 1981 post-disco hit "Let's Groove" was by far the most popular... which makes sense, as the charts would agree. Whether CDB were disappointed by their first 2 singles being only top 15 hits or just wanted to do a cover, it paid off hard when it spent a month at #2, blocked only by "Gangsta's Paradise", and ranked #8 of 1995 (the 2nd-highest Australian song, after "Mouth") despite only coming out in mid-October. It was also the single that launched them in NZ, where the delay meant "Gangsta's Paradise" had vacated its space and "Let's Groove" was able to reach #1 there, as did prior single "Hey Girl (This Is Our Time)" which became the follow-up. While CDB's previous entries didn't scrape as dismal depths as Kulcha, "Let's Groove" still scored considerably more than both combined. Though they won't be seen in the game again, they didn't disappear from the scene immediately. Seemingly having held off the album release until they got a big enough hit to make it a safe bet (what is this, the 2010s?) - "Hook Me Up" and "Let's Groove" came out a full year apart - it was released soon after "Let's Groove" and sold platinum (I doubt many Australian boybands other than Human Nature have done that?), and a #28 hit followed in each of the next 2 years (among 6 top 50 hits, CDB managed to peak at all 3 multiples of 14). Several of their members made minor waves later on, most particularly Andrew De Silva, who won "Australia's Got Talent" in 2012, had an... airplay top 40 hit in 2013 (that reached like #100 on iTunes), opened for Mariah Carey, toured as a new replacement singer for Boom Crash Opera, and has recently done a Prince tribute show tour. Also, brothers Gary and Brad Pinto went on to write a couple hits, including Guy Sebastian's "Taller, Stronger, Better" and 360's "Boys Like You" respectively, and mrTimothy's "I Am Tha 1" together. CDB still exist as a group too, seemingly having successfully positioned themselves as pioneers of Australian R&B (which... probably isn't even inaccurate); they put out an album of '90s R&B covers in 2017 (which charted at #28, higher than their original 2nd album), and performed a show together as recently as a few weeks ago. On the other hand, for all The Outhere Brothers' brief-but-huge success, they seem to have kept... a non-existent profile in the last 20 years. Searching one of their names brought up an obituary and I was ready to believe they'd sunk so deep into anonymity that one of them could've passed without anyone noticing, but luckily no, it's just someone else with the same name, and they're alive enough that they're booked for a "Pump Up The '90s" event in the Netherlands next month (alongside Alice Deejay and a couple lesser-known acts), and later this year another Dutch '90s event with a bigger line-up including Twenty 4 Seven, Urban Cookie Collective and Captain Jack (not to be confused with the Edgar's Mission Farm Sanctuary resident). "Boom Boom Boom" followed "Don't Stop (Wiggle Wiggle)" and became even bigger in most places; in Australia it had a months-long climb to an eventual #2 peak in the new year (another casualty of "Gangsta's Paradise"), and in the UK it had been a 4-week #1, 6 months earlier. Both songs alike are a complication of versions, but whereas "Don't Stop" went from originally minimal to having a strong Eurodance-like riff in its hit version, as well as its explicit lyrics removed or modified in every edit I've heard, I believe "Boom Boom Boom"'s original/album version was the same mix that was released here and in the UK (continental Europe got the mildly different OHB mix), and its not-as-dirty lyics were retained in most of the mixes and the main YouTube upload of the video. Judging from the track lengths though, it was the lyrically-cleansed version that was included on the Australian single, with lyrics like 'put your arms around me girl, and your kisses on my face' that... sound a tad off-brand if you've read the list of song titles on the album. "Boom Boom Boom" scored over twice as many points as "Don't Stop". Their next single reached #42 in Australia, and even in the UK off the back of 2 #1s, they didn't last much longer; not even the re-released "Pass The Toilet Paper '98" could save them. But as far as 2-hit-wonders in this round go, I haven't seen a single video titled "Liberal In Bed, Conservative In The Head: The Outhere Brothers", so maybe they did age better. We're up to the 4th single from Tina Arena's "Don't Ask" and with a solid rebound from the previous one peaking at #22; "Wasn't It Good" became, I suppose, one of her biggest hits given it's one of only 5 certified singles she has, landing right next to "Sorrento Moon" on the EOY (which must be a matter of higher sales in the later months). It's also on the week "Wasn't It Good" peaked that the album finally reached #1, in its 51st week charting, and 17th week in the top 5 - not even due to a dead week, as it blocked Madonna's new compilation and Queen's new album on their debuts. "Wasn't It Good" got 3 +5s, impressively on similar par to "Chains" (2, 4, 4) and "Sorrento Moon" (3). It also won the APRA Song of the Year award for 1996, which may not be the best known of awards, but does put it in the company of many big songs, and it beat "Where The Wild Roses Grow" to get there. Somehow (read: the close proximity of their GH and album after), Bon Jovi got more top 20 hits in 1995 than any other calendar year, not even needing to count the lingering "Always" (or the upcoming one, for that matter). Before any "Steal This Album!"s or Kersers existed, the "Something For The Pain" video featured a teenager listening to the song on a screen in a record store, and at the end, placing the album's disc into his bag and skateboarding away. I'm not convinced that skateboarding teenagers were listening to Bon Jovi in 1995. "Something For The Pain" is yet another mid-lower placing for them in this game, but it did score multiple +5s, which only "Always" previously has done. 3 different CD versions of it were seemingly released in Australia - a 2-track with a live version of "This Ain't A Love Song", and two 4-tracks with additional live tracks, including "Livin' On A Prayer" on one and "You Give Love A Bad Name" on the other. Real McCoy's hit streak narrowly continued with "Come And Get Your Love", a cover of the 1973 Redbone song, becoming pretty much a consistently moderate hit around the world, like if it was an inoffensive song pumped into a major global Spotify playlist 20 years later. Instead, it was an inoffensive song pumped into US radio playlists, where it became their 3rd pop radio top 10 hit ("Love & Devotion" wasn't released there), and I cannot think of a single other dance artist who had that much radio support until David Guetta gradually wore them down with an endless run of star features. For how immensely successful "I'd Do Anything For Love" was, the non-hugeness of its next lead single might be an indictment towards "I'd Do Anything For Love" having been more led by hype and the popularity of the original "Bat Out Of Hell" album than it looks, like the theory of album debut positions reflecting the popularity of the previous album. One wonders how it might've gone if he'd instead recorded "It's All Coming Back To Me Now", which was written in the '80s and considered for "Bat Out Of Hell II", then put off for "Bat Out Of Hell III", which eventuated in 2006, a decade after Céline's recording. "I'd Lie For You" was his last entry into the Australian singles chart. This game's top 20 cutoff can occasionally be a little misleading in chronology; N-Trance's Bee Gees cover hit the game first as it debuted straight into the top 10, but Portrait's one had already been charting for a month before. Neither are the pioneers of bringing "Saturday Night Fever" tracks into the game though; that would be Kim Wilde. The close proximity of Bee Gees covers being made is curious (especially with another coming in 1996) but I'm not aware of any specific reason; maybe just the 20-year nostalgia cycle? Portrait, a US R&B group, debuted with the funky new jack swing track "Here We Go Again!" in late 1992 - a #11 hit in the US, by far their biggest there, but unfortunately not their top 20 hit here, though I am impressed it even got to #41. Their 1995 lead single was just a moderate genre-specific hit in the US, though interestingly an isolated top 20 hit in NZ. Then they followed it with their "How Deep Is Your Love" cover, a near-instant #1 in NZ (winding up as the 6th-biggest song of 1995), which actually happened before it hit the Australian chart (the original Lorde!), so maybe NZ was showing early signs of being a tastemaker? Or being a cover just made it seem like a safe enough prospect to be worth promoting internationally.
65 - Coolio feat. L.V. - Gangsta's Paradise (survived 2) 58 - TLC - Waterfalls (survived 2) 49 - Sophie B. Hawkins - As I Lay Me Down (survived 1) 28 - CDB - Let's Groove 28 - The Outhere Brothers - Boom Boom Boom 22 - Tina Arena - Wasn't It Good 15 - Bon Jovi - Something For The Pain 10 - Real McCoy - Come And Get Your Love 8 - Meat Loaf - I'd Lie For You (And That's The Truth) 2 - Portrait - How Deep Is Your Love
Coolio feat. L.V. - Gangsta's Paradise Deni Hines - It's Alright Madonna - You'll See Mariah Carey & Boyz II Men - One Sweet Day Montell Jordan - Somethin' 4 Da Honeyz Queen - Heaven For Everyone Simply Red - Fairground Sophie B. Hawkins - As I Lay Me Down TLC - Waterfalls Tokyo Ghetto Pussy - I Kiss Your Lips
Make everybody see which 5 songs you love the thought of giving points to, even if you know they can't make it, by Tuesday evening. Though unfortunately "Ray Of Light" is not the Madonna song you can have shining through.
+5 Tokyo Ghetto Pussy - I Kiss Your Lips +4 Sophie B. Hawkins - As I Lay Me Down +3 Simply Red - Fairground +2 Madonna - You'll See +1 Coolio feat. L.V. - Gangsta's Paradise
I must be the only one who loathes 'Waterfalls'. I only really cared for the singles from TLC's first album, and maybe 'Creep' and 'Unpretty'.
@392414, 'Right Beside You' actually was released here in 1994, on 1 August 1994 (the same week as 'Think Twice'... a week of s l o w burn, it seems). She also had 'I Want You' (November 1992) released locally in the interim. Last edited:
+5 Madonna - You'll See +4 Sophie B. Hawkins - As I Lay Me Down (I think this might be the first time two songs have switched position for me ) +3 Coolio - Gangsta's Paradise +2 TLC - Waterfalls +1 Tokyo Ghetto Pussy - I Kiss Your Lips
Managing to break the 3rd round curse of hip hop entries of late, Coolio glides through with his first entry "Gangsta's Paradise". Going through along with him is TLC's "Waterfalls". Given that Waterfall is only 8/9ths as powerful as Surf in Pokémon, this would be a good omen for any 'surf' songs in the future, however there are nada. The two songs have been either side of each other in their first two appearances, but now they settle the score with a tie, so in a way they're both winners. But in a more accurate way of analysing the total points across those 3 rounds, Coolio scored slightly higher. Both are considerably down on last round's score, perhaps owing to no shortage of viable voting options this time around. That's a fantastic segue to say that none of it actually mattered in terms of results because Sophie B. Hawkins has also gone through her 2nd round, meaning that none of the new entrants could penetrate the top 3. That is not to say that they didn't try however. Comparing to last round where there was a 21 point gap between 3rd & 4th, this time around there's only 6 points in it. Once again I ponder the hypothetical UK version of this game, where Simply Red may be a right nuisance as they run into the halfway mark of their 18 top 20 hits (in the same time frame), no doubt soundtracking many a dinner party in their time. So instead of the novel thrill of them taking 6 years to follow up their smash hit, it could very well be met by a groan of indifference as it's just them yet again. Brevity has paid off well for Simply Red whose record can show as having a 3rd, 4th & 5th place finish in their 3 appearances with their 2 songs. They had not at all disappeared from commercial prowess before "Fairground" though, as between the two big hits was their album "Stars", an absolute behemoth of success in their native UK, going 12 times platinum and being the #1 selling album of 1991 AND 1992. It just so happens that the two biggest singles from that album only made the top 30 here. However a #1 single still eluded them over there, with "If You Don't Know Me By Now" and "Holding Back The Years" both spending multiple weeks at #2. Whether by design, the hype of following up "Stars" 3 years later or more likely a combination of the two, that all changed with "Fairground" instantly debuting at the top and spending 4 weeks at the top. It also did very well here getting to #7, and I'm sure it has helped sell many couches across the nation as well. Yet again we come to the topic of Madonna's image control. Her last entry here "Human Nature" was a direct attack on her swerfy critics who disliked her sexualised persona on her last album. Though time has been kind to "Erotica"'s reputation, it seemed that Madonna had to tone down her image, which is where we get the compilation album "Something To Remember". Not quite a studio album, "Something To Remember" is a compilation of ballads from as far back as 1984's "Like A Virgin" album, though it did include 3 new tracks, of which only two were released as singles, and only one cracked the top 20 here, "You'll See". With the stripped back dynamics, this may well have been the '90s version of people only realising in [s]2016[/s] 2018 that Lady Gaga is a talented singer, to which the album cover is an appropriate reaction. At least in Madonna's case it didn't require approval from one quarter of The Hangover's Wolfpack. But maybe that approval could have taken her somewhere as ever since "Deeper And Deeper"'s induction, Madonna finds herself yet again in the middle of the pack. Perhaps another career renaissance is in order? In 1991/1992, Deni Hines scored a pair of hits as a guest vocalist for the Rockmelons. In 1996 she accepted the particularly grouse ARIA Award for Breakthrough Artist, for her single "It's Alright". She would win the battle and not the war however, as following the top 5 success of "It's Alright", she would never trouble the top 20 again, and meanwhile one of the bands she beat for that award would go on to win 10 of them in 1997. In a manner similar to that of Miley Cyrus lately, her own mother would succeed her in relevance as I suspect you know that Marcia Hines took on a fairly long running gig as a judge on Australian Idol. They both harmoniously ended their singles chart careers together on their cover of The Brothers Johnson's "Stomp!" in 2006, maybe a sequel to "Butterfly Fly Away" is in order. Returning to Jam & Spoon's non-relaxing project Tokyo Ghetto Pussy, things are doing a little better for them with a respectable increase in points. Still nowhere near "Right In The Night (Fall In Love With Music)" but respectable nonetheless. "I Kiss Your Lips" fairs better here despite being the lesser charting of the two big singles from the album "Disco 2001", an album title no doubt dissing Jarvis Cocker, who I can only hope was soon planning to diss another artist. Because I haven't talked enough about internal politics of Wikipedia, I feel the need to share the fact that in July 2007, their Wikipedia page was edited to note in the first sentence that the group's most popular singles are "Everybody On The Floor" and "Fly Me To The Moon", 6 months later the line was edited again to include "I Kiss Your Lips" in that line up. The article now has a table that clearly shows the dominance of their two entries here, and a severe lack of any chart performance for "Fly Me To The Moon", however that uncited weasel statement remains on there. Perhaps Vipers8993 loved "Fly Me To The Moon" then and loves it now! If you've read these columns enough you might have picked up on a tendency for me to mention Lil Nas X's "Old Town Road", I did it last week, I even indirectly drew reference to it earlier in this paragraph. It might be that I have an addiction to incredibly long music writing pieces that mention "Old Town Road", but more likely that its success and the background behind it brings constant obvious reasons to bring it back up again. After all, it's been #1 in the US for the majority of the time we've spent doing this game, and what is Mariah Carey & Boyz II Men's "One Sweet Day" other than the song that once held the record for the longest running #1 ever on the Billboard Hot 100 with its seemingly insurmountable 16 week run, until Lil Nas X surpassed it 3 weeks ago. I've seen some people argue that it could be considered the most successful hit of all time due to that honour, even though whenever Billboard update their list of the biggest singles of all time on the Hot 100, Chubby Checker's "The Twist" remains perpetually unbothered, while "One Sweet Day" is neither Mariah's highest ("We Belong Together") nor Boyz II Men's highest ("I'll Make Love To You") song on that list. Coming somewhat early to the party as a couple years later the charts would be full of hit songs memorialising the deceased, "One Sweet Day" was not inspired by a single person, but instead multiple according to Mariah Carey. This puts it in a similar basket to "See You Again", which Charlie Puth wrote his part about a friend of his before it was jury-rigged into a Wiz Khalifa song rapping a celebrity he had no strong connection to. Incidentally "See You Again" helped "One Sweet Day" retain its Billboard record for 4 more years, keeping "Uptown Funk" to 14 weeks at the top which would otherwise have been 17. Despite the US success, it couldn't even get to #1 in Australia, blocked at #2 not even by "Gangsta's Paradise", but the remarkably inauspicious song that followed it. Boyz II Men's hectic schedule meant that they could only be in the studio with Mariah for a couple hours to record the song, and in the end Mariah had to record some more vocal fills because she was being crowded out on the initial recording. The last fact I can snatch from Fred Bronson's book is that when deciding the lead single for his first album, "This Is How We Do It" was chosen, but tossed up against "Somethin' 4 Da Honeyz", which instead ended up the 2nd single. It was successful enough that he can't technically be considered a one hit wonder although he probably still is, maybe even in the US where he had two further top 5 hits (I really like "Get It On Tonite" personally). Much like Brett Anderson & Bernard Butler of Suede, Montell Jordan has time travel powers which is how he was able to reference the a UK girl group two years before they actually formed. About 4 years after this he would end up on Now That's What They Call Music! 45, two tracks after the Honeyz, whoever programmed the tracklisting should have put "Rewind" by Precious later in disc 1. Montell is also a fair bit shy of his first performance, ending up in one of those classic 9th place ties with similarly obscure...Queen. "Heaven For Everyone" was originally written by Roger Taylor, who just like all of the other members of the band apart from Freddie Mercury never made the foolhardy decision to dare to release any solo albums during the band's tenure, although his side project band The Cross did in fact release 3 of them by November 1991. "Heaven For Everyone" features on the first of those three. When made into a Queen song, it was not technically the first single they released after Freddie Mercury passed away, just because they were still putting out singles from "Innuendo" after the fact, but it was the first single from the first album they put out after that. Freddie's vocals for the song were recorded back in 1987. The single reached #15 in Australia making it the 12th of Queen's 13 top 20 hits, though in all my Queen-drenched iTunes top 1500 logs I've recorded over the months, it has never figured once in the chart. Perhaps if it peaked one place lower at #16, it would be erroneously remembered as a top 10 hit like "Flash" or Toto's "Rosanna", allowing it to endure.
49 - Coolio feat. L.V. - Gangsta's Paradise (survived 3; inducted!) 49 - TLC - Waterfalls (survived 3; inducted!) 42 - Sophie B. Hawkins - As I Lay Me Down (survived 2) 36 - Simply Red - Fairground 32 - Madonna - You'll See 27 - Deni Hines - It's Alright 27 - Tokyo Ghetto Pussy - I Kiss Your Lips 15 - Mariah Carey & Boyz II Men - One Sweet Day 4 - Montell Jordan - Somethin' 4 Da Honeyz 4 - Queen - Heaven For Everyone Last edited:
Berri - The Sunshine After The Rain Passengers - Miss Sarajevo Pearl Jam - I Got Id [from "Merkinball" EP] Michael Jackson - Earth Song Red Hot Chili Peppers - My Friends Sophie B. Hawkins - As I Lay Me Down Swoop - Apple Eyes The Beatles - Free As A Bird Tracy Chapman - Give Me One Reason Whitney Houston - Exhale (Shoop Shoop)
Apple eyes, drinking top 5 votes together, you and I and a Thursday night deadline forever
+5 Pearl Jam - I Got Id +4 Red Hot Chili Peppers - My Friends +3 Swoop - Apple Eyes +2 Berri - The Sunshine After The Rain (completely new to me I think but I really like it/the sample is very on brand for me) +1 The Beatles - Free As A Bird
+5: Sophie B. Hawkins - As I Lay Me Down +4: Swoop - Apple Eyes +3: Pearl Jam - I Got Id +2: Berri - The Sunshine After The Rain +1: Tracy Chapman - Give Me One Reason
#2-#6 pretty close (RHCP the leftover one) with a large gap after. This round looked really poor to me at first because, despite having heard all these songs years ago, I only remembered 2.5 of the 9 new ones (Tracy, Whitney and What About Elephants), but after a few listens those 6 are a good bunch. I think Fairground would've made the top 3 this round though
Sophie B. Hawkins has done it again. With Coolio and TLC out of the way and no obvious big songs to supplant her, "As I Lay Me Down" has glided to the top of the results and gives her a second HOF entry, joining The KLF and Seal as the only artists with multiple HOF entries and a 100% induction rate. The Sophie stakes will continue in the '00s with Ms. Ellis-Bextor and Ms. Monk who also both have precisely 2 entries, if you consider "Groovejet" a solo Spiller track which this site does and I do not. If we end up pitting off "Damn I Wish I Was Your Lover" and "As I Lay Me Down" in a grand final stage in the far future, I'll be very interested to see which one proves more popular on an equal playing field. Nowadays it's rare to see a new Australian artist in the charts who didn't get their start on triple j, but back in the distant world of 1995, before there even were major music reality TV shows for the Australian pop industry to hedge all their bets on the alumni of with no long-term vision, it actually feels novel for Swoop to have arrived as a triple j-aided crossover. In the prior 2 years, they'd bubbled in the ARIA lower 50 a couple times and placed on the Hottest 100 twice with some more esoteric tracks ("Neighbourhood Freak" being their highest on both counts, at #62 and #74 respectively), but when "Apple Eyes" hit the chart, they broke their ceiling fast, or at least as fast as you can while waiting for December roadblocks to pass. Not that there's any such thing as a ceiling when you're floating on a giant checkerboard in the sky, and that video caught enough eyes that, according to some 2007 The Age blogger admiring the broadening of music availability through YouTube as opposed to TV channels, if stuck with the latter you could've been forgiven for thinking "Beds Are Burning", "Suicide Blonde" and "Apple Eyes" were the only Australian music videos ever made. Swoop disappeared just as fast and I have no evidence their next album sold more than 10 copies, but "Apple Eyes" was apparently ~big in Japan~, so maybe someday we'll hear the news that they're doing a Japanese reunion tour with Girlfriend and a Scatman John hologram. Were you looking for Sophie B. Hawkins, but on a longer timeline? Ever since "Fast Car" sailed into the HOF in the very early days of this game, with a +3.71 average vote that still hasn't been surpassed (I expect partly because it's harder to maintain a high average over larger numbers of voters, as 26 songs have scored more total points than it), Tracy has been just chilling on a... 110-round sabbatical, but she's back! And right in the top 3, maybe looking to join that 100% induction rate list if she keeps it up for the next 2 rounds. Her chart history in the wilderness years wasn't quite as barren as Sophie's, with a few lower 50 follow-ups in 1988/89 and a dainty #84 peak in 1992, and more notably, her 1989 album went double platinum and her 1992 album even went gold. If there's anything specific that helped bring "Give Me One Reason" to attention, I'm unaware, but I did notice that it hit the Australian charts before anywhere else (apart from the Canadian adult contemporary chart); it was another 4 months until it reached the US, and despite being a #3 hit both there and here, it never charted in Europe, apart from #95 in the UK... in March 1997. Credit for not giving up. It still ranks 2nd now for her on Spotify, but miles below "Fast Car" and only barely above the next 2 songs ("Baby Can I Hold You" and "Talkin' Bout A Revolution"). Red Hot Chili Peppers responded to "Warped"'s plummeting fast to cover any possible damage with "My Friends" released only 7 weeks after, and since the album was already out, it actually climbed the chart. It didn't quite outpeak "Warped", maybe out of lacking the emotional impact of smoky hair, but it became the album's longest-charting single, was its only song included on their 2003 "Greatest Hits", and trails only the following single "Aeroplane" among the album's tracks on Spotify, though its 30 million plays are a long way from their numerous tracks well over 200 million. It continues an unlucky run for them in this game as it's their 3rd time placing at #4; it scored their highest points since "Under The Bridge". Someone who has set a new high is, surprisingly, Michael Jackson. Whether due to unease in 2019 or just not being the greatest arc of his career, he's been notching up consistent #6/#7 placings (and a #5 high with "Give In To Me"), except for his ballads (and the "Black Or White" remix package) which had been scoring almost nothing... until this ballad. Maybe reading too much into its moderate Australian chart performance, I didn't know it was that popular here. Or maybe it helps by being as topical as one can possibly get while the Amazon is going the way of Midnight Oil's beds, and coincidentally, "Earth Song"'s video was partially filmed in the Amazon and Wikipedia says 'a large part was destroyed a week after the video's completion'. Chart-wise it was quite the opposite in the UK where it was a 6-week #1 over the high-sales Christmas period, making it literally his biggest-selling single there until "Billie Jean" overtook it in recent years, though with a reputation somewhat interlinked with his 1996 BRITs performance being mockingly interrupted by Jarvis Cocker, the frontman of some obscure little-known band who released no relevant music in 1995 at all. "Earth Song" was also huge across Europe, but meanwhile, despite the expensive and ambitious music video, it wasn't even released as a single in the US - and not because they were in a rush to skip ahead, as there was a whole 9-month gap between singles there - which might rank second on the list of most extravagant flexes, after his label erecting ten giant statues of him in cities around Europe to promote the "HIStory" compilation. In August 1977, sitting in the UK top 30 at the same time were Donna Summer's revolutionary smash "I Feel Love", and a song with absolutely nothing in common: "Sunshine After The Rain", as recorded by apparent 'British Queen of Blues' Elkie Brooks to #10 success. Berri was only 3 at the time, so she probably wasn't glued to the stereo with the hottest hits of 1977 on repeat... but in an amazing coincidence, 1974, the year Berri was born, is also the year that Berri, the juice company (then known as Quelch, and before that, Quenchy), made their first sale. Fast forward to 1994, when 1977 nostalgia was probably ripe, and the 2 songs were merged together into an "I Feel Love"-sampling cover of "Sunshine After The Rain", with the single given the impressively cumbersome credit of 'New Atlantic / U4EA feat. Berri'. New Atlantic were a rave duo who'd scored a #12 UK hit in 1992, "I Know" - later sampled in Chase & Status' 2013 hit "Count On Me", which if you know the song, I'm sure you'll know exactly what the sample is just from its title. U4EA on the other hand... might've been another act with very little music of their own, or maybe they were even just an alias of New Atlantic? Either way, the reason for the '/' credit would be because it wasn't a collaboration between the 2 identities; rather, the 1994 single included a separate mix from each, the New Atlantic one being more Euro house and the U4EA one breakbeat. Yet, neither of those mixes are particularly relevant, because the one used as track 1 and in the video, and the only one that actually has the "I Feel Love" sample, was a different one - by Two Cowboys, an Italian one-song project responsible for "Everybody Gonfi Gon", a 1994 UK top 10 hit (#76 here) that's like "Cotton Eye Joe" a few months before "Cotton Eye Joe" existed, with a dash of "Swamp Thing"; in other words, exactly the sort of content I wheel out the Lisa Simpson coffee meme for. But if that makes it sound like there's an absurd techno-banjo mix of "The Sunshine After The Rain" out there, I apologise for getting your hopes up because the Two Cowboys mix is the same one you know, that was re-used for its 1995 release, when they gave it another try with the credit simplified to just 'Berri' (and the other mixes scrapped too, alongside their names), though it did get a new, less-basic video. The original 1994 release had reached #26 in the UK; the re-release went to #4, and Australia followed by sending it to #12 a few months later (it charted virtually nowhere else). At the same time as this, there was also a re-release of "I Feel Love"! With a new mix from Rollo & Sister Bliss of Faithless (and also one from Masters At Work, the duo including Kenny "Dope"), it reached #8 in the UK and #80 here, entering both charts just 1-2 weeks after Berri... meaning that, 18 years after "I Feel Love" and "Sunshine After The Rain" were in the UK top 30 together, they'd managed to coincide again (and both in the top 10 at once, this time). One of the more pesky things in this game's timing is that we got so many EPs bunched up around mid-1992 that we had to adjust the system a little for it... and then we've had almost no EPs since. Well, at least Pearl Jam are here to help keep the format alive, with their 2-track (ok, they're stretching it) "Merkinball" EP featuring the songs "I Got Id" and "Long Road". The EP gets its title from Neil Young's 1995 album "Mirror Ball" which he recorded with members of Pearl Jam; "I Got Id" and "Long Road", both written and sung by Eddie Vedder (with contributions from Neil Young), didn't make the cut (possibly due to legal compilations between their respective labels), so Pearl Jam released them themselves. "I Got Id"'s title, which is rumoured to have been originally "I Got Shit" (as the lyrics say) before their label made them censor it, does not refer to ID (as in identification), but a Freudian concept I cannot claim to have taken the time to understand. The EP's #2 debut in Australia made it their highest peaker ever outside of "Last Kiss"; I'd guess it was helped a lot by there being no album, present or upcoming (until their 2004 GH), including it, but it did have a reasonably decent run for fanbase debut standards, and went gold. It also reached #7 in the US, their only top 10 hit there outside of "Last Kiss", and I'm really surprised it got that high on a chart including airplay; the week it made #7, it was #34 on airplay (its peak), so it must've had a ton of sales to outweigh that. Getting stuck while finishing up the "Zooropa" album, U2's producer Brian Eno suggested they try some improvising sessions, and they were fruitful enough that they returned for more after their tour. The premise they ended up with was songs written for mostly-imaginary films, with which they produced the album "Original Soundtracks 1", and released it under the name 'Passengers' due to how different it was from their usual work, as well as Brian Eno's heavy involvement. In the booklet, they wrote up blurbs for all those imaginary movies, but the album's sole single "Miss Sarajevo", additionally featuring vocals from the Italian opera singer and fellow tax avoidance fan Luciano Pavarotti, a statue of whom was vandalised last year by placing a pig's head in its hand, is one song that actually was inspired by a real film - a documentary of the same name depicting Sarajevo during the Bosnian war, named after a beauty pageant that took place in its midst. The album had a somewhat mixed reception, even from the band themselves, and the reason it had only one single was because the planned follow-up was cancelled due to low album sales. "Miss Sarajevo" did decently enough though, and made it onto their 1990-2000 compilation, and in 2009 Bono proclaimed it as his favourite U2 song. On the other hand, it's the least points they've ever scored in this game out of 13 entries so far, but we do think that "Stop The War In Bosnia" is 5 times more worthwhile than its Croatian kin. If you thought U2 were getting a little passé by 1995, don't worry as we've got the freshest new band on the block, never before seen in the game..... The Beatles. An official documentary of their career had been in the making decades before, and in 1992, the project was resurrected, called "The Beatles Anthology", with the 3 surviving members directly involved. To include a bit of 'new' music, Yoko Ono was asked if she had any unreleased recordings of John Lennon's, to which she sent over tapes of 4 songs. "Free As A Bird" was one of them, an incomplete song recorded by Lennon in 1977; the remaining Beatles sought Jeff Lynne of ELO to produce it, and filled in the gaps to make it a complete, full-group song. Billed as the first new Beatles song in decades, it was only in fact released as a single 2 weeks after the "Anthology 1" album, which might be why it didn't go #1 anywhere. They got around the issue of making a video with only 3 members present by instead filming it from the perspective of a bird in flight, going down a street and through buildings with various Beatles references. One of the other songs on the tapes was also completed and became the next single, whereas the other 2 were aborted. Whitney's follow-up to the massive success of "The Bodyguard" was... another film, "Waiting To Exhale" (to be followed with another film in 1996 before she made another regular album), starring her and 3 other women, with a Babyface-produced soundtrack with tracks from her and just about every other female R&B artist you can think of, including Patti LaBelle with the hopefully-reliable backing vocalists Babyface and Chanté Moore. "Exhale (Shoop Shoop)", the soundtrack's lead single, was a US #1 - Whitney's last of 11 - and the soundtrack produced several more big US hits for other artists: Brandy's "Sittin' Up In My Room" and Mary J. Blige' "Not Gon' Cry" reached #2, Toni Braxton reached #1 as a double A-side (with a much better-known song), and Whitney's 2nd single from it, "Count On Me", also hit the top 10. Whitney's previous 3 entries all scored over 20 points, but "Exhale" couldn't make half that.
52 - Sophie B. Hawkins - As I Lay Me Down (survived 3; inducted!) 46 - Swoop - Apple Eyes (survived 1) 43 - Tracy Chapman - Give Me One Reason (survived 1) 35 - Red Hot Chili Peppers - My Friends 31 - Michael Jackson - Earth Song 28 - Berri - The Sunshine After The Rain 19 - Pearl Jam - I Got Id [from "Merkinball" EP] 11 - Passengers - Miss Sarajevo 11 - The Beatles - Free As A Bird 9 - Whitney Houston - Exhale (Shoop Shoop) Last edited:
Alanis Morissette - Hand In My Pocket Bon Jovi - Lie To Me Dreamworld - Movin' Up George Michael - Jesus To A Child Groove Theory - Tell Me La Bouche - Be My Lover Oasis - Wonderwall Swoop - Apple Eyes The Presidents Of The United States Of America - Lump Tracy Chapman - Give Me One Reason
I've got one hand in my pocket, and the other one is giving a top 5 by Saturday evening.
+5 Dreamworld - Movin' Up +4 La Bouche - Be My Lover +3 Swoop - Apple Eyes +2 Groove Theory - Tell Me +1 Oasis - Wonderwall
@392414 the Freudian concept of the 'id' represents our unrestrained impulses/desires, or what we might do if there were no consequences to our actions. e.g. punching someone you don't like in the face, taking something you want from a shop without paying for it, making out with someone you fancy on public transport without first gaining their consent or caring that you're in public, shooting a politician you don't like, that kind of thing.
Then, according to Freudian theory, we also have a 'superego', which is the direct opposite of the id - the conscience, though a little extreme/rigid. Think, 'no, you CAN'T do that!' for pretty much anything you might want to do, e.g. no, you can't have sex until you're married.
The 'ego', which is the in-between mediator, tries to balance the unrestrained desires of the id with the rigidity of the superego. Psychological problems are theorised to occur when either the id (too unrestrained/impulsive) or superego (too rigid/self-critical) are too dominant. Last edited:
@Nugs that's the last thing I expected anyone to respond to Thanks, I understand that much better than the lengthy Wikipedia page.
+5: Alanis Morissette - Hand In My Pocket (I do like this a lot, but it probably wouldn't have beaten any of my +5s since... early 1990) +4: Dreamworld - Movin' Up (now we're out of 1995, I'm back to having some songs I've never heard before. I expected this to be extremely predictable Eurodance so I'm impressed) +3: The Presidents Of The United States Of America - Lump +2: Swoop - Apple Eyes +1: La Bouche - Be My Lover
Ha, no problem. I'm not a psychologist/haven't studied a psych major, but had to do a couple of psych subjects at uni... during which that was (briefly) covered, and for some reason it stuck with me. I think it may have also been covered in VCE psychology when I did that at school in the 90s.
As of this round we're now entrenched in 1996. Though the looming entries are freely available to be seen and have been for decades, if you're like me and not actively looking it up, each new round provides another look into these vintage times. Completely divorced from the current era, it's a ponderous look into those perhaps forgotten treasures, quirks of a bygone era, and see what grabs the most attention when evenly weighed up. Anyway here's a wall of text. We've previously tackled Britpop with regards to Blur's Hall Of Fame entry "Girls & Boys" from back in 1994. It really bares emphasizing just how much of a British trend it was, as it could be argued that the entire genre probably nets less overall entries in this game than just the band Kula Shaker would in the UK. Another aspect is that its headline moment was the Battle Of Britpop in August of 1995, where the two most popular bands of the genre then and now went head to head with their new singles, both selling over 200,000 copies and sitting alongside each other in the top 2. This effectively passed Australia by, because the winner of those two songs, Blur's "Country House" wouldn't enter our charts until a month later, peaking at #29. The runner up would take another year to barely limp into the top 50. That is not to say that Oasis were a failure in Australia, that would be the most hyperbolic thing I'd ever tried to pass off as fact. More likely there's a significant effect brought on by the considerably different pace at which music was consumed in the two different countries. In a twisted way, Australia probably better represents the band's popularity just for what got to the top. The battle of 1995 was Blur's win, and they scored their first #1 hit for it, but they would only score one more after it (the excellent "Beetlebum"), but on the other hand, after having already hit the top with "Some Might Say" earlier that year, Oasis would score a further 7 #1 hits locally, and the highest selling album of the decade. This would make for a devilish trivia question for one simple reason: "Wonderwall" is not one of those 8. Indeed its release was hampered by going up against Britain's biggest musical product of 1995: Robson & Jerome. The two of them managed two of the top 3 biggest singles of the year over there, while the entire genre of Britpop only got as high as #7 ever, courtesy of "3 Lions" in 1996. Evidently proof that the narrative of Britpop as the most important musical movement of the time is merely a Gen X construct to try out stomp out the boomers who truly outnumbered them. But it's not all bad news for the grumpy old man who hates everything, and his less talented brother, as the advent of streaming has made "Wonderwall" retroactively the biggest song of 1995, because the amount of my day I've wasted on "Wonderwall" tonight is absolutely dwarfed by the people who do so every single day like clockwork. In the time it takes you to read this sentence, at least a hundred people will have decided that they haven't yet had enough of "Wonderwall" in their life, and have injected some more of it. Such is the power of "Wonderwall" that 2 decades later, Noel's less talented brother continues to score UK top 40 hits as people frantically search for a hook. Such is the power of "Wonderwall", that no amount of bad publicity will ever cause a 100,000 strong petition to ban a Gallagher from headlining a festival because one of them wrote "Wonderwall" and the other one sung "Wonderwall". Such is the power of "Wonderwall" that it took a band who would otherwise never crack the Australian top 10 all the way to #1. Such is the power of "Wonderwall" that triple j listeners voted it the best song of 1995, and a generation later, would further clarify it as the best song of the entire 2 decades spanning 1993 to 2012. As a curious statistic though, that vote saw "Wonderwall" re-enter the Australian charts at #51 and (prior to it counting to the charts) it entered the top 50 on Spotify, making Australia the first country to gift the song an entry, since then it's been everywhere, man. Well it hasn't re-charted in the US yet, possibly as it was only a modest top 10 hit over there at the time. I'm going to avoid expending any more words than I need to because such is the power of "Wonderwall" I think I have a headache now. We had two carry over entries from last round. The sole Australian contingent of the now 3 rounds it appears in, Swoop, have rocked the house yet again with "Apple Eyes". Tracy Chapman however was clearly not given one reason to stay here, as she's turned back around and fallen down to #6. While this is the last we see of her, it's not the last we see of her work, as I'm sure you know we have not one, but two additional versions of "Fast Car" to delve into. This means that instead, the final placing goes to...two different songs actually. It perfectly encapsulates the year because it's two vastly different groups who were extremely popular in 1996 and basically no other year. The first of these is La Bouche, one of the more successful Eurodance groups to the point of having multiple hits and even a high selling album. To the point that I grew up fairly familiar with the front half of it, and I'm about as familiar with a certain album track on it as I am the cover version that would later go to #2 in the charts. Before that though was another #2 La Bouche hit, "Be My Lover". It has to be impressively noted that even in a genre so frequently full of actors pretending to be the actual singers in their videos & other promotion, this duo formed in Frankfurt by Frank Farian who also formed Milli Vanilli are fairly...frank with their image. As we're about to reconvene with a former US Marine, La Bouche's rapper Lane McCray also served in the US air force, presumably making it difficult for him to return home and record because Colonel Cathcart kept raising the number of missions he needed to fly. This might end up being the first bad omen for the group as the other member of the duo, Melanie Thornton ended up parting with La Bouche and releasing a solo album titled "Ready To Fly" in early 2001. If that wasn't already badly timed enough, she would end up dying later that year in a plane crash which would also claim the lives of several members of another Eurodance group, Passion Fruit. Lane has kept together with the group with a couple of new singers along the way, though their commercial success effectively vanished after the first album. You'd be forgiven for looking at the chart stats and thinking that's completely the same for The Presidents Of The United States Of America, whose commercial break came so late after the release of their self-titled album that it was still charting by the time their 2nd album came out and did fairly well but to no close extent. They completely vacated the charts after that, perhaps due to being kidnapped by ninjas. You better prepare to be extremely acquainted with this band because their debut album netted 4 top 20 hits in the space of a year, as many as Powderfinger managed in their entire career. The first is "Lump", the only song to ever peak at #11 on the ARIA Charts and also #11 in the Hottest 100 (two further Hottest 100 #11's peaked at #12). Salt would only be further rubbed into the wound as two other bands would shortly after follow a similar formula with their roughly 2 minute long alt rock anthems to land much highest Hottest 100 rankings. The song is perhaps the only hit song inspired by a tumour, with the lead singer being fond of the word 'lump'. If The Presidents Of The United States Of America weren't silly enough, this is yet another song I'm tackling with a "Weird Al" Yankovic cover, turning the song into a Sparknotes on Forrest Gump. Ever since the cover came out, The Presidents Of The United States Of America tend to use "Weird Al"'s closing line 'and that's all I have to say, how 'bout that?' at the end of the song as Chris Ballew admits he prefers it as a way to end the song. They finish ahead of no small competition as Alanis Morissette returns after blitzing with "You Oughta Know", but follow up "Hand In My Pocket" can only finish in 5th. What it all comes down to is that everything's gonna be fine, fine, fine as she has plenty more chances, just as I'm sure she would go on to do plenty more things with her ambitious, un-pocketed hand. While not quite a top 10 hit for her here, it is the single that put her properly back in good graces in her local Canada, hitting #1 there. Her climbing with chart peaks over in Canada as she falters slightly here, I'm sure there's a word for it but I can't think of it. I'm sure it'll come to me soon though. Fairing respectively against a lot of big names is US R&B duo Groove Theory. The group didn't come completely out of nowhere as member Bryce Wilson had already garnered success as part of Mantronix. The group had their fair share of hits, not among those was the track "King Of The Beats" which helped popularise a sample of "Amen, Brother" by The Winstons, which has come to be known as the Amen break. Groove Theory's success was a bit more limited as things dropped off fast after the success of "Tell Me" and they never released a second album, despite hinting at doing so at the start of this decade. Since Groove Theory, Bryce has gone on to acting, a bit, but also keeps the pay checks coming thanks to another 1996 hit he co-wrote which itself gets sampled again and again - it's been sampled by a song in the UK top 10 this week. "Tell Me" itself even gets the treatment, as Australian singer Starley interpolated it in the follow up to her big hit. The group's other member Amel Larrieux has focused instead on her own solo career, releasing 5 albums thus far. To especially give creedence to Groove Theory, they've managed to surpass a #1 hit by none other than George Michael. Okay that's probably a little misleading as "Jesus To A Child" could make a case for being the least successful #1 hit of the entire decade. Though it spent 2 weeks at #1, it was rapidly pushed out of the chart, not helped by being nearly 7 minutes long without much of a pop focus, something that George would perhaps amend on his next single. Then again, it would be on brand for the album succinctly titled "Older", as a showcase of new found maturity in his music. It also wouldn't go unrewarded, as aside from the #1 single(s), it would provide George the only #1 album of his career, having consistently run just close with his original studio albums. It wouldn't be fair to say that the song just got to #1 on name recognition however, as this was George's first #1 hit over here since "Faith" nearly 10 years ago. After his death in 2016, it was revealed that he secretly donated the two million pounds he made off "Jesus To A Child" to a child counselling service in the UK, which is like so iconic, like big, like stan, like. Because there just haven't been enough short lived successes in this game, we're now up to the one and only hit from Dreamworld. Bearing no relation to the lethal theme park, Dreamworld were another Eurodance group, this time from Sweden. Such is the speed at which things moved on with them, the group formed in 1995, scored this hit in early 1996, and disbanded by 1997. I cannot say for sure if this happened before or after Dannii Minogue also covered "Movin' Up" that year, but I can say for sure that it's less iconic than her cover of Harry Nilsson's "Coconut" which follows it as a hidden track to close her 3rd album. We finish things off with the 4th Bon Jovi top 20 hit of 1995, "Lie To Me". It just narrowly kept their streak alive by peaking at #20. In a similar sense, it kept the band's UK top 10 streak alive, which had been going since "Dry County", with "Lie To Me" spending 2 weeks at #10 before dropping out of the top 20. Their following single "These Days" would also go top 10 there but only #38 here, meaning that the next time we see Bon Jovi as a band will be 4 years from now, and sounding a fair bit different, some might say.
44 - Oasis - Wonderwall (survived 1) 39 - Swoop - Apple Eyes (survived 2) 37 - La Bouche - Be My Lover (survived 1) 37 - The Presidents Of The United States Of America - Lump (survived 1) 33 - Alanis Morissette - Hand In My Pocket 29 - Tracy Chapman - Give Me One Reason 23 - Groove Theory - Tell Me 18 - George Michael - Jesus To A Child 17 - Dreamworld - Movin' Up 8 - Bon Jovi - Lie To Me Last edited:
Björk - It's Oh So Quiet Deep Blue Something - Breakfast At Tiffany's La Bouche - Be My Lover Monica - Don't Take It Personal (Just One Of Dem Days) Oasis - Wonderwall The Presidents Of The United States Of America - Lump Shaggy - Boombastic Shaggy feat. Rayvon - In The Summertime Swoop - Apple Eyes TLC - Diggin' On You
Just Monica. But also 9 others. Pick your top 5 films you remember from Mr. Lover Lover himself, Azarigo Athlete, by Monday night
yeah, 1996 is gonna be a tough year for me... finally up to a round where i can remember each song really well before a relisten!
+5 TLC - Diggin' On You (was my childhood fave of TLC's) +4 Shaggy - Boombastic (best Shaggy until his Sting collab, don't @ me) +3 The Presidents Of The United States Of America - Lump +2 Björk - It's Oh So Quiet (of all the Bork we get?!) +1 Deep Blue Something - Breakfast At Tiffany's
i didn't want to leave Tiffany's out, but was hard to kick out Wonderwall... other Shaggy was my 7th
+5 The Presidents Of The United States Of America - Lump +4 TLC - Diggin' On You +3 Swoop - Apple Eyes +2 Shaggy - Boombastic +1 Björk - It's Oh So Quiet
final vote was tough, visceral feelings about one song aside, it could have gone to any of them. Gave Björk the edge for being much better than I remembered, though it's a shame there'll be no Army Of Me/Hyperballad/Joga etc
+5 La Bouche - Be My Lover +4 Swoop - Apple Eyes +3 Shaggy - Boombastic +2 Monica - Don't Take It Personal (Just One Of Dem Days) +1 Björk - It's Oh So Quiet (I hated this when I first heard it on Rage in 2005 or 2006, this might be the first time in this game I've voted for a song I used to hate )
this was really difficult! My top 8 were all worthy of being voted for tbh
One of the most suspenseful rounds we've had for me progressively counting the votes. 7 different songs made the top 3 at some point! It felt like every vote was switching something in and out of the top 3, and with frequent ties. As we have it, you wouldn't be able to tell from the final scores because the last 2 votes pushed an 8-point gap between #3 and #4. Though with only a narrow points lead, the greatest attention this round went to a much-loved '90s artist with only a single entry in this game, Deep Blue Something... ok, no, Björk. For an artist famed for being experimental and ~weird~, it feels impressive in retrospect that she was on the charts from the start - well, as long as 'the start' doesn't include her 1977 album as a child that even Wikipedia, the domain of hardline "Katy Hudson" loyalists, doesn't bother trying to claim, or her time fronting the band The Sugarcubes. In Australia, all 5 (!) singles from "Debut" had made the lower 50, and when she returned with "Army Of Me", it broke her into the top half (and UK top 10) and led the album "Post" to debut at #2, blocked only by the 2nd week of Michael Jackson's "HIStory", and considering the promotional budget of the latter, I want to give Björk the moral win. And then (after another single, "Isobel"), came her entry into the canon of artists who became best known for a cover, and best known for a song sounding nothing like the rest of their music - but not in a 'chart-friendly remix' way, as "It's Oh So Quiet" couldn't sound less like any chart trends in many, many decades. The song originates in 1948 in Austria, written in German as "Und jetzt ist es still" and recorded by the jazz singer, future 1960 Eurovision entrant and alleged Nazi soldier Horst 'Harry' Winter. It reached the US in some way, where it was adapted into English, and recorded in 1951 by the popular actress and singer Betty Hutton, who released it as a b-side. Some say her version was titled "Blow A Fuse", but that seems unsubstantiated. Whereas the German original sounds very different, Betty's version is where the arrangement popularised by Björk originated; the only significant difference is a men's choir singing one of the verses (to whom Betty repeatedly shushes). As much as the song sounds like prime fare for originating in musical theatre or such, I believe being sung by an actress (and the music of the German original being written by a film composer) is as far as it goes. Björk explained that when she and her band were touring "Debut" in the US, they found a tape in a truck stop called 'Divas' which included Betty's song, and they'd always listen to the song before going on stage. Separately, she said it was the last song recorded for the album, done so that 'every song would be a shock'. Later on, she added that it was 'sort of a joke really', and she's had mixed feelings about it due to her usual intentions to make new and inventive music. It would seem her core fans felt similarly, as it didn't make the cut for her fan-voted 2002 "Greatest Hits" tracklist... except according to the poll results, it in fact ranked #10, so maybe she just took the easy out. In Australia, "It's Oh So Quiet" had an unassuming #82 debut in late 1995, but kept on climbing in the new year and went all the way to #6. In the UK, she'd had a string of top 20 hits prior, but mostly selling to a gradually-growing fanbase and falling hard after the first week; "It's Oh So Quiet" changed that severely when it not only debuted in the top 10 but spent 8 weeks there, including placing #4 on the competitive Christmas chart. It was even big enough that the next single "Hyperballad" debuted at #8 off its back (then dropped at least 20 spots each subsequent week); unfortunately she failed to Shakespears Sister her way to some heavy discounting here and it 'only' reached #31, a shame as I bet it would've done well in this game. Though in a way, it did reach the top 20, in that the "It's Oh So Quiet" single included 2 mixes of "Hyperballad", one with a string quartet and one with a droney backing. Interestingly, "It's Oh So Quiet"'s lead over the rest of her discography may have worn itself off over time, as "Army Of Me" now leads the way on Spotify and (at least on a single upload) YouTube. The biggest move as the votes progressed this round was a song that went from being #8 at the 7th vote, to getting a slab of consecutive +5s and +4s, pushing it into the top 3 where it's successfully remained: TLC's "Diggin' On You". They're on a really strong run in this game, following "Waterfalls" making the HOF and "Creep" ranking 4th. In the wake of the next-level breakthrough success of "Waterfalls" and what's seemed like a major upswing for R&B in early 1996, "Diggin' On You" was able to glide into the ARIA top 10, and it seems like it was the album-solidifying single too, lifting it up from #12 under "Waterfalls" to a final #5 peak. For its (live performance) video and single release, "Diggin' On You" received a 'live remix' by L.A. Reid, with a grand brass intro and crowd noise over the intro and outro, though the album version was included on the single too. Unusually, the US CD single (not the separate maxi) featured a 2-minute preview of an upcoming song - not by TLC, but a new male R&B artist signed to the same label, who'd go on to reach #2 in the US and Australia with that very song a few months later. There's one "CrazySexyCool" single we missed, the #53-peaking "Red Light Special", but otherwise there wasn't really another single after "Diggin' On You" - I say 'wasn't really' as they stretched out the era a little more with a "Creep '96" re-release, led by a new, more chill-R&B remix by Maxx (of... nothing else fame), which reached #45. In the 3 years after until they made their grand return, Lisa 'Left Eye' Lopes began some initial steps towards a solo career, appearing on Lil' Kim's all-star "Not Tonight" remix (a #6 US hit), signing and executive-producing the girl group Blaque (aka Blaque Ivory), and hosting an MTV talent show called "The Cut" in which a then-unknown Anastacia reached the finals, performing her own future #21 hit-to-be "Not That Kind". So that's 2 songs down, with only 1 spot left for any of the 4 carryovers. The only previous time we've had 3 songs die at once is round 21, with the exodus of Roxette, Sinitta and U2 (in favour of the new entries from Alice Cooper, Martika and Cher). "Lump" suffered hardest, falling to #7 in such a defeat that I can see them being evicted from their city and forced to subside on canned produce. The other 3 didn't lose many points, but "Be My Lover" has gone the way of its fellow pop-Eurodance smash "Another Night", and fellow "Mouth" smash too (maybe we'll need to try that again the other way around). That leaves us with our collectively-deemed underrated gem from a one-hit-wonder Australian band, looking to be probably one of the least predictable songs in the HOF... anyway here's "Wonderwall". "Apple Eyes" couldn't face up to the might of its exact opposite, but it does close our 1995 chapter as its highest-scoring song that missed the HOF (slightly ahead of "Mouth"). 1995 got 12 HOF entries, the biggest of them and only one to win all 3 rounds being "Lightning Crashes", and 1995's haul includes 4 ARIA #1s ("Here's Johnny!", "Back For Good", "Kiss From A Rose" and "Gangsta's Paradise"), the most in a year since 1990 - doubly impressive as 1995 had the slowest #1 turnover of any year thus far (not counting the half of 1988). There's one other song among those: the equally lovable, hateable and quotable tale of "Breakfast At Tiffany's". It was written after seeing the Audrey Hepburn-starring film "Roman Holiday", but he felt "Breakfast At Tiffany's", also starring her, would fit the song better. It was originally on their 1993 independently-released debut album, then re-recorded for their second album, released independently in 1994 and on Interscope in 1995. Most US alt(ish)-rock didn't go far in the UK charts, particularly now that they were swept in Britpop, but "Breakfast At Tiffany's" was in fact a UK #1 in late 1996, helped by strong radio support. It became Interscope's first UK #1, which I mention just out of being an unexpected song to take that crown for one of the most prominent labels of the last 2-3 decades (in the US their first #1 was Marky Mark's "Good Vibrations"). Deep Blue Something have to be among the most 'pure' one hit wonders; the best follow-up success they had was in the UK, where the single "Josey" scored a #27 debut (to crash out within weeks), and that was with "Breakfast At Tiffany's" being included as a b-side and deleted in its favour. Otherwise, their US follow-up single "Halo" was a #2 bubbling under hit, and their next album charted absolutely nowhere. I like to try and measure one-song-domination by the ratio between an artist's top 2 tracks on Spotify, and Deep Blue Something have one of the largest ratios I recall seeing: "Breakfast At Tiffany's" (with 120 million plays) has 327 times the plays of their next-biggest song ("Halo"), and that's with "Halo" being the next track on the album, ready to begin anytime "Breakfast At Tiffany's" is listened to directly from the album (as opposed to a playlist or such). Without wanting to tread too much on my own upcoming ground, Levi's ads were a big deal in the UK in the '90s, sending several otherwise-obscure tracks (and a few re-released old classics) across the decade to #1 - including, incidentally, one of Deep Blue Something's few vaguely (post-)grunge UK #1 contemporaries, Stiltskin's "Inside". The 'otherwise obscure' part does not apply to Shaggy's "Boombastic", as he'd had an even bigger #1 there with "Oh Carolina", and "Boombastic" had already been #3 in the US, but indeed it was used by Levi's, soundtracking a stop-motion animation in which a man... rescues a girl from a burning building by using an extremely strong pair of jeans to slide across a rope. Now in 2019 Levi's would probably just tweet about their jeans being flashy enough to mask your pain. I don't know if any of the UK #1-spawning Levi's ads aired in Australia, let alone this specific one, but we did get some reminiscent animation on a glorious 2003 hip hop hit. Of course, "Boombastic" isn't all that's here for Shaggy! We've landed on a very rare occasion of an artist having 2 songs in the same round; that's only previously happened with Tiffany (due to the mid-1988 start catching "Could've Been" after months in the top 20), and Martika, Alannah Myles and U2 (with songs in their 3rd rounds ["The Fly" in U2's case] coinciding with quick follow-up appearances). Alannah Myles is the only one of those comparable to Shaggy, as both "Love Is" and "In The Summertime" had been charting before their bigger hits - but to different extents, as "Love Is" had just been bubbling in the lower 50 and made its top 20 entry 2 months after "Black Velvet", whereas "In The Summertime" had been in the top 50 for months, climbing to #24 the week before "Boombastic" arrived; "Boombastic" just leapfrogged it fast, jumping #37 to #11 the same week "In The Summertime" went #21 to #14. Having 2 songs enter the top 20 the same week is a first for the ARIA era (not counting Bros and Tiffany the first week); the previous closest cases were Michael Jackson (1 week between the "Black Or White" remixes and "Remember The Time"), Janet Jackson (3 weeks between "You Want This" and "What'll I Do"), Salt-N-Pepa (3 weeks between "Do You Want Me" and "Let's Talk About Sex"), Kulcha (4 weeks between "Shaka Jam" and "Don't Be Shy"), Guns N' Roses (5 weeks between "Knockin'..." and "November Rain"), Jimmy Barnes (5 weeks between "I Gotcha" and "When Something's Wrong..."), Michael Jackson again (5 weeks between "Give In To Me" and "Heal The World"), and Prince twice (5 weeks between "Gett Off" and "Cream", and "The Most Beautiful..." and its remixes) - a list mostly made up of slow climbers followed by faster ones, with the polarising "I Gotcha" and "Gett Off" the only ones really followed by a new single that fast. In the case of "In The Summertime", I wonder if it was just treading water until it actually became summertime here. Both Shaggy tracks were the only songs in this round without +5s, but "Boombastic" scored 20 times as many points; both "In The Summertime" and "Oh Carolina" got just a single +1. "In The Summertime" is a cover of the 1970 Mungo Jerry song, a #1 hit in apparently every single European country with a chart, as well as Australia - where it spent 1 week at #1, then was followed for 6 weeks by a local cover by The Mixtures (although I believe the 1970 charts I refer to were back-compiled, and the actual charts of the time seemingly combined the 2 versions), which apparently got unprecedented exposure due to a 1970 royalties dispute in which commercial radio refused to play major-label UK and Australian artists. Both Shaggy songs had 'Sting/Shaggy' remixes accompanying them, which unfortunately don't refer to the actual Sting who Shaggy ended up making a collaborative album with last year, but a producer called Sting International who did most of Shaggy's hits. The "Boombastic" remix samples Marvin Gaye's "Let's Get It On", and oddly it's the version that appears on his VEVO channel and has the lion's share of its views, but the video existed to the original track too. You may recall that 6 months ago, Hijinx pointed out Concrete Blonde introducing the cast of "Friends" to the game, and now we've reached another! In the time since, Rick Ross has gotten his long-awaited first top 20 hit thanks to a Drake feature, so "Seems Like A Good Idea (At The Time)" (which was co-written by 2 Rosses) no longer has to be used. Much like Brandy the year before, "Don't Take It Personal" was released as Monica's debut single when she was only 14, and it was a major success in the US, reaching #2 in July 1995 without even having much crossover airplay. Australia took a while to cotton on; it entered the top 100 in September, hung around in the 30s and 40s for a few months, and then climbed up to the top 10 in the new year. If this game was set in the US or NZ, she'd have a further 2 entries from this album, as well as "For You I Will" from the soundtrack of the Porky Pig-featuring "Space Jam", but here we'll be waiting until the culmination of her Brandy comparisons.
45 - Björk - It's Oh So Quiet (survived 1) 43 - TLC - Diggin' On You (survived 1) 42 - Oasis - Wonderwall (survived 2) 34 - Swoop - Apple Eyes 33 - La Bouche - Be My Lover 26 - Deep Blue Something - Breakfast At Tiffany's 24 - The Presidents Of The United States Of America - Lump 20 - Shaggy - Boombastic 17 - Monica - Don't Take It Personal (Just One Of Dem Days) 1 - Shaggy feat. Rayvon - In The Summertime
After 7 - 'Til You Do Me Right Björk - It's Oh So Quiet Eternal - Power Of A Woman Everything But The Girl - Missing (Todd Terry Remix) Joan Osborne - One Of Us LL Cool J feat. Boyz II Men - Hey Lover Oasis - Wonderwall Peter Andre feat. Past To Present - Get Down On It Real McCoy - Automatic Lover (Call For Love) TLC - Diggin' On You
What would you pick if you had just 5 slots? Dial in your votes and hope for satisfaction on Thursday evening.
+5 Everything But The Girl - Missing (Todd Terry Remix) +4 Real McCoy - Automatic Lover (Call For Love) +3 Peter Andre feat. Past To Present - Get Down On It +2 Joan Osborne - One Of Us +1 Oasis - Wonderwall
I like Björk (or rather, liked her 90s stuff), but 'It's Oh So Quiet' is... blah. I'm not going to give it a point here just because it's her only entry.
I loved 'Wonderwall' at the time, but find it slightly grating now ('Morning Glory' is much better, I think, and 'Whatever' is even better).
I *hated* 'One of Us' at the time, but now don't mind it
+5 Everything But The Girl - Missing (Todd Terry Remix) +4 Joan Osborne - One Of Us +3 Real McCoy - Automatic Lover (Call For Love) +2 Peter Andre feat. Past To Present - Get Down On It +1 Björk - It's Oh So Quiet
+5 Björk - It's Oh So Quiet +4 Real McCoy - Automatic Lover (Call For Love) +3 TLC - Diggin' On You +2 LL Cool J feat. Boyz II Men - Hey Lover +1 Eternal - Power Of A Woman
Missing would have possibly been my +2 around a decade ago, but it's so overplayed now it's lost most of it's charm for me. Walking Wounded and Wrong are still superior, but we won't see either of them
+5: Björk - It's Oh So Quiet +4: Joan Osborne - One Of Us +3: Real McCoy - Automatic Lover (Call For Love) +2: Eternal - Power Of A Woman (what a bop) +1: Everything But The Girl - Missing (Todd Terry Remix)
I'd never heard Automatic Lover before but it's now my favourite Real McCoy song (and the first I've voted)! I think I like the 'airplay remix' most, and the 1994(?) European version is interesting for making the Smalltown Boy sample more prominent. I also didn't know the Eternal, LL Cool J and Peter Andre tracks and all really surpassed my expectations; wish I had room for LL Cool J (and, again, TLC) too.
+5 Missing [Todd Terry Remix] +4 Diggin' on You +3 It's Oh So Quiet . +2 Automatic Lover (Call for Love) (I think I still prefer Another Night but this challenges it, I particularly enjoy the more Culture Beat-adjacent sound) +1 Power of a Woman
+1 could've been any of II Cool J, Joan Osbourne or Oasis. The Peter Andre song was his enjoyable entry so far too.
+5 Everything But The Girl - Missing (Todd Terry Remix) +4 Eternal - Power Of A Woman +3 Björk - It's Oh So Quiet (9 year old me has his mind blown) +2 TLC - Diggin' On You +1 LL Cool J featuring Boyz II Men - Hey Lover
Every now and then I can rely on my book of Billboard #1 hits to grab what is often exclusive details about the background behind some of these songs. However, in March of 1996 we're still entrenched in the 16 week run at #1 for Mariah Carey & Boyz II Men's "One Sweet Day" so there have been no new #1 hits in the past 3 rounds. While Lil Nas X was blocking new entries at #2 constantly during his reign this year, "One Sweet Day" had not blocked a single song from the top spot for the first 11 weeks of its reign, as Whitney Houston's "Exhale (Shoop Shoop)" was very persistent at #2 after falling from the top spot. In the end it only blocked 3 songs from #1. Two of those, "Sittin' Up In My Room" by Brandy and "Not Gon' Cry" by Mary J. Blige both also came from the same "Waiting To Exhale" soundtrack as Whitney Houston's track, those 3 together making up 15 of the 16 #2 spots behind "One Sweet Day". The two also immediately overtook "One Sweet Day" when it left the top spot and dropped directly to #5, so they were unlucky to be leapfrogged by an upcoming entry, but both artists would go on to score Billboard Hot 100 #1 hits in the future so it's not a sad story. Then we have the black sheep for that one other week at #2 that I haven't mentioned and that obviously is a sad story because it's "Missing" by Everything But The Girl. Much like this write-up, Everything But The Girl's career takes quite a long time before it gets to "Missing", which originally was released in 1994 on their 8th studio album. Prior to this they were regular also-rans in their local UK Charts, aside from one big break in 1988 when "I Don't Want To Talk About It" spent 2 weeks at #3, technically the same feat as "Missing" though with a far more brief chart run. In Australia they were almost completely passed by except for their song "Don't Leave Me Behind" creeping around the bottom rungs of the top 100 in 1986. The girl from Everything But The Girl, Tracey Thorn also had another brief glint in our charts guesting on Massive Attack's "Protection", although that makes me want to retract the previous title because of how many times she says 'you're a girl and I'm a boy'. In 1995 they finally got their big break when they teamed up with fellow 'scorer of countless UK top 100 hits before and after but basically nothing here' and house producer Todd Terry, whose relatively subtle re-working of their UK #69 hit "Missing" made for more than just nice dividends. Just like the US, it went to #2 in Australia, and top 10 all around the world. In a curious incident owing perhaps to the song being so well known for its remix that the fact that it's a remix is less known (see also a certain #20 hit from 1999), the fact that the remix isn't extremely different, and the fact that Spotify has a lot of very lucrative Sunday chill playlists, the original version of the song actually has about 50% more plays than the remix on Spotify nowadays. Unlike Mark Ronson belatedly adding Amy Winehouse's name to the iTunes credits on "Valerie", there may not be an easy fix for that. Whether or not the remix is being phased out of relevance, it's done very well here as the only new entrant in the list to crack the top 3, storming the competition with the highest score in the last 5 rounds. Not unlike Jackson Jackson's 2007 single "Eliza", the song is indeed about missing someone who has literally gone missing. It's not impossible to say that it's written about Super Mario, as "Mario Is Missing!", the first game to star Luigi as the playable character ahead of his brother whose box art sports the amazing tagline "A Geography Learning Adventure That's Way Cool!", was released just prior in 1993. As a curious thing to note, Everything But The Girl split up in the year 2000, and after a quarter of a century working together, its two members got married and have given birth to twins. Aside from that, if you can recall the 3 points that separated the top 3 songs in the last round, that margin has expanded to a monster margin of 5 points, still not enough to stop Troy Schwarze from snatching the win 55 metres away from goal. Nonetheless, TLC chose the wrong rounds for their respective 1 point differences with Oasis as they've narrowly been bumped out. They'll have to wait a fair while for their next entry, Sally not quite as much. Less waiting is Real McCoy, who are back with their 5th entry so quickly that they're actually all contained within this one thread. That makes it very easy for me to observe that by finishing in 5th with "Automatic Lover (Call For Love)", they've had their best performance since "Another Night", though with the exact same number of points as "Run Away". If you're like me, trying to remember the song means recalling the 'call' heavy hook, and the fact that there's a deep voiced rapper on the track means inevitably following that hook with 'call me raider, call me wrong, call me insane, call me Mr.-' and then remembering that's a different band. Real McCoy were looking back for inspiration though because that hook is instead actually followed by an interpolation of Bronski Beat's "Smalltown Boy". This same riff helped inspire proto-Swedish House Mafia hit "Tell Me Why" by Supermode, and I thought also a future entry from 2008 but apparently that striking similarity was not intended and hasn't gone into court either. In our midst we did have an ARIA #1 courtesy of Joan Osborne. In the 2nd Austin Powers movie, Dr. Evil having gone back in time 30 years to 1969, sings the song "One Of Us", claiming to have written it himself. In actual fact it wasn't written by Joan Osborne but instead Eric Bazilian of The Hooters, who is technically old enough that some Back To The Future "Johnny B. Goode" self-fulfilling circular paradox systems could be used but that would require connections to evil henchmen. Eric in fact worked with Joan Osborne for her whole album, but she ends up being an even more extreme example than Everything But The Girl as she scarcely charted anything else, anywhere else after "One Of Us". In an amazingly dorky sync up, "One Of Us" ended up as the theme song to the 2000s TV series Joan Of Arcadia, which brings to mind many other spectacular possibilities. Perhaps Black Mirror and Westworld should adopt "Ride On Time" and "Black Skinhead"... for their theme song. Next we have Eternal who are back after a couple of years with a slight change. From this point on they were reduced to a trio as Louise departed for her solo career. As a matter of fact they were able to share the spotlight still as Louise's first single "Light Of My Life" was just hanging on in the UK top 10 at #10 the same week Eternal debuted above her with their first single as a trio, "Power Of A Woman". Despite the title, the song was actually written by two men, Carl Sturken and Evan Rogers, whose career longevity means they can claim to have written Billboard #2 hits for both Donny Osmond and Rihanna. "Power Of A Woman" started a streak of 8 consecutive top 10 hits for Eternal in the UK, two of which we'll be seeing in the near future. To go back to "One Sweet Day", I previously noted how its success ran very close to another Mariah Carey hit in "Fantasy", but the same is also true of Boyz II Men. The group featured on LL Cool J's "Hey Lover", which sat at #3 for the first 8 weeks of the reign, thus Whitney kept them from technically having blocked themselves from the top spot. That's only if you choose to credit them in the first place, which seems to be more of a retroactive thing. In an Australian context, Ladies Love Cool James can be compared to Everything But The Girl because he had also been making music for a decade at this point before scoring his first top 20 hit, but he'd been scoring hits stateside for much of that time. Among those sadly "Mama Said Knock You Out" only peaked at #37 here. His success in general here is limited as the only times we'll be seeing him in the future is much later on either side of a featuring credit with Jennifer Lopez. He's kept a high profile however as much like his Ice-y contemporaries, he's done quite a bit of acting, notably a prominent role in NCIS's Los Angeles spin off. He also hosted the Grammy Awards this decade 5 years in a row. Peter Andre is back! We have his final top 20 hit "Get Down On It", which was not released in the UK which instead got "Only One", becoming his first top 20 hit ("Mysterious Girl" only really took off there in mid-1996), which would be followed by a consecutive run of over a dozen more of them over there. British boyband Blue also released a cover of Kool & The Gang's "Get Down On It" which was a hit in Europe but not in the UK, so evidently there's a force in play for the UK to keep its back up on the wall. If the name Past To Present isn't familiar, then there's a 5% chance you might recognise them if I refer to them as Ilanda, an Australian R&B group who we actually don't otherwise cover in this game, despite the well documented longevity of their single "Tasty". Surprisingly, "Get Down On It" outpeaked "Mysterious Girl" and spent the same amount of time in the top 10 as it, and for that matter, it also outscored it slightly in this game, giving Peter Andre his highest score since "Gimme Little Sign", meaning that all of his logo entries' scores are in the same order as their ARIA peaks. He's spared his 3rd stint in last place however, as once again I'm here to talk about a forgotten US R&B group, though this time with a lot less fanfare over here. After 7 actually comes with some pedigree, as two of its founding members, Melvin & Kevon Edmonds are brothers of famed producer Babyface, with Melvin's son Jason joining later, hopefully Melvin never lost him at the mall. The other member of the group was Keith Mitchell, who was initially promoted as himself being a cousin of another famed producer, L.A. Reid, however he would go on the record to say that it was a lie and really he was just friends with Kevon in college. In a manner similar to that of Gang Starr, the group appear here with their sole entry "Til You Do Me Right", which is most curious for being not a particularly noteworthy single of theirs stateside, and the group are probably best known for their earlier single "Ready Or Not" which went top 10 in the US. The group split up a couple years later but then re-united more recently, and have started scoring top 10 hits as recently as last year on the US Adult R&B Songs Chart, as recently as last year they had two entries on that Year End chart either side of Sam Smith. Melvin sadly passed away just a few months ago, the first artist I can recall we've reached here whose passing occurred while this game has been running.
60 - Everything But The Girl - Missing (Todd Terry Remix) (survived 1) 46 - Björk - It's Oh So Quiet (survived 2) 42 - Oasis - Wonderwall (survived 3; inducted) 41 - TLC - Diggin' On You 26 - Real McCoy - Automatic Lover (Call For Love) 24 - Joan Osborne - One Of Us 18 - Eternal - Power Of A Woman 16 - LL Cool J feat. Boyz II Men - Hey Lover 11 - Peter Andre feat. Past To Present - Get Down On It 1 - After 7 - 'Til You Do Me Right
Alex Party - Wrap Me Up Babylon Zoo - Spaceman The Beatles - Real Love Björk - It's Oh So Quiet Céline Dion - Falling Into You Everything But The Girl - Missing (Todd Terry Remix) John Farnham - Have A Little Faith (In Us) OMC - How Bizarre The Presidents Of The United States Of America - Peaches The Smashing Pumpkins - 1979
Top 5 man, I always wanted you to vote, your top 5, man (In by Saturday night) Last edited:
love these rounds where i don't need to relisten to things... 6 of these songs i've listened to regularly this year and i don't mind the other 4, so the only tough bit is organising
+5 Everything But The Girl - Missing (Todd Terry Remix) +4 The Smashing Pumpkins - 1979 (was v v hard to not give this max points, what a duo of tunes) +3 The Presidents Of The United States Of America - Peaches +2 Babylon Zoo - Spaceman +1 Alex Party - Wrap Me Up
so sad that my 1 point for Oasis knocked out TLC, i immediately regret that decision
+5 The Smashing Pumpkins - 1979 Words Of Logo Commentary +4 Everything But The Girl - Missing (Todd Terry Remix) +3 The Presidents Of The United States Of America - Peaches +2 Babylon Zoo - Spaceman +1 The Beatles - Real Love
Again final vote could have gone to anything else. Wasn't really familiar with Celine or Farnsie's tracks but they go down well. Have a soft spot for Real Love thanks to Regina Spektor though.
+5: Babylon Zoo - Spaceman (top 10, maybe top 5, of everything in the game so far for me 💞) . +4: The Smashing Pumpkins - 1979 (wish Bullet With Butterfly Wings was a top 20 hit too!) +3: Alex Party - Wrap Me Up (joins JX & Tokyo Ghetto Pussy in 2-hit dance artists where I much prefer the 2nd one) +2: The Presidents Of The United States Of America - Peaches +1: Björk - It's Oh So Quiet
This is an incredibly strong top 5 for me; all deserve +5, and It's Oh So Quiet (which I was expecting to still give +4) is... probably my new strongest +1 ever, ahead of Djäpana and Chains. How Bizarre would've made my vote in a good 90% of other rounds. Last edited:
+5 Everything But the Girl - Missing (Todd Terry Remix) +4 The Smashing Pumpkins - 1979 +3 The Presidents of the United States of America - Peaches +2 Björk - It's Oh So Quiet +1 Alex Party - Wrap Me Up
+5 The Smashing Pumpkins - 1979 +4 The Presidents Of The United States Of America - Peaches +3 Babylon Zoo - Spaceman +2 Everything But The Girl - Missing (Todd Terry Remix) +1 Björk - It's Oh So Quiet
In 1994, we showed quite a bit of love to "Disarm", but faced against the likes of "Girls & Boys", "Black Hole Sun" and "7 Seconds", it never won any of its individual rounds (even if it made the HOF while 2 of those others didn't). Now, The Smashing Pumpkins have made a sooner return than any of those artists, and have managed the final leap with "1979" quite comfortably displacing "Missing" at the top of the results, and with higher points than the last 5 rounds of revolving-door winners. A few months before "1979", they'd released the lead single "Bullet With Butterfly Wings" and double album "Mellon Collie And The Infinite Sadness" simultaneously - the latter debuting at #1, displacing the "Dangerous Minds" soundtrack that I suspect was helped to #1 by satiating some of the "Gangsta's Paradise" demand while single stock was depleted, kind of like Michael Jackson fans in 2009 allegedly snapping up whatever CDs of his stores had left. "Bullet With Butterfly Wings" only reached #33, but was their longest running top 50 hit, and ranked #2 in the 1995 Hottest 100, between "Wonderwall" and "Gangsta's Paradise". "1979" takes its name (and opening lyric) from the year frontman Billy Corgan turned 12, a puzzling time period in which Bruce Springsteen and Blondie existed but Madonna and U2 did not, reflecting the song and video's ode to adolescence. It went on to become, at least from my perspective, their signature song, particularly in the US where it was their only sizeable crossover hit, but it also stands tall on Spotify and YouTube today, and the love persists strongly among the users of RateYourMusic who have it down as the 90th-greatest song of all time, behind I believe only 2.5 songs that have appeared or will appear in this game - "Blue Monday" (but the original), Prince's "When Doves Cry", and a #16 hit due to drop in 1998. The might of "1979" was strong enough that "Missing" shed 10 points, but from such a high starting point that it still scored almost twice as much as #4. Much less lucky is Björk, who somehow seemed to fall in priority for almost everyone, and absolutely plummeted from a stable 2nd round to a (very damaging) 19-point (41%) loss. Only 3 songs have ever had harsher falls between rounds ("Dressed For Success" losing 23 points, "November Rain" losing 22, and "Holy Grail" losing 20 - all in their 3rd rounds, and all but "November Rain" to unsuccessful fates). In its place is, pleasingly (as much as I would've liked to see "It's Oh So Quiet" through too), a favourite of mine that I'd predicted to end up around the same middling level as "Return To Innocence" and "Swamp Thing". I mentioned the UK Levi's ads when I wrote about "Boombastic", but "Spaceman" is next level in terms of being a centerpoint of the song's narrative. Babylon Zoo were an unknown indie band with no music released yet when Levi's plucked them out, "Spaceman" becoming the soundtrack to an alien woman returning home from Earth clad in a pair of jeans, to the awe of those around her. The major caveat is that the segment of the song used came entirely from the spacey, high-pitched, sped-up sections at the start and end of the track, providing zero hints of the remaining 80% sounding nothing alike. "Spaceman" was a giant seller in the UK, literally accounting for 29% of all singles sold in the UK during its first week, and remaining on top for 5 weeks, and the oft-claimed story is that masses rushed out to buy it off the back of the ad, and... 'discovered to their horror that it was good for about 10 seconds, then became rubbish' [taste needed]. The reason for the song having such a bait-and-switch formation is that it wasn't like that in the first place; the initial version (which appeared on neither the single nor album, but has a video on YouTube, and is even the only version on their official channel) was grungey from start to finish. Producer Arthur Baker's 'Arthur Meets The Spaceman' mix added those spacey sounds and a trip hop-like beat, but didn't touch the speed or pitch yet. Allegedly, what happened was that the ad producers heard the remix played at the wrong speed at a club - and that checks out, as by speeding up the remix 50% in Audacity, it sounds exactly right. So the original song was trimmed, parts of the sped-up remix were inserted at the beginning and end, and that made up the final version (at least the single version; the longer album version retains the original fade-out ending); quite a journey. You might think they'd have included the full-length sped-up remix on the single too, but they only kind of did; most editions only included a different version of it with almost no vocals. They finally relented on the flop 3rd single "The Boy With X-Ray Eyes", tacking it on (with slight structural changes) under the name 'Zupervarian Mix', but even that might've still been a disappointment to ad watchers, as all the abstract lyrics in the verses still remained. Of course, all that is to do with the UK, where the ad gave it a strong concentrated impact. In Australia... well, again I don't know if the ad aired here (I've heard nothing to suggest so), but with months in the top 10, plus being voted top 20 in the Hottest 100, no doubt plenty were fans of the full song. And likewise here, because I'm not nearly cynical enough to think 13 people would vote a song just for a cool intro, and I can vouch for the middle 80% being my favourite part anyway. Alex Party's "Don't Give Me Your Life" was their much bigger hit in the UK (though it must be mentioned that "Wrap Me Up" charted 17-38-62-out), but they peaked pretty evenly in Australia (albeit with "Wrap Me Up" having a much stronger run and EOY position), and that's been corroborated by us giving "Wrap Me Up" precisely 1 point less than "Don't Give Me Your Life". Also matching between them is that they are the 828th and 928th entries into the game. Their next single would reach #51 in Australia and little better in the UK, and that (and the accompanying album) were mostly it for the project, but half of Alex Party were also the producers in another Eurodance group who, though regretfully having bypassed their opus, we'll be meeting later in 1996. Impressively, I think Alex Party were one Eurodance group who stuck with one vocalist, Robin 'Shanie' Campbell, and even featured her in the videos, but she never really appeared on anything beyond the Alex Party material afterwards. One of the biggest international hits to ever come out of New Zealand, "How Bizarre" came about from the humble beginnings of an independently-signed group, named Otara Millionaires Club ironically (after Otara being one of the poorest suburbs of Auckland), and with a video funded by NZ On Air, a public media funding agency. Before the video was even finished though, they (and their manager) started by taking the song to Mai FM, a fairly new station playing hip hop and funk and targeting young Māori and Polynesian listeners, thinking they might be keen to champion the song to potentially help grow the station. After claiming it needed more bottom end and the group pretending to change it without actually doing so, the station playlisted it, and it was highly popular among their listeners - but other stations, uninterested in leading the way on local content, mostly slept on it until it was about to reach #1 there. The video was finally finished after it was already #1, and went on to be played worldwide, without the need of filming a higher-budget version. It reached Australia barely a month later, where it spent even longer at #1, and a year later it finally began a lengthy climb up on US radio, becoming huge in mid-1997, but never charting on the Billboard Hot 100 due to no physical single release - because US labels tried to force album purchases not only for big popular artists, but for some one hit wonders too, just casually laying the table for people to happily flock to Napster a few years later. "How Bizarre"'s success must have worked for Mai FM's bid to help establish themselves, as they still exist to this day, playing hip hop and R&B (and not the 'throwbacks only' kind; their website is plastered with current music). I'd like to think that The Presidents wrote "Peaches" with the deliberate goal of making a song so instantly unforgettable, and tied to a commonly-seen item, that it'd be bound to implant itself in your mind for eternity. I suppose it's like an ad jingle, and I'm surprised its Wikipedia page doesn't have an extensive list of companies using its tune in their ads, whether the band approve or not. It shares a minor connection with a prior Logo entry, as its riff is similar enough to Bad Company's "Feel Like Makin' Love", as covered onto our radar by Pauline Henry, that the band openly acknowledged it at the time. Unfortunately for them, the curse of "Lump"'s 2nd-round crash has remained, and "Peaches" didn't even match that, but at least it knows how to rid itself of the pain. Pigs can eat peaches, pits included, though the hydrogen cyanide the pits contain may be dangerous in large quantities. Céline Dion's last 3 entries have been spaced out by almost exactly a year between them, but that... won't be lasting much longer. For the first time, "Falling Into You" didn't take months (or more) to climb the charts, and though it was only a #12 hit, the album not only debuted at #1 amidst Alanis' hot streak, but was certified platinum on arrival. All 4 of Céline's entries so far have placed 7th or 8th. We're nearing the end for John Farnham; he was still able to debut at #3 with a lead single, but it fell away pretty fast, and the only time we'll be seeing him again is in a collaboration with an artist we're going to get familiar with in the coming years. The album missed #1 due to Metallica releasing the same week, but the song did become part of a #1 album in his "Anthology 1 - Greatest Hits 1986-1997" album the next year, blocking Portishead in the process. Speaking of numerical 'Anthology' albums, it's The Beatles again! John Lennon had written "Real Love" in the late '70s, proposing to include it in a planned musical with Yoko Ono, and one demo take had been made public with the soundtrack for a 1988 documentary about him. Like "Free As A Bird", they received "Real Love" when seeking unreleased Lennon recordings from Ono, and cleaned up the demo recording and added more instruments. BBC Radio 1 chose not to playlist it, due to being a contemporary music station with a young audience, and that was apparently a big enough scandal for a Beatles single that an MP declared it 'censorship', and Paul McCartney wrote a tabloid article about it. "Real Love" was covered by Regina Spektor for Like A Version in 2007, placing #29 in the Hottest 100, and by Tom Odell in 2014 for the UK's John Lewis Christmas ad, which broke the streak of the previous 2 years' songs going #1 when it only reached #7 (but the ones since have done even worse).
63 - The Smashing Pumpkins - 1979 (survived 1) 50 - Everything But The Girl - Missing (Todd Terry Remix) (survived 2) 42 - Babylon Zoo - Spaceman (survived 1) 27 - Alex Party - Wrap Me Up 27 - Björk - It's Oh So Quiet 26 - OMC - How Bizarre 21 - The Presidents Of The United States Of America - Peaches 15 - Céline Dion - Falling Into You 9 - John Farnham - Have A Little Faith (In Us) 5 - The Beatles - Real Love
2Pac feat. Dr. Dre - California Love 3T - Anything Ace Of Base - Beautiful Life Alanis Morissette - Ironic Babylon Zoo - Spaceman Boyzone - Father And Son Everything But The Girl - Missing (Todd Terry Remix) Oasis - Don't Look Back In Anger Take That - How Deep Is Your Love The Smashing Pumpkins - 1979
Does California, Sweden, Canada, England, Ireland or Illinois best know how to party? Sally can wait until Tuesday evening (and will probably appreciate the low amount of dance songs present).
+5 California Love +4 Missing +3 1979 +2 Don’t Look Back In Anger +1 Ironic (this could have been any of the remaining songs as they’re all quite excellent [the two covers are pretty inessential though])
You won't be surprised to know that things were a little closer this round. After a difference of 36 points between 1st & 4th in Round 120, this time that difference is just 14. There's still a distinct divide, but it's clear that priorities were a little less open and shut, well except for the bottom 4 getting less than 10% of the votes. Nonetheless, The Smashing Pumpkins' nostalgic ode to a year which is now a decent way further in the past than 1979 was when "1979" came out remains on top. Billy Corgan will be smiling politely when he sees this. Things work out well for Everything But The Girl too, who need not worry about missing any points like the desert misses the rain, as they've matched their previous round score and scored an induction. All these slots were hotly contested primarily between 6 different songs, for which Babylon Zoo find themselves ousted as someone else needed space, man. This round featured 4 other former Hall Of Fame inductees (5 including The Smashing Pumpkins), but the final place instead went to an artist we've not seen here before. It's also one that's gone completely adrift the eyes of the ARIA Chart. As is often the case in the world of hip hop, Tupac Shakur's chart history starts over in the US. He'd been making hits over there for a few years before "California Love" came around, climbing to prominence quickly for his poetic craft, and lyrical depth in exploring inner city struggles. He continues to be immensely lauded to this day (though not as much as Joe Budden), causing all kinds of controversy as one usually does as there'll always be detractors in the line of 'People just like his hits' or 'He's only beloved because he's dead'. Tupac died at age 25 about a week after a drive-by shooting. He was just slightly younger than Kendrick Lamar was at the release of "good kid, m.A.A.d city", so one can only speculate where his career could have taken him. Because of this he's also often compared to XXXTENTACION who was not even born yet but was similarly murdered in the prime of his life and popularity. That death propelled him to the top of the Billboard Hot 100, and you'd be forgiven for thinking Tupac had passed before he got his first #1 hit with "California Love" but it wasn't until later in this year. For that matter, there's a curious case of unusual timing for its chart ascent, as it debuted in the Australian top 10 back in April, but wouldn't touch the US Hot 100 until June. This coincides with the release of what was over here his next single "How Do U Want It", as the two were released as a double A-side over there. "How Do U Want It" is one of the more unlucky songs to miss this game, having spent nearly half a year in the top 50 without getting higher than #24, but Tupac will have several more posthumous entries over the years, I think as recently as 2009 when his voice was sampled on a top 10 hit. There's also a good link back to me mentioning Kendrick Lamar because not only does "To Pimp A Butterfly" end with a mocked-up interview with Tupac, but also as a young child he witnessed the filming of the "California Love" video and cites it as a pivotal moment growing up. Also featured on the song is Dr. Dre, who we've seen before in the producer role just once, with Snoop's "What's My Name?". None of Dr. Dre's acclaimed solo albums net him any entries in this game, or even top 50 hits for that matter, but he will return in front of the mic eventually, after orchestrating quite a lot of popular music trends in the years to come. Singing the hook on the song is '80s R&B hit maker Roger Troutman, who was also shot to death in the late '90s. In his group Zapp, he was something of an innovator for the talk box technology used in this song. I've written that whole lengthy spiel so that you can wait, not necessarily because it takes longer to read or because it takes longer to scroll past and get to the important results, but because it means that it took me longer to type it up, and thus longer to post it. Just don't look back at that sentence in anger. The 2019 film "Yesterday" posits the notion of a world where The Beatles never became famous, a world which is remarkably similar to the world as we know it, at least in terms of the fact that Coldplay & Ed Sheeran are still very much loved. Oasis on the other hand, are made to have not existed either as a dig at how blatantly they followed in The Beatles' wake. If you want a real blatant showing of that, look no further in this game where there have been exactly two Beatles entries, and both have been immediately followed by an Oasis entry. In fact the last 6 rounds have either had a Beatles song or an Oasis song in it, such is the power of "Wonderwall". Neither of these trends can continue because firstly Oasis have another entry in the pipeline which I am fairly certain is not following a 3rd Beatles entry (though Paul & John will both appear separately in the very distant future), and also because Oasis have been eliminated in 4th place. Much is often remarked about Manic Street Preachers missing out on a #1 peak for "A Design For Life" in the UK, and how they eventually got their redemption with "If You Tolerate This Your Children Will Be Next". The same can be said of Oasis. It wouldn't have been their first #1 hit, but "Wonderwall" peaking at #2 is always a bit jarring in hindsight. It helps matters that they corrected things with the next single "Don't Look Back In Anger" debuting right at #1, and setting the stage for Oasis more often than not debuting at #1 with most new singles. "Don't Look Back In Anger" is also noteworthy for a less obvious reason, it being the first single released by the band where Noel Gallagher provides lead vocals, something he would keep occasionally doing on singles like "Little By Little" (their only Hottest 100 entry after 1995), "The Importance Of Being Idle" (their last #1 single and basically a proto-High Flying Birds track), and "Falling Down" (their last single). In a DVD commentary with Noel watching every music video of theirs, he quickly notes his disillusionment with filming videos, but notes with "Don't Look Back In Anger" that it's even worse when you have to be the front man for it, whose video he calls a waste of an afternoon. He also reveals that the chorus hook is the last thing that was written for the song, which came about from Liam mis-hearing him singing 'so Sally can wait' which ended up being the final product. The song is also the last Oasis song to appear in the UK top 40, as a result of the song becoming an anthem in remembrance for the victims of the 2017 Manchester Arena bombing. Noel apparently had something more important going on and couldn't attend so Coldplay performed the song instead. Liam Gallagher also performed the song at his own show later that month, marking the first time he'd ever done so. With the very differing levels of competition for Oasis's two entries thus far, I can only speculate if the finishing status of them runs entirely depends entirely on that, maybe head to head "Don't Look Back In Anger" could have beaten "Wonderwall". Perhaps the band's final entry will settle things. Still with plenty to settle is Alanis Morissette. I am sure you've heard the classic tale before, about how the ironic thing about Alanis Morissette's "Ironic" is that the hypotheticals dictated in the song are not actually ironic. However, the average person does not fully grasp the concept of irony (I usually have to look up a few to remember), so allow me to try and explain the 7 forms of irony through, obviously, video game references. In one of the final missions in Wargroove, Valder makes an ominous remark, to which Nuru calls him 'Mr. Sunshine' and to ease up. Valder instead then remarks that everything will be fine, and Nuru merely sighs by saying '...Convincing', which is all textbook Verbal Irony, saying an opposite meaning for sarcastic effect. At the start of Final Fantasy X, we learn that Rikku is of the Al Bhed race, and not long after, that Wakka is bigoted against them, however he unknowingly travels with one for about half of the story. This is dramatic irony where we the audience know something that a character doesn't, and experience them acting without that knowledge in mind. In Life Is Strange, your decision to warn a certain character about a certain threat will actually cause them to be murdered while they would otherwise survive if you hadn't. This is Situational irony where the result of actions are the exact opposite of what is intended. In various Dynasty Warriors entries, Cao Pi ties his boats together in order to make a strong, tight formation, however anyone familiar with the Romance Of The Three Kingdoms stories (or the movie Red Cliff) knows that this ultimately just helps Zhuge Liang's fire attack to work, and cripple the far larger Wei army at the battle of Chi Bi. Cao Pi's actions are a tragic irony because we witness his actions as he unknowingly sets about his own demise. In the first two Danganronpa games, Makoto & Nagito are both recognised as the Ultimate Lucky Student, as they were chosen through a lottery, though it really manifests them both (in varying ways) constantly finding themselves in remarkably improbable situations. This is cosmic irony where it feels like a higher entity is deliberately conspiring against you for fun. In the Ace Attorney games, attorneys will frequently ask questions of clarification to their opposition, often in sequence in order to turn their answer on their head by providing new evidence. This is Socratic irony because a question is being asked with the appearance that the answerer is the one who knows more, but in fact it's the person asking who does. In NieR:Automata, humans go to live on the moon and send androids to Earth to clear it of life-threatening machines, but in reality these androids are made to feel no emotion while the machines exhibit more human-like interactions. This is historical irony because a once rational decision is made to look ironic with the benefit of hindsight as the flow of time shifts things around. In "Ironic", many situations described can be best argued as 'bad timing', though maybe ironic with more context. The best example is probably Mr. Play It Safe however, who has an established irrational fear of flying, but the plane does end up crashing so as to legitimise his fear, and he remarks 'Well, isn't this nice?' about the situation. This is a combination of both tragic irony and verbal irony. So really, the irony of "Ironic" is that it's the very people who tout themselves as clever for understanding what it means to be ironic, who shoot themselves in the foot for incorrectly claiming that "Ironic" is ironically not ironic. Or maybe the real ironic thing is that I went to tvtropes to remind myself of the definition, and then independently came up with various examples of such tropes without realising I was literally on the website whose primary purpose is to point out the use of such tropes in media. Alternatively, the real irony is that there's a good chance that people discrediting the lyrics of "Ironic" have only kept it more entrenched in the public spotlight, and now it easily endures as her most popular song (although it already has been her highest charting single in Australia). By the way, Barbra Streisand has a house in Malibu, also did you ever hear the tragedy of Darth Plagueis The Wise? Ironically despite an impressive score of 32 points, it lands in the bottom half of the ranking though it scored more points than all the songs behind it put together. You might not have realised that Ace Of Base released a new album in 1995. Australia sure didn't as it peaked at #46 following the #9 peak of their previous album. Perhaps they played their trump card too late, because the album was preceded by the #30 peaking "Lucky Love", and though the second single was released a little before the album, it took 3 months until "Beautiful Life" turned up on Australia's charts, and another 2 months before it would reach its #11 peak. Possibly it needed time to sink in as though immediately catchy, it distinctly lacks the reggae flavour of the group's previous hits. The difference might be partly because this track is a return for Max Martin who is still progressing towards his signature sound on these early entries. It just so happens that the next time we'll see him in this game it'll be alongside 3T, who sit just behind him in this list, which isn't ironic but it's interesting. The latest in a long road of nepotism, you've probably heard of 3T because its 3 members are 3 sons of Tito Jackson of The Jackson 5, or alternatively, they're nephews of Michael Jackson (the member, not the completely unrelated Michael Jackson who wrote "Blame It On The Boogie"). Furthermore, the name comes due to Tito's alliterative naming convention, with their names being Tariano (Taj), Taryll & Tito Joe (TJ) Jackson. Their brief time in the spotlight was kicked off with their first single "Anything", which depending on your feelings about the legitimacy of "Spaceman"'s popularity, perhaps has the most reason to feel miffed because that's what blocked them from a #1 hit in the UK. Perhaps the most interesting thing about the song is that despite being a young boyband (TJ had only just turned 17 when "Anything" was released), all 3 members contain the sole writing & producing credits on the track. Their effort is perhaps rewarded as they manage to defeat the two covers in this game by considerably more famous boy bands. And it's time for the entry of yet another UK Pop act who are crawling with UK #1 hits that never came close here. Boyzone in fact had 6 of them, often with fairly respectable chart runs, so it wasn't just a fan base thing (although their first 17 singles all did debut in the top 10). Not one of those is their highest charter in Australia a cover of not the problematic Cat Stevens song we saw from Maxi Priest, but instead the now very popular one, "Father And Son". It's the one time Australia was on level pegging as it reached the same #2 peak in both countries. It's also yet another time for me to cover existential fatherhood, which of course works wonders as the roughly 20 year old members of Boyzone explain that they're old and their infant children explain that it's time for them to break out and define their life on their own terms. Less cynically you could interpret this as the group responding to their own label, as after a largely cover driven start to their career, "Father and Son" was followed by "Coming Home Now", the first Boyzone single to be written solely by the group's members. It would result in their lowest charting hit to date in the UK and they would follow it up with their first #1 hit being a cover of "Words" by the Bee Gees. That's only ironic if you believe in the authorial intent of my nonsense narrative. Here's an interesting piece of trivia. The song "How Deep Is Your Love" was a #1 hit for which artist? Depending on whether you mean the US, the UK or Australia, the correct answer is different every time (while one of the more consistently successful "How Deep Is Your Love"s didn't peak at #1 in any country, but we'll get to that later). The US & UK have the same song in mind ("How Deep Is Your Love", who'd have thought?) as recorded by different artists. First of course by the Bee Gees, but then in the mid-90s by Take That. As previously mentioned, Robbie Williams left the group in 1995 but was unable to release his own solo music while Take That were still together. Luckily for him, they only released one more single after he left. Such was the hysteria about Take That breaking up despite a run of 4 consecutive #1 singles, telephone hotlines were set up for fan counselling in the UK. Despite Noel Gallagher claiming that Robbie Williams based his entire career on one of their 1997 songs, Robbie would launch his solo career later in 1996, as would Gary Barlow, it's anyone's guess who has better prospects ahead of them at this stage. As for Take That, it's a big what if on what they could have continued to accomplish had they kept going. Except it's not because they reformed 10 years later with the same line-up they left on. They did not score another top 20 hit in Australia but their success in the UK was in some respects even bigger than their original run. Their first new single "Patience" being a monster #1 hit, followed by "Shine" doing similarly well. To the British public, their signature song is probably now "Rule The World", which is one of the most unlucky #2 peaking hits just for how tremendously well both it and its opponent were selling at the time. Just like "Wonderwall" they would remedy this with the next single peaking at #1, and they scored one final #1 as late as 2014, just one week before much younger UK boyband Union J would score the dubious honour of having the first ever song to reach #1 on the UK Sales chart without doing so on the main chart, because of streaming. Even their Wikipedia page doesn't even try to pretend it's a #1 hit. However Take That have their own dubious honour in this game, as they score the first 0 score we've seen in 23 rounds, last belonging to yet another UK boyband, East 17. Don't think, it isn't ironic.
53 - The Smashing Pumpkins - 1979 (survived 2) 50 - Everything But The Girl - Missing (Todd Terry Remix) (survived 3; inducted!) 49 - 2Pac feat. Dr. Dre - California Love (survived 1) 39 - Oasis - Don't Look Back In Anger 34 - Babylon Zoo - Spaceman 32 - Alanis Morissette - Ironic 12 - Ace Of Base - Beautiful Life 9 - 3T - Anything 7 - Boyzone - Father And Son 0 - Take That - How Deep Is Your Love Last edited:
2Pac feat. Dr. Dre - California Love The Corrs - Runaway The Cranberries - Salvation George Michael - Fastlove Human Nature - Got It Goin' On La Bouche - Sweet Dreams Mariah Carey - Always Be My Baby Max-A-Million - Sexual Healing Michael Jackson - They Don't Care About Us The Smashing Pumpkins - 1979
If you're looking for fast votes, don't do it, don't do it after the Thursday night deadline
1996 best year yet? easily for me so far! i could have given at least a +2 to all songs excluding one lol
+5 2Pac feat. Dr. Dre - California Love +4 The Smashing Pumpkins - 1979 +3 Michael Jackson - They Don't Care About Us (i can't not with this particular song) +2 The Corrs - Runaway +1 George Michael - Fastlove
Another round easily in The Smashing Pumpkins' favour means "1979"'s journey is complete, and with a 170-point total landing them just inside the top 10 highest totals so far. By following alongside "Disarm", they join The KLF, Seal and Sophie B. Hawkins on the list of 100% induction rates among multiple entries, and "1979" supplants "Disarm" itself as the most popular #16 hit we've had. Though a bit less securely than last round, "California Love" has also maintained itself, all set to try and avoid "Regulate" and "Ring Ring Ring" and "What's My Name?" fate. This round featured 3 huge stars of the '80s and/or '90s, who've had plenty of appearances here, but between them, only 1 HOF entry ("Emotions"), and 2 unfulfilled top 3 placings ("Freedom! '90" and "All I Want For Christmas Is You"). But they've all coincided on some of their strongest performances to date, and with a new top 3 placing on board is, conveniently, the one with the least future entries left: George Michael. Outside of "Freedom! '90" (one of the unluckiest, narrowest HOF misses), all his other entries had scored in the range of 15-21 points, until now. While "Jesus To A Child" attained some high chart peaks as his long-awaited return, it depleted fast, but luckily for him, he had a more upbeat and groovy follow-up around the corner in "Fastlove". It charted twice as long, including an impressive 7 weeks in the ARIA top 2 (landing it at #20 on the 1996 EOY, 70 spots ahead of "Jesus To A Child"), and 4 weeks at #1 which matched it with "Careless Whisper" and "I Knew You Were Waiting (For Me)" as his longest-running Australian #1 (bar "Wake Me Up Before You Go-Go", which spent 7 weeks). In the US, his career didn't pick back up that strongly, but "Fastlove" was a top 10 hit... and then his last song to ever chart there at all. Towards the end of the song, you hear a backing vocalist singing "Forget Me Nots", a 1982 R&B hit by Patrice Rushen; it had also been recently covered by a Eurodance act who in fact even included it as a b-side on their upcoming next single, and was interpolated in an even bigger way in 1997. By 'towards the end', I mean in the regular single/album version; in a move possibly inspiring the Justin Timberlake of 10 years later, "Fastlove" also had a 9-minute 'fully extended' version included on the single, merging into a very different-sounding section in the latter minutes. When Adele performed a tribute to George Michael at the 2017 Grammys, "Fastlove" was the song she chose, saying it was her earliest memory of being a fan (of him or period, I'm not sure). Mariah is up to her 13th entry, and only 2 have ever made the top 3 (though 10/13 have scored at least 20 points); 3 more failures and she'll match Kylie. "Always Be My Baby" is one I'd have expected to be among her best chances too, as it tends to be one of her most enduringly-popular songs everywhere I've seen, from when it was still a US radio favourite at the start of this decade (I think I heard it from streaming US radio for American Top 40 at the time), to now being easily her 3rd-biggest song on Spotify (behind "All I Want For..." and "We Belong Together"). It did outscore "Always" and "Be My Baby" combined, at least. Whereas the "Daydream" album was just as huge as "Music Box" in the US, the slight shift away from adult contemporary ballads didn't suit Australia as well, and so compared to "Music Box" spending 18 weeks at #1 and over a year in the top 10, "Daydream" was out of the top 10 after 3 months. The next Australian single (released before "Always Be My Baby" in the UK) was "Open Arms", a Journey cover, which became her first non-Christmas single since 1992 to miss the top 20. Instead of "Open Arms", the US got the waltzy "Forever" as an airplay-only single, and Australia then became one of few countries to get a physical release of it, reaching #77. While "Forever" being kept airplay-only isn't too questionable being a late single from a huge-selling album, 1 or 2 of her next album's singles (I can't remember exactly which) are rumoured to have been slated but deliberately cancelled when it was evident they'd miss #1 and end her streak, giving the "Daydream" and "Butterfly" albums a combined 5 US #1s and nothing below. More recently in 2016, the 'do-do-do' hook was interpolated in Sigala's career highlight "Say You Do", the greatest song to peak at #101 in Australia that I know of. "Earth Song" became Michael Jackson's first song to crack 30 points, and "They Don't Care About Us" has exactly matched it, and has become his first song to get 10 votes. Amazingly for a greatest hits album (well, with a full accompanying disc of new material), it produced 4 notable (in some way or other) hit singles, and has a 5th entry still to come. With its heavy drum beat making it quite a unique cut in his discography, and another big video, this time filmed in Brazil, it remains one of his most popular '90s tracks, particularly on YouTube where it's his 2nd-most-viewed video (3rd if you combine the shortened version of "Thriller"), and in 2009, it was his only post-"Black Or White" song to re-enter the ARIA top 20. Not helped by both having singles called "Dreams", I've mixed up The Corrs and The Cranberries (plus occasionally The Cardigans) numerous times in the past, so it's fitting that we encounter them together (and with 2 songs that absolutely could not be the opposite bands). "Runaway", not to be confused with Janet and Real McCoy's recent hits by the same name, was the debut single for the less fruity, more familial one of the bands, who were one of the first signings to the label of David Foster, producer of many big '90s ballads including numerous Céline Dion hits. Outside of their home of Ireland, Australia was, randomly, the only place they had strong initial success (though "Runaway" did chart in the US, which is something). They finally had their UK breakthrough in 1998, going from no top 40 hits to a #6 debut when they covered "Dreams" of the Fleetwood Mac variety, initially for a "Rumours" 20th-anniversary tribute album, then promoted through a Mick Fleetwood-joined performance broadcast by the BBC in their St. Patrick's Day coverage, and with a single mix by Todd Terry. Following that success, they went full throttle on remixes, first with prior single "What Can I Do" and existing album track "So Young" remixed to top 10 success, and then finally, "Runaway" - despite being an entire album ago, it was re-released with a remix by Tin Tin Out (not a dance mix; more like a 'pop radio-friendly mix' adding some bass and making it sound a lot more compressed), which reached #2 there, in February 1999. Their 1997 album "Talk On Corners" was first reissued to quietly insert "Dreams", and then reissued again as a 'special edition' with all those remixes, together becoming the UK's highest-selling album of 1998. Tin Tin Out also had a UK #2 hit of their own later in 1999, with Edie Brickell & New Bohemians' 1989 hit "What I Am" covered as Emma Bunton's 'solo' debut. When The Corrs announced a return in 2015, they joked that they'd bring a 'Peppa Pig Bus' on tour to house their kids. The Cranberries on the other hand were already at the end of their hitmaking career by this point, but with enough momentum to bring the punchy [s]"Lines (Don't Do It)"[/s] "Salvation" to the top 10, which, measuring at 2:23 long, I think is the 3rd-shortest top 10 hit from 1988 to 1996 so far, after Frente!'s "Bizarre Love Triangle" (2:00, and kind of cheating when it was part of an EP), and Louis Armstrong's "What A Wonderful World" (2:18, and also kind of cheating when it was decades old). Among #11-#20 hits, The Presidents...' "Lump" (2:14), Cold Chisel's "Hands Out Of My Pocket" (2:18) and The Screaming Jets' "Living In England" (2:19, though from an EP) are also slightly shorter. La Bouche mainly maintained the high voters of "Be My Lover" but not the low voters, causing quite a decline, though not as drastic as 8th place suggests, as they almost matched the record for highest #8 points (held by "Speed"). "Sweet Dreams" (originally subtitled with "(Ola Ola E)"... or like "(Oᴴle Oᴴla Eᴴ)" with the overlaid letters that Discogs submitters parsed as "(Hola Hola Eh)") was actually their first single, released in 1994, and a top 10 hit in Germany/Austria/Switzerland and top 20 in Sweden in late 1994. "Be My Lover" followed and was a bigger European hit in mid-1995, so it was chosen for the intercontinental release first, then "Sweet Dreams" followed. Max-A-Million were a project produced by 20 Fingers (yes, of "Short Dick Man"), who began as a solo artist, Duran Estevez, and created a club hit, "Fat Boy". They felt he'd be more successful as a group, so a trio was formed, and together they released an album with singles including covers of 2 big early-'80s R&B hits - one an S.O.S. Band song, and the other Marvin Gaye's notorious "Sexual Healing". The 3 tracks I've mentioned peaked in the 60s in the US and that's as far as Max-A-Million ever got, but in a Portrait-esque move, their "Sexual Healing" cover was promoted internationally and became a big hit in Australia, NZ and absolutely nowhere else. Max-A-Million would only release one more single beyond their album, a cover of a certain '80s hit that a Eurodance act made huge here in early 1997, perhaps trying to exploit that cover's lack of US exposure benny blanco & Juice WRLD-style, but to no success. The group disbanded but Duran Estevez kept the Max-A-Million name, and was still performing under it as of a few years ago. "Sexual Healing" would form an isolated Australian hit again in 2015 when it was heavily interpolated in Nelly's "The Fix", a #3 hit here with minimal success elsewhere. The bottom of the results is an awkward place to introduce a new act we'll be seeing a lot of, but I suppose they can only go up from here (*muffled screams from Jimmy Barnes*); certainly chart-wise they did. Human Nature initially formed in high school in 1989; they were all in choirs and thought they should start a band, but as none of them played instruments, they went for a vocal group, naming themselves '4 Trax' and singing the one doo-wop song they knew (The Penguins' "Earth Angel", which they eventually recorded on their 2014 platinum album "Jukebox"), to which they were recommended to listen to more Motown groups. After high school, they did some busking, talent shows and club performances, and allegedly got signed after performing acapella for Sony's CEO. Not exactly showcasing their background much, they debuted with "Got It Goin' On", simultaneously sounding behind the curve for new jack swing, but somewhat ahead of the curve for the late-'90s boyband wave. Presumably due to a certain other boyband debuting with a song called "We've Got It Goin' On" (which was actually first, but not significant enough to matter in Australia), Human Nature's song was renamed "You Got It" for the later European release (instead aping another boyband debut hit?), and titled "You Got It (Goin' On)" on the album there.
54 - The Smashing Pumpkins - 1979 (survived 3; inducted!) 40 - 2Pac feat. Dr. Dre - California Love (survived 2) 39 - George Michael - Fastlove (survived 1) 33 - Mariah Carey - Always Be My Baby 31 - Michael Jackson - They Don't Care About Us 30 - The Corrs - Runaway 27 - The Cranberries - Salvation 23 - La Bouche - Sweet Dreams 5 - Max-A-Million - Sexual Healing 3 - Human Nature - Got It Goin' On
2Pac feat. Dr. Dre - California Love Coolio - 1, 2, 3, 4 (Sumpin' New) DJ Darren Briais vs. DJ Peewee Ferris - I Feel It Eternal - I Am Blessed George Michael - Fastlove Gina G - Ooh Aah...Just A Little Bit Metallica - Until It Sleeps Robert Miles - Children The Tony Rich Project - Nobody Knows Triple X - X-Files Theme
+5 Gina G - Ooh Aah... Just A Little Bit +4 Robert Miles - Children +3 2Pac featuring Dr. Dre - California Love +2 DJ Darren Briais vs. DJ Peewee Ferris - I Feel It +1 Triple X - X-Files' Theme (Version Dance)
+5: Robert Miles - Children (like Spaceman, among my favourites of everything so far; hope this one can make it!) +4: Triple X - X-Files Theme +3: 2Pac feat. Dr. Dre - California Love +2: Gina G - Ooh Aah... Just A Little Bit +1: Metallica - Until It Sleeps (close with Tony Rich Project)
+5: Robert Miles - Children +4: Gina G - Ooh Ahh...Just A Little Bit +3: 2Pac ft. Dr. Dre - California Love +2: DJ Darren Briais vs. DJ Peewee Ferris - I Feel It +1: George Michael - Fastlove (was my #10 last round!!)
+5 Children (possibly my favourite song to enter in my time in the game so far! <3 Like a Prayer would be my favourite overall) . +4 Fastlove +3 Ooh Aah... Just a Little Bit +2 California Love +1 X-Files Theme
wanted to vote I Feel It too, but otherwise a clear-cut top 6 this round
This round hits peak instrumental trance. My adventures with the UK Charts would have me suggest that time is the next 10 years after this spread out, but in terms of the Australian charts, it's quite peculiar to see two really big hits like that at the same time. The similarity of these two tracks, with their simple piano riffs poking out from their otherwise more hard hitting build ups have a fair bit more in common than you'd immediately think. It seems appropriate that of the 7 voters who voted for both of them, 5 had the two adjacent. This would perhaps suggest similar scores but it's far from the case as Robert Miles has not only blitzed his counterpart, but rather the entire competition with his composition "Children". Robert Miles was at around his 25th birthday when he composed his defining hit which is a great way to feel depressed. It's a similar mood which inspired the song in the first place, as his father was doing humanitarian work for the Yugoslav War and brought home pictures of child victims whose tragedy inspired Robert Miles to work on the song "Children". The song was also intended to be used to close playlists with a calmer mind so as to reduce deaths by drunk driving. However, that may mean that less people managed to get home on time, so, it;s impossible to say if its bad or not. The song had something of a stilted release across Europe as the various labels licencing it had trouble keeping up with the unexpected demand, though it would eventually top several charts and go top 5 across the whole continent. Australia would also get on board with a #5 peak and even in the US it reached relatively abnormal heights of #21, though oddly enough around the same time another instrumental hit with nothing in common except that the artists for that other one also had recently been involved in a hit song relating to the Yugoslav War. #21 is also as high as Robert Miles would ever get on the Australia charts after the fact, with his follow up single "Fable". He also generally scarcely impacted the charts after his first album "Dreamland" though he continued to release music up until 2011, until in 2017 he would become another tragic victim to cancer. It actually means that the entire top 3 this round is made up of deceased artists. Last round's duo of "California Love" and "Fastlove" have again retained the final two slots of the top 3, though this time George Michael has caught up slightly to force a tie between them. For "California Love", this means an induction, while George Michael will try again to succeed in the final round which has previously cursed him. We've had offhand mention of the Eurovision Song Contest before, mainly because we've had a couple former & future performers appear. Now we actually have a song entered into the contest, which whether by nature or design, just so happens to be performed by an Australian singer. Obviously it's not the first to go into the top 20, but the days of ABBA & Bucks Fizz long pre-date this game. This entry is of course Gina G with "Ooh Ahh...Just A Little Bit". We can't put it all on Australian bias though as it was even a #12 hit in the United States, and notably had already been trending as a hit around the world before the contest even aired. This would prime it for a win but instead it finished 8th and the UK has been so despondent ever since as you can tell by looking at their entries since. This is not the last we'll see for Eurovision in the game but it's a long time until it returns. Dana International would crack the top 70 a couple years later with "Diva", but the Eastern European flavour of the 2000s would leave Australia inactive generally. That being said, despite that and the always awkward time zone, it would gain a cult following in Australia and it would become a regular event to see the winning song in the Australian chart. Alexander Rybak, Lena & Loreen would get higher and higher and eventually we'll reach the only winning entry to make the top 20 in the last 35 years. That's also when there will be some deliberate Australian bias as the cult following would result in Australia's participation in the contest. In the very enclosed circle of '90s popular R&B, we continue to see the same names in different places. We can introduce another set of songwriters as it was the duo Tim & Bob who discovered Antonio Jeffries, better known as Tony Rich, better known as The Tony Rich Project, who then put him onto the wife of L.A. Reid, and he wound up writing several assorted tracks for other artists we've seen such as Johnny Gill, Toni Braxton & TLC. We'll be seeing a couple of Tim & Bob's works years from now, by which time the world has largely forgotten about The Tony Rich Project who never had a second big hit after "Nobody Knows" went to #2 in the US and Australia. For people who take top 40 as a technical rule, Tony Rich goes on the unlucky side as the next single "Like A Woman" peaked at #41 on the Billboard Hot 100. On the topic of George Michael, earlier in 1996, he could be argued for introducing us to the world of fanbase #1 hits, songs by popular artists debuting at #1 but showing little staying power to suggest the song's popularity genuinely warranted a #1 placing and what that entails. A prime candidate for a #1 debut would be the first single from the follow up to one of the most successful albums of all time, and thus we have "Until It Sleeps". Even though many Metallica fans write off anything post "Metallica", it's these years the band had their most commercial clout, perhaps helped by their veering away from thrash metal into hard rock that just maybe could get played to a wide audience with more ease. The poor general reception however to this era of Metallica mirrors perfectly with the fact that the album is titled "Load", and has an album cover consisting of a cow's...load. According to James Hetfield, it was a joke that just Lars Ulrich & Kirk Hammett were in on, a Death Grips style attempt to shock and provoke that he wanted no part of. A short while back while discussing "Excalibur", I mentioned that Nick Skitz would yet again take an unusual source close to the top of the charts, and we've now arrived on it with Triple X. Rather than the very historical reference of "O Fortuna", this time we're greeted to an interpretation on the theme song to "The X-Files". Whenever stuff like this appears relating to cultural phenomena detached from music, I like to look back at how long it had been around by the point of receiving the hit song treatment, as there can often be a novel sense where people are trying to make sense of this new thing, or rather it's tapping into a well established zeitgeist, oxymoron be damned. This perhaps falls into the latter category as FBI agents Mulder & Scully had been investigating the paranormal since late 1993, while the show made it to Australia's shores in early 1994. Perhaps that's the right amount of time for the show's iconic musical sting to permeate culture to warrant this popularity. Then again, it's not really at the public's discretion when Mark Snow decided to release his theme song as a CD single which probably prompted the flood of remix versions around the world. In fact that single, which contained the original version & also the popular Terrestrial mix reached #27 here in the charts during Triple X's tenure in the top 10. Clearly the key difference in popularity is the raindrop sound from Triple X's version, which reminds me of booting up Umineko. Nick Skitz has more to come in this game though it won't be for a while. He will however continue to bring disparate source materials to the table. After releasing one of the biggest rap singles of all time, it's taken a little while for Coolio to return to this game. His most immediate follow up to "Gangsta's Paradise" was a cover of Kool & The Gang's "Too Hot" which only reached #42. These two songs clearly establishing him as one to flip old samples, he returns in this game with "1, 2, 3, 4 (Sumpin' New)" which has not one, but three different prominent samples. The intro is taken from The Evasions' "Wikka Wrap", the brass hook from Tom Browne's "Thighs High (Grip Your Hips and Move)", while Coolio also interpolates "Help!" by The Beatles in his rap. Eternal return again with "I Am Blessed". Eternal are not cheese makers so you should read 'blessed' with just 1 syllable. Though on the topic of religion, they actually performed the song for Pope John Paul II. Released right near the end of 1995, it's Eternal's slowest song to reach its peak on the UK charts, taking 6 weeks to reach #7 whereas every other single released from this album and beyond would peak in its first week. Last up we've got the collaboration between two Australian DJs, Darren Briais & Peewee Ferris, and yet another misfire in the attempts to see a #20 hit go all the way in this game. The chimney-less "I Feel It" is the only credited top 50 hit for the two of them and so it would be easy to believe that this is their one shot at fame. For Darren, that's probably true, but for Peewee, he has quite a bit of activity. Notably he helped produce Collette's "Ring My Bell" way back, and he would go on to contribute to the opening & closing ceremony of the 2000 Summer Olympic Games in Sydney. Either he or his publicist singlehandedly made his Wikipedia article 6 times longer in 2011 and the core structure of it remains ever since. The most important thing I learned from it is that he became an ambassador for Kappa, a clothing company, though I can find nothing else to back this up, so I'll end this sentence with a Kappa and it won't matter if I'm lying or not, Kappa.
59 - Robert Miles - Children (survived 1) 49 - 2Pac feat. Dr. Dre - California Love (survived 3; inducted!) 49 - George Michael - Fastlove (survived 2) 34 - Gina G - Ooh Aah...Just A Little Bit 27 - The Tony Rich Project - Nobody Knows 26 - Metallica - Until It Sleeps 17 - Triple X - X-Files Theme 10 - Coolio - 1, 2, 3, 4 (Sumpin' New) 8 - Eternal - I Am Blessed 6 - DJ Darren Briais vs. DJ Peewee Ferris - I Feel It Last edited:
Adam Clayton & Larry Mullen - Theme From Mission: Impossible Bush - Glycerine Butthole Surfers - Pepper Céline Dion - Because You Loved Me Chynna Phillips - Naked And Sacred Fugees - Killing Me Softly George Michael - Fastlove No Doubt - Just A Girl The Presidents Of The United States Of America - Kitty Robert Miles - Children
Your mission, should you choose to accept it, is don't let Thursday night go by without sharing your outlook on the topic of your top 5
+5 Robert Miles - Children +4 No Doubt - Just A Girl +3 Butthole Surfers - Pepper +2 Chynna Phillips - Naked And Sacred +1 Céline Dion - Because You Loved Me (was close between this and Theme From Mission: Impossible, decided to go for this as it was #1 on the day I was born
difficult round for me, there's like 4 perfect songs that just came in so i hope they can somehow all go through
+5 Killing Me Softly (cannot believe we don't get Fu-Gee-La or Ready Or Not) +4 Pepper +3 Glycerine +2 Just A Girl (will be harder to put some future singles this low) +1 Kitty (this was my hardest choice, with George and Robert just behind)
from this round, i purchased the Theme From Mission Impossible cd single, and got the Fugees album (for my bday, iirc)
It's a big arrival for an artist we'll be seeing a lot of over the next 11 years; between No Doubt and her solo career, Gwen Stefani has 14 top 20 hits (all top 10 hits, even), and most impressively, I'd say there's not a single filler entry among them ('controversial' is a different matter). "Just A Girl" managed a sizeable lead over 5 strong and close-together competitors, and notably, got points from every single voter. While 100% votes has happened several times, mostly early on (the last time was "Ordinary World"), "Just A Girl" is the first time it's happened with 19/19 voters (after 43 rounds with that many), as opposed to 18/18 or less. However, it's not the first song to receive 19 votes, as we had 20 voters once, and that time, "Put Yourself In My Place" got 19/20 votes. Before their breakthrough, No Doubt had existed for a decade, initially formed by Gwen's brother Eric, Gwen herself (roped in for backing vocals) and their fellow Dairy Queen co-worker John Spence (who died in 1987), with some other musicians they gathered. They were signed to the newly-created Interscope in 1990 but their debut album, released in 1992 against the prevailing grunge tides, sold as minimally as it was supported, and Interscope were dismissive of most of what the band submitted after. Thus, they built their own garage studio to record a second album themselves of songs they knew Interscope wouldn't accept, and released it independently, selling out its initial run locally and convincing the label to allow them to record what became their third album, "Tragic Kingdom". Eric, who'd been drifting from the band, left midway through "Tragic Kingdom" (though not before co-writing "Don't Speak"; to represent his level of contribution, he appeared in the back of the album cover) to instead work full-time as an animator for The Simpsons, his presence there getting No Doubt drawn into a 1996 Simpsons episode, standing behind Homer for a second. Eric's departure led Gwen to begin writing lyrics without him, one of the first songs of which was "Just A Girl", inspired by driving home late at night from her bandmate and once-boyfriend Tony's house and her dad being displeased about it. It, like the rest of the album, was produced by '80s "Break My Stride" one-hit-wonder Matthew Wilder, who was Interscope's choice to make a second on-label album more suited to their wishes. "Just A Girl" was most successful in Australia, but its lower international chart peaks (except in the UK, owing to a post-"Don't Speak" re-release) shouldn't be viewed as a reflection of lesser status; Gwen, even after all her solo fame, still considers it definitive enough to her to have named her current Vegas residency after it, and it's easily No Doubt's 2nd-biggest song on Spotify. As for the other 2 survivors? Only 7 points separate the next 5 songs, with #6 scoring a new record high of 35 points (previously held by "Shy Guy" with 34). Robert Miles suffered quite an exodus with 5 voters and 17 points lost, but his most dedicated voters stayed focused enough to push him through. And alongside him, we have the arrival of another band who scored a #1 hit in 1996, and whose frontwoman later became (roughly) equally as well-known as a soloist... just with nowhere near the size of No Doubt or Gwen's discographies, and that's saying something when Gwen took a decade to release her 3rd album. Lauryn Hill and Pras met in high school and eventually formed a trio with Pras' cousin Wyclef Jean, first naming themselves Tranzlator Crew as their initial idea was to rhyme in different languages, then ultimately becoming the Fugees, reclaiming a derogatory term against Haitian Americans (which Pras and Wyclef, but not Lauryn, were). Their 1994 debut album was somewhat more successful than No Doubt's - a pair of remixed singles received some attention, including a #49 US peak for one of them - and Lauryn's prominence and talent allegedly led some fans, friends and the media to urge her to go solo. She resisted, for the time being, and they launched their second album with "Fu-Gee-La", sampling Teena Marie's 1988 #1 US R&B hit "Ooo La La La" (probably much better known now via both "Fu-Gee-La" and Trey Songz's 2014 hit "Na Na" [not about his nanna, if you weren't there for Jameela Jamil to confirm it for you]), becoming a #29 US hit and their last song (apart from a minor feature) to ever chart on the Billboard Hot 100, as the following singles weren't released commercially there. "Fu-Gee-La" eventually reached Australia and made #43, but was immediately dwarfed when "Killing Me Softly" hit, not even having its own "In The Summertime" moment. The song "Killing Me Softly" was written in the early '70s (the first idea being 'killing me softly with his blues', changed as it sounded old-fashioned), and first recorded by Lori Lieberman, who impressively has a full Wikipedia biography despite no real fame, though she's relevant to the "Killing Me Softly" story in that it's been said that she got the idea for it after watching Don McLean perform, but one of the 2 co-writers refutes it as an urban legend and says the Don McLean connection only came about when they played her the song, and it reminded her of being at his concert. The song was next sent to Helen Reddy (of "I Am Woman" fame), but she said it 'sat on her turntable for months without being played because [she] didn't like the title'. Roberta Flack heard Lori's recording on an in-flight audio system, after looking through the in-flight magazine to see if they had an article about her, which they didn't, then seeing Lori and wondering 'what she had that [Roberta] didn't' - plus, unlike Helen Reddy, she for one was intrigued by the title. As an endearing tale of the world long before digital music and phones and the societies they live in, she got out some paper, drew musical staves and listened to it repeatedly to note down the melody. After landing, she located the writer to obtain the full music, and first performed it while opening for Marvin Gaye, who encouraged her to promptly record it. She did, and it became one of the biggest US hits of 1973 and a #1 in Australia too, and obviously her signature song... to the point I'm surprised to learn she had another Australian #1 hit before it. About 22 years later, the Fugees were near the end of their otherwise rap-heavy album and thought of adding a song, and Pras suggested covering "Killing Me Softly". They initially wanted to change the lyrics to make it anti-drugs and poverty, but the original writers weren't keen so they went for a straight cover lyrically, but of course re-inventing it over a hip hop beat, sparse enough that their labelhead tried to make them add something more under Lauryn's second verse, but Wyclef stood firm. That 4-note sitar line is a sample from A Tribe Called Quest's 1990 track "Bonita Applebum", an inspiration to the style in which the Fugees remade "Killing Me Softly", which itself sampled it from the '60s psychedelic soul band Rotary Connection, whose members included Minnie Riperton of then-future US #1 "Lovin' You" fame. Roberta Flack went on to join Lauryn Hill and her backing members to perform "Killing Me Softly" together at the 1996 MTV Movie Awards, and I bet nobody predicted Roberta would be the one who'd continue releasing (occasional) music in the 21st century. "Killing Me Softly" was probably the first song to debut at #1 in Australia from an artist who didn't already have major built-up popularity (thus I'm guessing it was held back until it already had some exposure), and spent 7 weeks at #1, becoming the 2nd-biggest seller of 1996. This means that George Michael has narrowly failed on his 3rd round again - "Freedom! '90" lost by 2 points to "Crazy", "Falling" and "Better", and now "Fastlove" has lost by 3 points. At least "Fastlove" can rest easier since it didn't have any missing voters. Coincidentally, both "Freedom! '90" and "Fastlove" scored exactly 125 points in total. "Fastlove" was close to even falling to #6 due to the next 2 songs, which for another coincidence, also placed next to each other in the 1996 Hottest 100, at #4 and #5 (the highest songs we'll be seeing; the #1, "Buy Me A Pony", fresh from being covered live tonight by Australian pop saviour G Flip at triple j's One Night Stand, only made #45 [though with quite an extended chart life], and the other 2 weren't released as singles and/or didn't chart). First, Butthole Surfers, whose rejected band name ideas I will spare you, were active as a punk band through the '80s, and if RateYourMusic is anything to go by, it's their '80s albums that people are most interested in. They signed to a major label in the early '90s and eventually transcended their niche for a moment through "Pepper", its lyrics chronicling people the singer had known as a teenager in Texas, who'd died or at least lost limbs since. The title has nothing to do with the song; it came from when one of their members was walking the band's dog and a stranger asked 'what's your little dog's name, sonny... Pepper?', and when recording the still-untitled song in the studio, someone repeated the quote with 'song' in place of 'dog'. Hence the prairie dog (don't tell any Nationals MPs about those) on the artwork, which also thankfully replaced the physically-painful album cover on a censored alternate version (also making their name 'B***h*** Surfers'). Because of the obscure title, Discogs shows that (at least some copies of) the Australian single had a sticker saying 'WARNING This is the song... I don't mind the sun sometimes'. Fittingly, entering the game the same round as No Doubt is also Bush, whose lead singer Gavin Rossdale and Gwen Stefani met in 1995 when their bands were on tour together, and were married from 2002 to 2015. Even more fitting is that this round was open on 9/11. Bush, unusually for grunge (or post-grunge, which they were apparently one of the first bands to be described as), were British, but had little traction in the UK apart from their 1997 lead single; "Glycerine" didn't chart there, if it was even released. "Glycerine" was not the album's beginning; the single "Everything Zen" reached #41 in Australia in mid-1995 (and #33 on that year's Hottest 100), directing the album to the heights of #98 - a year later, "Glycerine" revived it all the way to #5, and it spent 10 months in the top 50. One person who heard "Glycerine" was long-time songwriter and producer (of big hits for Kiss, Bon Jovi, Alice Cooper etc, and later Ricky Martin) Desmond Child, who was working with Jon Bon Jovi at the time and in Jon's gym where he was playing Bush, and Desmond misheard 'glycerine' as 'kiss the rain' and thought it was a great title; Jon corrected him, so Desmond suggested writing a song of that name, but Jon was no fan, so Desmond instead took the idea to singer-songwriter Billie Myers whose debut album was in the making, and her "Kiss The Rain" became a 1998 US & UK hit (and #41 here). Glycer(ine/in/ol) is a liquid used in foods and cosmetics that may come from plant oils, or animal 'sources' such as pig fat. Like Gwen, Gavin Rossdale did eventually go solo (for one album in 2008), but to fanfare only as great as the decent US airplay success of "Love Remains The Same", a song so firmly adult contemporary that it still feels strange to me that Bush was the same person. That's 6 songs down, and those 6 were firmly the popular choices of this round - together they make up 86% of the points given, with a 20-point chasm ahead of the next song, one of the largest gaps to ever form below #4. Firstly, 6 years after having Wilson Phillips, we meet their one solo 'star' Chynna, with "Naked And Sacred" and not "Naked And Scared" as I (and David Letterman, according to her) have repeatedly misread it. Chynna was apparently the one member to remain signed and received a large advance to create her album, but the label must have lost interest before it even materialised, as literally the only Billboard chart placing she ever had (apart from some minor Christian radio play with a duo she formed in 2009) was a #53 Dance Singles Sales smash. She was scarcely successful in Europe or anywhere else either (all I see is a #62 UK peak), but ironically, whereas only one of her group's trio of US #1s translated much here, her solo career managed to find footing and score 2 sizeable hits. I wonder how aware she even was - maybe she's our Sugar Man. The song "Naked And Sacred" did slightly better in the UK when it was covered in 1998 by Maria Nayler, as her solo debut following her vocal on Robert Miles' "One & One", in a similar style to it. A Céline song only a few months after the previous one! Radical. "Because You Loved Me" was, I suppose, her biggest hit to date, and is her 2nd-biggest on Spotify now behind the obvious one, but it doesn't register any upswing in her votes; in fact, it ties "Beauty And The Beast" on the bottom end of her range so far, which seems fair. The song was the theme for the 1996 'romantic drama film' "Up Close And Personal", and the single included, in addition to an album track, 2 singles from her 1995 French-language album "D'eux", which a sticker advertised as 'the two French tracks as heard during her Australian concerts'. Midway through its run (I think 2 weeks before it hit #1), a second version was released, adding another tie-in: "The Power Of The Dream", her song written for and performed at the opening ceremony of the 1996 Olympics, and ARIA proceeded to credit it as a double A-side in some places. The Presidents have further declined from song to song, though "Kitty" did pretty well to manage 6 votes after a slow start. Impressively, it ranked as high as #4 in the 1995 Hottest 100 ("Lump" was #11 there, next-album single "Mach 5" was #49 of 1996, and that's all they got), perhaps diving into the "Asshole"-type novelty appeal in a more wholesome way. As far as I know, Toni Basil is yet to cover it. I am surprised on the other hand to see "Theme From Mission: Impossible" score only 1 point, as I thought it was pretty well-rated. This version of the theme song from the "Mission: Impossible" TV series, which aired from 1966-73, was created by the half of U2 without stage names (stealing that observation) for the 1996 film continuation of the TV series, and charted higher in Australia than almost everywhere else, spending 3 weeks at #2 behind "Killing Me Softly". This is 1996 though, so where's the dream trance version? DJ Dado, who made the Euro hit dream trance version of the "X-Files" theme, actually did release one, though it didn't chart anywhere. I'm sure there must be some no-name versions out there too, like this very nice one of "Killing Me Softly": https://www.youtube.com/watch?v=sDv5TXVGtN4 , that I know from coming from a compilation series that Robert Miles' #21 hit "Fable" is on Spotify through. A different dance version credited to 'IMF' (good luck finding that through the YouTube search, even though it's there) was a minor hit in Austria and Sweden. Out of 33 songs that have scored either 0 or 1 points, "Theme From Mission: Impossible" is one of very few to come from an artist who've also made the HOF; East 17 and Take That are the only others to have hit both extremes.
56 - No Doubt - Just A Girl (survived 1) 42 - Robert Miles - Children (survived 2) 40 - Fugees - Killing Me Softly (survived 1) 37 - George Michael - Fastlove 36 - Butthole Surfers - Pepper 35 - Bush - Glycerine 15 - Chynna Phillips - Naked And Sacred 13 - Céline Dion - Because You Loved Me 10 - The Presidents Of The United States Of America - Kitty 1 - Adam Clayton & Larry Mullen - Theme From Mission: Impossible
Alanis Morissette - You Learn Bryan Adams - The Only Thing That Looks Good On Me Is You Crowded House - Everything Is Good For You Fugees - Killing Me Softly La Bouche - I Love To Love LeAnn Rimes - Blue Mark Morrison - Return Of The Mack No Doubt - Just A Girl Robert Miles - Children Tracy Bonham - Mother Mother
I, recommend voting your top 5 by Monday night if you wish to ensure The Mack and/or other artists do in fact return.
nooo, at Pepper and Glycerine, so close! EDIT: forgot to mention one little connection within the commentary... fun fact about Minnie Riperton (who was part of the band the sitar sample was from in Killing Me Softly), she's Maya Rupolph's mother (Lovin' You was originally a lullaby she'd sing to baby Maya), Maya of course starring in the hit movie Bridesmaids which re-popularised Wilson Phillips's Hold On (on which you find the naked and sacred Chynnna Phillips)!
+5 Fugees - Killing Me Softly +4 No Doubt - Just A Girl +3 Tracy Bonham - Mother Mother +2 Mark Morrison - Return Of The Mack +1 Alanis Morissette - You Learn
Robert close again, the Bryan song is probably one of my fave solo songs of his (not a high bar to pass for me though lol), the Crowded House is nice but not their strongest, that LeAnn Rime was never may fave as a child but i don't mind it now, honestly forgot La Bouche had a 3rd hit (and it peaked higher than Sweet Dreams?! wtf!) Last edited: