funky's journey through the 90s (again, again)

I’ve read a fair bit of speculation that something dodgy was behind Divine (not that one)’s random 1998 US #1 hit Lately (later a UK hit for Samantha Mumba).

The song came out of nowhere, their label folded virtually overnight and nobody involved was ever seen or heard from again.

It also has a mere 16,000 streams on Spotify which does not suggest it was a genuinely popular song.

 
Sardonicus said:
This song was only listed on the Bubbling Under chart but it's an interesting tale of how a promoter was able to get a local record never even played on the radio listed. For decades, even chart historians were convinced this record didn't actually exist.

Ready 'n' Steady - Wikipedia

en.wikipedia.org en.wikipedia.org
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Omg how crazy and interesting! I can imagine record collectors opening bottles of champagne when they finally tracked the record. I mean, I thought I was too much when we talk about records, radio edits and stuff like that, until I joined a chart forum where people collected every single edit of every single song, and where they had a massive database and posted things like "I noticed this song is listed as 4:13 when its running time is actually 4:12, please correct it as soon as possible". I find it fascinating.
 
VoR said:
I’ve read a fair bit of speculation that something dodgy was behind Divine (not that one)’s random 1998 US #1 hit Lately (later a UK hit for Samantha Mumba).

The song came out of nowhere, their label folded virtually overnight and nobody involved was ever seen or heard from again.

It also has a mere 16,000 streams on Spotify which does not suggest it was a genuinely popular song.

Click to expand...

I remember that song
 
IMG_1954.jpeg

What a crazy little ride this was. I don’t think I’ve heard the song since it was out back in the day. I checked Apple Music and it doesn’t seem to be available there but when you search the Samantha Mumba version pops up. I was hoping the remixes were available.
 
IMG_1955.jpegIMG_1956.jpeg

I went down a rabbit hole thinking I was wrong about there being dance mixes but apparently there were some.
 
What were the main differences between the way Cash Box and Billboard compiled their charts? Surely that’s the first thing that people would look into to explain the discrepancy ?

Was cash box completely independent Billboard also?
 
Sardonicus said:
This song was only listed on the Bubbling Under chart but it's an interesting tale of how a promoter was able to get a local record never even played on the radio listed. For decades, even chart historians were convinced this record didn't actually exist.

Ready 'n' Steady - Wikipedia

en.wikipedia.org en.wikipedia.org
Click to expand...

I remember reading about this years ago and I had no idea that the recording had since surfaced!

alla said:
until I joined a chart forum where people collected every single edit of every single song, and where they had a massive database and posted things like "I noticed this song is listed as 4:13 when its running time is actually 4:12, please correct it as soon as possible"
Click to expand...

This is basically what I spend my free time doing :D Does the forum still exist? I would love to have a comb through their FINDINGS.
 
Marilyn said:
I remember reading about this years ago and I had no idea that the recording had since surfaced!



This is basically what I spend my free time doing :D Does the forum still exist? I would love to have a comb through their FINDINGS.
Click to expand...
I was also AGOG it was traced. I thought Billboard might have listed it as a copyright trap.

The years long Reddit search for the most mysterious song on the Internet was resolved a few months ago too.
 
As we've reached the end of 1992, here's some HOT STATS!

Top 100 SONGS

  1. BABY GOT BACK by Sir Mix-a-Lot
  2. END OF THE ROAD by Boyz II Men
  3. JUST ANOTHER DAY by Jon Secada
  4. BABY-BABY-BABY by TLC
  5. SAVE THE BEST FOR LAST by Vanessa Williams
  6. TEARS IN HEAVEN by Eric Clapton
  7. UNDER THE BRIDGE by Red Hot Chili Peppers
  8. MY LOVIN’ (YOU’RE NEVER GONNA GET IT) by En Vogue
  9. JUMP by Kris Kross
  10. ALL 4 LOVE by Color Me Badd
  11. I LOVE YOUR SMILE by Shanice
  12. ACHY BREAKY HEART by Billy Ray Cyrus
  13. NOVEMBER RAIN by Guns N’ Roses
  14. I’M TOO SEXY by Right Said Fred
  15. JUMP AROUND by House of Pain
  16. LIFE IS A HIGHWAY by Tom Cochrane
  17. SOMETIMES LOVE JUST AIN’T ENOUGH by Patty Smyth and Don Henley
  18. MASTERPIECE by Atlantic Starr
  19. TO BE WITH YOU by Mr. Big
  20. FINALLY by CeCe Peniston
  21. REMEMBER THE TIME by Michael Jackson
  22. SMELLS LIKE TEEN SPIRIT by Nirvana
  23. CAN’T LET GO by Mariah Carey
  24. HUMPIN’ AROUND by Bobby Brown
  25. LIVE AND LEARN by Joe Public
  26. I’LL BE THERE by Mariah Carey featuring Trey Lorenz
  27. DIAMONDS AND PEARLS by Prince and The New Power Generation
  28. DON’T LET THE SUN GO DOWN ON ME by George Michael and Elton John
  29. IF YOU ASKED ME TO by Celine Dion
  30. AIN’T 2 PROUD 2 BEG by TLC
  31. THIS USED TO BE MY PLAYGROUND by Madonna
  32. TELL ME WHAT YOU WANT ME TO DO by Tevin Campbell
  33. THE BEST THINGS IN LIFE ARE FREE by Luther Vandross and Janet Jackson featuring Bell Biv Devoe and Ralph Tresvant
  34. COME AND TALK TO ME by Jodeci
  35. BLACK OR WHITE by Michael Jackson
  36. GIVING HIM SOMETHING HE CAN FEEL by En Vogue
  37. DAMN I WISH I WAS YOUR LOVER by Sophie B. Hawkins
  38. SHE’S PLAYING HARD TO GET by Hi-Five
  39. MAKE IT HAPPEN by Mariah Carey
  40. 2 LEGIT 2 QUIT by Hammer
  41. TENNESSEE by Arrested Development
  42. BREAKIN’ MY HEART (PRETTY BROWN EYES) by Mint Condition
  43. BOHEMIAN RHAPSODY by Queen
  44. GOOD FOR ME by Amy Grant
  45. THE ONE by Elton John
  46. PLEASE DON’T GO by KWS
  47. STAY by Shakespears Sister
  48. MOVE THIS by Technotronic featuring Ya Kid K
  49. WISHING ON A STAR by The Cover Girls
  50. IT’S SO HARD TO SAY GOODBYE TO YESTERDAY by Boyz II Men
  51. I CAN’T DANCE by Genesis
  52. PEOPLE EVERYDAY by Arrested Development
  53. I’D DIE WITHOUT YOU by P.M. Dawn
  54. HAZARD by Richard Marx
  55. SET ADRIFT ON MEMORY BLISS by P.M. Dawn
  56. MYSTERIOUS WAYS by U2
  57. ONE by U2
  58. BEAUTY AND THE BEAST by Celine Dion and Peabo Bryson
  59. ALL I WANT by Toad the Wet Sprocket
  60. HAVE YOU EVER NEEDED SOMEONE SO BAD by Def Leppard
  61. IN THE CLOSET by Michael Jackson
  62. TOO FUNKY by George Michael
  63. HOLD ON MY HEART by Genesis
  64. NO SON OF MINE by Genesis
  65. KEEP ON WALKIN’ by CeCe Peniston
  66. RHYTHM IS A DANCER by Snap!
  67. HOW DO YOU TALK TO AN ANGEL by The Heights
  68. THE WAY I FEEL ABOUT YOU by Karyn White
  69. WILDSIDE by Marky Mark and the Funky Bunch
  70. DO I HAVE TO SAY THE WORDS? by Bryan Adams
  71. WARM IT UP by Kris Kross
  72. EROTICA by Madonna
  73. FREE YOUR MIND by En Vogue
  74. WHEN A MAN LOVES A WOMAN by Michael Bolton
  75. WHEN I LOOK INTO YOUR EYES by FireHouse
  76. MISSING YOU NOW by Michael Bolton featuring Kenny G
  77. THOUGHT I’D DIED AND GONE TO HEAVEN by Bryan Adams
  78. REAL LOVE by Mary J. Blige
  79. EVERYTHING ABOUT YOU by Ugly Kid Joe
  80. ADDAMS GROOVE by Hammer
  81. BLOWING KISSES IN THE WIND by Paula Abdul
  82. EVERYTHING CHANGES by Kathy Troccoli
  83. THAT’S WHAT LOVE IS FOR by Amy Grant
  84. JUSTIFIED AND ANCIENT by The KLF featuring Tammy Wynette
  85. FRIDAY I’M IN LOVE by The Cure
  86. WHAT ABOUT YOUR FRIENDS by TLC
  87. UHH AHH by Boyz II Men
  88. WOULD I LIE TO YOU? by Charles & Eddie
  89. FOREVER LOVE by Color Me Badd
  90. LET’S GET ROCKED by Def Leppard
  91. HUMAN TOUCH/BETTER DAYS by Bruce Springsteen
  92. KEEP COMING BACK by Richard Marx
  93. BACK TO THE HOTEL by N2Deep
  94. THINKIN’ BACK by Color Me Badd
  95. I WANNA LOVE YOU by Jade
  96. TAKE THIS HEART by Richard Marx
  97. SLOW MOTION by Color Me Badd
  98. O.P.P. by Naughty by Nature
  99. RUMP SHAKER by Wreckx-N-Effect
  100. WE GOT A LOVE THANG by CeCe Peniston
 
Top 100 ALBUMS

(tried to do a table but moopy said NOT TODAY so apologies for formatting)




Rank Artist Album Released
1 GARTH BROOKS ROPIN' THE WIND 1991
2 MICHAEL JACKSON DANGEROUS 1991
3 NIRVANA NEVERMIND 1991
4 BILLY RAY CYRUS SOME GAVE ALL 1992
5 U2 ACHTUNG BABY 1991
6 GARTH BROOKS NO FENCES 1990
7 METALLICA METALLICA 1991
8 MICHAEL BOLTON TIME, LOVE & TENDERNESS 1991
9 MC HAMMER TOO LEGIT TO QUIT 1991
10 KRIS KROSS TOTALLY KROSSED OUT 1992

11 PEARL JAM TEN 1991
12 BOYZ II MEN COOLEYHIGHHARMONY 1991
13 GENESIS WE CAN'T DANCE 1991
14 RED HOT CHILI PEPPERS BLOOD SUGAR SEX MAGIK 1991
15 DEF LEPPARD ADRENALIZE 1992
16 BONNIE RAITT LUCK OF THE DRAW 1991
17 GUNS N' ROSES USE YOUR ILLUSION I 1991
18 NATALIE COLE UNFORGETTABLE WITH LOVE 1991
19 COLOR ME BADD C.M.B. 1991
20 GUNS N' ROSES USE YOUR ILLUSION II 1991

21 GARTH BROOKS THE CHASE 1992
22 MARIAH CAREY EMOTIONS 1991
23 BRYAN ADAMS WAKING UP THE NEIGHBOURS 1991
24 AMY GRANT HEART IN MOTION 1991
25 EN VOGUE FUNKY DIVAS 1992
26 JODECI FOREVER MY LADY 1991
27 GARTH BROOKS GARTH BROOKS 1989
28 ENYA SHEPHERD MOONS 1991
29 WYNONNA JUDD WYNONNA 1992
30 OZZY OSBOURNE NO MORE TEARS 1991

31 PRINCE DIAMONDS AND PEARLS 1991
32 REBA MCENTIRE FOR MY BROKEN HEART 1991
33 SOUNDTRACK WAYNE'S WORLD 1992
34 QUEEN CLASSIC QUEEN 1992
35 MARIAH CAREY MTV UNPLUGGED 1992
36 ERIC CLAPTON UNPLUGGED 1992
37 SOUNDTRACK BEAUTY & THE BEAST 1991
38 SIR MIX-A-LOT MACK DADDY 1992
39 SOUNDTRACK BOOMERANG 1992
40 PAULA ABDUL SPELLBOUND 1991

41 THE BLACK CROWES THE SOUTHERN HARMONY AND MUSICAL COMPANION 1992
42 BROOKS & DUNN BRAND NEW MAN 1991
43 TLC OOOOOOOHHH...ON THE TLC TIP 1992
44 HARRY CONNICK, JR. BLUE LIGHT, RED LIGHT 1991
45 VANESSA WILLIAMS THE COMFORT ZONE 1991
46 TRAVIS TRITT IT'S ALL ABOUT TO CHANGE 1991
47 NAUGHTY BY NATURE NAUGHTY BY NATURE 1991
48 BRUCE SPRINGSTEEN HUMAN TOUCH 1992
49 VARIOUS ARTISTS TWO ROOMS (CELEBRATING THE SONGS OF ELTON JOHN & BERNIE TAUPIN) 1991
50 R.E.M. OUT OF TIME 1991

51 ALAN JACKSON DON'T ROCK THE JUKEBOX 1991
52 UGLY KID JOE AS UGLY AS THEY WANNA BE 1991
53 STEVIE RAY VAUGHAN THE SKY IS CRYING 1991
54 ARRESTED DEVELOPMENT 3 YEARS, 5 MONTHS AND 2 DAYS IN THE LIFE OF ... 1992
55 THE CURE WISH 1992
56 ZZ TOP GREATEST HITS 1992
57 RICHARD MARX RUSH STREET 1991
58 MOTLEY CRUE DECADE OF DECADENCE 1991
59 ELTON JOHN THE ONE 1992
60 KEITH SWEAT KEEP IT COMIN' 1991

61 GARTH BROOKS BEYOND THE SEASON 1992
62 MARKY MARK & THE FUNKY BUNCH MUSIC FOR THE PEOPLE 1991
63 ICE CUBE DEATH CERTIFICATE 1991
64 MEGADETH COUNTDOWN TO EXTINCTION 1992
65 TEMPLE OF THE DOG TEMPLE OF THE DOG 1991
66 MR. BIG LEAN INTO IT 1991
67 QUEENSRYCHE EMPIRE 1990
68 MICHAEL BOLTON TIMELESS (THE CLASSICS) 1992
69 ANNIE LENNOX DIVA 1992
70 CYPRESS HILL CYPRESS HILL 1991

71 C&C MUSIC FACTORY GONNA MAKE YOU SWEAT 1990
72 MARY J. BLIGE WHAT'S THE 411? 1992
73 VINCE GILL POCKET FULL OF GOLD 1991
74 ANDREW LLOYD WEBBER HIGHLIGHTS FROM PHANTOM OF THE OPERA 1987
75 VAN HALEN FOR UNLAWFUL CARNAL KNOWLEDGE 1991
76 WILSON PHILLIPS SHADOWS AND LIGHT 1992
77 BEASTIE BOYS CHECK YOUR HEAD 1992
78 DAS EFX DEAD SERIOUS 1992
79 BRUCE SPRINGSTEEN LUCKY TOWN 1992
80 THE COMMITMENTS THE COMMITMENTS (SOUNDTRACK) 1991

81 TRISHA YEARWOOD TRISHA YEARWOOD 1991
82 BOBBY BROWN BOBBY 1992
83 R.E.M. AUTOMATIC FOR THE PEOPLE 1992
84 PUBLIC ENEMY APOCALYPSE 91 ... THE ENEMY STRIKES BLACK 1991
85 SOUNDTRACK SINGLES 1992
86 SOUNDGARDEN BADMOTORFINGER 1991
87 THE BLACK CROWES SHAKE YOUR MONEY MAKER 1990
88 MADONNA THE IMMACULATE COLLECTION 1990
89 MICHAEL BOLTON SOUL PROVIDER 1989
90 LORRIE MORGAN SOMETHING IN RED 1991

91 JOHN MELLENCAMP WHENEVER WE WANTED 1991
92 CELINE DION CELINE DION 1992
93 ERIC CLAPTON RUSH (SOUNDTRACK) 1992
94 TEVIN CAMPBELL T.E.V.I.N. 1991
95 SOUNDTRACK MO' MONEY 1992
96 R. KELLY & PUBLIC ANNOUNCEMENT BORN INTO THE 90'S 1992
97 LISA STANSFIELD REAL LOVE 1991
98 BLACK SHEEP A WOLF IN SHEEP'S CLOTHING 1991
99 JOHN ANDERSON SEMINOLE WIND 1992
100 LIONEL RICHIE BACK TO FRONT 1992
 
Was Garth that big over the world. I swear you couldn’t escape that man here. He still hasn’t allowed his music on streaming services either which is a blessing at least.
 
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He wasn't without success outside the US but nowhere near the level he had inside it. I'd say in the UK you'd call his success 'modest'.
 
I don't remember Garth Brooks having any success in the UK, although I'm sure he did. Albums of course.

Just checked the OCC - He's even had 6 Top 75 hits, 3 of them in the Top 40, included a #13 for "The Red Strokes/Ain't Goin Down". I don't know a single one of the songs listed.

I believe he's the second biggest seller in history in the US, behind The Beatles, which is quite something.
 
I would imagine the vast majority of people in the UK would draw a complete blank if asked to name a Garth Brooks song.

Most everyone (under 35 anyway) knows If Tomorrow Never Comes from the Ronan Keating cover version, but I doubt many would know it wasn't the original.
 
Sheena said:
I will post it again here, as I have before many times, because no one remembers it but I really need someone to so I know I haven’t dreamt it, but there was some sort of Madonna embargo/ boycott on MTV Europe when I’ll Remember came out. They didn’t even play it on the European Top 20 countdown and would skip straight from, say, 16 to 14 if she was at 15 with no mention of her or the song. MTV News didn’t mention her, nothing of hers was played. And then…it just went back to normal.

I have NEVER found out why. It was for, like, a month or something. There was no “Madonna Free Zone” publicity or anything…it was just ODD.
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Hey there. Great thread by the way, sorry to interrupt its flow but I need to back @Sheena on the claim of such a weird situation regarding I'll Remember and its handling from MTV Europe. Something was clearly off at the time the single campaign unfolded in the European market. Erotica and Bedtime Stories music videos were all hammered by MTV Europe. She's never not been on heavy rotation on the network though the 90s, sole exception being I'll Remember which was shockingly neglected. I bought the cd single in release week and for a wnile I assumed she hadn't filmed a video as of yet (same case had occured with Fever just a year beforehand). AI Google (yes, I know, ugh) mentions the video premiered on TOTP on March 17 right before its actual commercial release on March 21. However, for weeks thereafter I thought there was no official video for it as the European top 20 show on MTV was pretending it did not exist. The first time I watched the entire video was when the American top 20 show was broadcasted on MTV Europe in, like, June and she was number one. Three months later she was A listed on MTV Europe just like always with Secret.
 
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Now that summer is over, time to get BACK ON IT

JANUARY 1993

#1s

US​
UK​
Jan-2Whitney Houston - I Will Always Love You (6)Whitney Houston - I Will Always Love You (5)
Jan-9Whitney Houston - I Will Always Love You (7)Whitney Houston - I Will Always Love You (6)
Jan-16Whitney Houston - I Will Always Love You (8)Whitney Houston - I Will Always Love You (7)
Jan-23Whitney Houston - I Will Always Love You (9)Whitney Houston - I Will Always Love You (8)
Jan-30Whitney Houston - I Will Always Love You (10)Whitney Houston - I Will Always Love You (9)

So yeah. Same as last month. A wonderful time to be a Whitney Houston fan to be sure, but a shame it wasn't with a BETTER SONG. Still, it gave her a boost and a chance to release almost all her songs from the Bodyguard OST, and all of them were various degrees of better than this monster of a hit. All to come this year.

Chart Highlights:

In the US, it was a very slow month at the top end of the Hot 100 as the Top 4 didn't change the entire month - with Rump Shaker, Boyz II Men and Shai keeping Whitney company - save for Shanice breaking the deadlock at the end of the month by moving 5-4 with her sludgy ballad "Saving Forever For You". The US was crying out for a shake-up but unfortunately early 1993 really was dominated by ballads.

In the UK, Whitney prevented Snap! from another #1 with "Exterminate", with "The Love I Lost" (West End & Sybil) and "No Limit" (2 Unlimited) all threatening to dethrone, so the UK was a slightly more exciting place to be as dance music was really taking hold...

Some other dance songs at the start of 93 which I'm a fan of included:







oh and this little-know rare gem popped up and gained a smidge of traction:



Some might argue ubiquitous now, but there's no denying that this Robin S anthem is one of the most important songs in dance music history. Originally released quietly in 1990, it was actually remixed by Stonebridge to the version we know now at the end of 1992 and slowly built in the clubs before climbing the charts in 1993. Peaks of #5 and #6 in the US and UK respectively don't actually tell the full story - it was VERY unusual for pure house songs to chart this successfully in the US at the time and helped open the doors for many more acts in the 90s. It has since sold over a million copies in the UK (2x platinum), making it one of the most enduring dance songs in history. It has been sampled by Beyonce, Jason Derulo, Charli XCX and David Guetta, influenced tonnes of other songs and has featured on countless All Time lists including Mixmag, VH1, The Guardian, Billboard, Slant, Pitchfork, Rolling Stone and many more. It was also a global hit, and of course went to #1 on the US, UK and Europe dance charts.

Another dance song which released quietly in early 1993 and eventually became a monster smash was this one:



I think the ubiquitous label is a bit more negative with this one personally, although I did love it in its original release. It actually only reached #24, but it was remixed in 94 and of course went to #1. Then it was re-released again... and again... and again... and yeah. Blame Tony Blair.

And here's another!



An enduring dance classic in the UK, this reached #8 but also went Top 10 in a dozen other markets. It even troubled the US with a #14 on the Bubbling chart, and #23 on Dance. It's their biggest hit.

Annie Lennox also released the 5th single from Diva, this absolute favourite - let's not forget it being honoured at the London Olympics in 2012:



It managed to give her another hit in the US (#49) but it was a smash in the UK (#3), albeit largely thanks to being a Double A with new song "Love Song For A Vampire", from the Bram Stoker's Dracula soundtrack (funny - I always thought it was from Interview With A Vampire). A well timed strategy for Annie to give her her biggest solo hit to date.
 
January 1993 (continued):




Discoveries:
I've quite enjoyed discovering this gem from Peter Gabriel, someone who I've mostly admired from afar as a pop visionary (aside from the well known and undeniably fabulous "Sledgehammer") but I don't remember this song (or maybe I just forgot it):



This was the second single from his sixth album Us, which followed his global breakout So album in 1986. It was also the most successful song from the album in both the US (#32) and UK (#10).

Chart Highlights (US):

January 2

92 — RIGHT HERE –•– SWV
95 — MURDER SHE WROTE –•– Chaka Demus & Pliers

January 9

66 — I’M EVERY WOMAN –•– Whitney Houston
67 — ORDINARY WORLD –•– Duran Duran
79 — INFORMER –•– Snow

January 16

83 — LIGHTS –•– Journey
85 — REBIRTH OF SLICK (COOL LIKE DAT) –•– Digable Planets
93 — GET AWAY –•– Bobby Brown

January 23

57 — COMFORTER –•– Shai
81 — BED OF ROSES –•– Bon Jovi
86 — LITTLE BIRD –•– Annie Lennox
88 — FEELS LIKE HEAVEN –•– Peter Cetera & Chaka Khan
90 — I’M GONNA GET YOU –•– Bizarre Inc Featuring Angie Brown
92 — LOVE IS –•– Vanessa Williams & Brian McKnight

January 30

65 — STAND –•– Poison
83 — ANGEL –•– Jon Secada
84 — HIP HOP HOORAY –•– Naughty By Nature
85 — TWO PRINCES –•– Spin Doctors
95 — NUTHIN’ BUT A “G” THANG –•– Dr. Dre

After opening big in 1992, SWV take it to the next level with one of the biggest R&B songs of the 90s:



This was actually released in its original form (it's OK, nothing special) in early 1992 as their first single, and it flopped (#92) but after two big hits in "Weak" and "I'm So Into You" this got the remix treatment and was a huge hit globally, going #2 US and #3 UK. Weirdly, I don't think 14 year old me was really familiar with MJ's original track so this was very fresh and new to me at the time. SWV would have a great decade but it was mostly a case of slowly diminishing returns for them - probably no different from any of the major US girl groups of the 90s. The 2nd album didn't have much of an impression on me, but I really like the 3rd album. All to come.

Whitney's cover of Chaka Khan always felt a bit redundant to me at the time, but I've grown to enjoy it over the years. Goodwill was obviously very strong at this point and this would eventually go #4 in both the US and the UK. The next single would be MUCH bigger however.

This track for me is one of the most important hip-hop songs of the 90s:



Alongside my faves A Tribe Called Quest, Pharcyde and others, they represent the "jazz hop" end of hip-hop and another reminder that there was a huge jazz crossover happening in the early 90s. In fact it was creating a huge sonic link between US rap and UK R&B, where UK Soul and Acid Jazz was the huge underground movement in 1993. This album has been noted as a huge influence on many artists from Lauryn Hill to Erykah Badu.

Great to see Bizarre Inc get a hit in the US!

I personally don't care for the duet, but it gave Vanessa Williams a massive #3 hit in the US in between her second and third albums.



It was also one of the earliest appearances of Brian McKnight, who is one of my preferred male R&B crooners of the 90s. It was boosted by its appearance on the 90210 OST, but it didn't help in the UK were it only managed #92.

The UK 90s chart is full of crossover pop-rock anthems from the US and this must be one of the biggest and most recognisable:



I really like this. The second single from their debut album, it was a huge global smash going Top Ten everywhere, including #7 US and #3 UK. They continued to make music throughout the decade but they never came close to this success again.

Aside from a barely known rap hit in 1992, "Nothin' But A G Thang" was the arrival of solo Dr Dre, following his controversial split from NWA. It also introduced the world to Snoop Doggy Dogg, who would go on to have a huge 1993. The UK were still learning about gangsta rap and g-funk and this went to #31, but it was a massive hit in the US, giving rap a rare #2 hit on the Hot 100. It wouldn't be rare for much longer.
 
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So happy to see this ICONIC TOPIC return :disco:& oh, the memories of my old Now 24 cassette this time period brings back.

"Exterminate!" was a top follow up for Snap! to "Rhythm Is A Dancer" but it's been forgotten about these days, with the next, smaller hit "Do You See The Light" (it's as troublesome as potato blight) becoming more UBIQUITOUS, with various remixes & revivals since 1993.

Sunscreem got their biggest UK hit with this Marianne Faithfull cover, but I find it the weakest of a very strong singles run. The album was also top notch & they've been a bit overlooked - a great band & an early example of a dance act making a proper, coherent, lyrically sound work.

Urban Hype had hits after "A Trip To Trumpton" - WHO KNEW??!! They epitomised the 1992 ravey sound, which already seemed to go out of fashion in 1993, as Sunscreem & co pushed the ever progressing 90s dance scene forward.

The Annie double A side was a spectacular close to the first album, 2 great contrasting songs & one of her best videos in "Little Bird".

Chaka Demus & Pliers had an American chart entry? :o Although I think "Murder She Wrote" is an anti- abortion ditty wrapped up in a catchy dancefloor sheen, rather than a tribute to the Angela Lansbury TV classic. This was also around the time that "Boom Bye Bye" by Buju Banton was released, before people realised it was about shooting gay men.

I have that first Spin Doctors album, lots of radio friendly guitar hits, then everything afterwards was boring jazz flecked wank. The lead singer looks a lot like Jesus!
 
I'd HONESTLY forgotten all about "Exterminate" and surprised to see it made it to #2.

Yes I agree the Sunscreem track is the weakest of the bunch but still very good - what a corker bunch of singles that album produced. They remind me a bit of Kosheen - a debut album that was practically a greatest hits and then they just evaporated (although I did enjoy some later Kosheen stuff, just nobody else did)

Another dance track that was Top 10 in January that I forgot to mention was Usura's Open Your Mind, and M People re-released "How Can I Love You More" which debuted at #8. Dance music really was flying at this point...
 
The USURA track was great, built around a Simple Minds sample as was the Boys Own remix of "Perfect Motion" by Sunscreem from around this time too.
 
Also @funky I remember "Catch" by Sunscreem being a very good later single from them that missed the top 40. I think the issue with them was that they spent ages touring the debut album & it was a couple of years before they followed it up & they just got forgotten in the era of fast moving charts.
 
Kosheen randomly deciding to become Texas on their second album must rank among the bigger career-killing missteps of that period.
 
VoR said:
Kosheen randomly deciding to become Texas on their second album must rank among the bigger career-killing missteps of that period.
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They played live at my university summer ball at the time of the first album & they were such a fantastic live act too - hard edged breakbeat that got the whole place abuzz. The immediate slide into coffee table MOR dance was definitely disappointing.

Other live acts booked included such early 2000s LUMINARIES as Wheatus (so bad, out of tune & I hate that song anyway) & Lisa Maffia (swanned in, sang her ONE HIT, said she loved us then promptly FUCKED OFF :basil: )
 
VoR said:
Kosheen randomly deciding to become Texas on their second album must rank among the bigger career-killing missteps of that period.
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Funny enough one of my old London flatmates used to work in the music biz and she told me a story once where Kosheen were due to release another dance album but something happened with a record label who threw loads of money at them to make a pop album and they caved. Don't know if it's true or not but would certainly make sense!
 
Oh I AM happy you've resurrected this gem of a thread! Could you please also resurrect dear @alla while you're at it (if you're reading this - come out of the woodwork, chuck!). I love being regaled with numbers and messy, otherwise-forgotten anecdotes!

I'll refrain from commenting directly on Whitney's megahit (one day I'll write an essay on why I consider it her greatest achievement, but it ain't destined for here). I will confess that this is the first song I think I truly loved! I vaguely recall some TV trailer for The Bodyguard playing as a wee young lad, hearing THAT Voice and finding myself completely gobsmacked, and then being even more confused at how it was all emanating from a gorgeous woman with (what I perceived to be) the same skin colour as me. Had I been a few years older, I imagine I would have detested the song and probably also her tbh. But I ended up missing the song's ubiquity and atypically identifying with this female balladeer for the rest of her lifetime (all the 'wasted potential'! going off the rails around pretty much the same time! the dumb religiosity of the families! the supposed betrayal of one's race! the uncontrollably expressive facial reactions! okay yes she was much prettier and could sing a tad better but the parallels are really far too scary). Anyway, her gifts were manifold and I'm glad that she scaled such stratospheric heights with this era because she deserved it.

Moving on:

funky said:
This track for me is one of the most important hip-hop songs of the 90s:

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Well of COURSE you funk like that. :disco:

I think I listened to the album back in the day and wasn't so impressed, but maybe I should spin it again cos you're right that this song is smooth as butter. I wish more classic rap groups back in the day had female MCs as I think that's a key part of why this one flows so well and why Digable Planets come off as so progressive in an era that'd come to be dominated by gangsta rap.

Having said that, I think we need a bigger shout-out for 'Nuthin' but a 'G' Thang'. I am NOT a fan of G-funk at all, and am an East Coast boy through and through (although if I could I'd probably exit the battle entirely and align myself with Big Boi and Andre 3000 cos the south got something to say iykyk), but this is absolutely one of the greatest of its decade imo. I don't care much for The Chronic or Snoop's entire career outside of the early hits, but holy fuck this is such an effortless jam with rizz that's off the fucking scale; the sound of an entire genre shifting into a new era. Absolute nonsense that Brits could only take it to #31. The US knew what was up.

'Love Song for a Vampire' is my favourite Annie Lennox song. I might've said this here before but she's probably my pick for the greatest White female vocalist of all-time, and her delivery on this one is a masterclass. Ethereal, evocative, an entire atmosphere unto itself. The song is beautiful (I live for those 'love-oh-love-oh-love's) and deserves to be remembered far more fondly. I'm going to blame that nonsense film it was attached to for dragging its reputation down.

'Two Princes' is a fun bop that reminds me of every house party that was ever thrown in Cambodia c. 2011/12. Perhaps a weird association to have, but it will always put a smile on my face as a result. I think I might take a trip down memory lane with that right now, actually...
 
FEBRUARY 1993

#1s
US​
UK​
Jan-2Whitney Houston - I Will Always Love You (11)Whitney Houston - I Will Always Love You (10)
Jan-9Whitney Houston - I Will Always Love You (12)2 Unlimited - No Limit (1)
Jan-16Whitney Houston - I Will Always Love You (13)2 Unlimited - No Limit (2)
Jan-23Whitney Houston - I Will Always Love You (14)2 Unlimited - No Limit (3)

It's amazing to think that the US back in 1992 really didn't know how to let a song go, but the sort of chart runs that were existing back then are actually a flash in time compared to the snails pace charts we get today. Still, there must have been a bit of exhaustion at this point and Arista/BMG had even put out the "I'm Every Woman" follow up from The Bodyguard OST to move things along, but it was 'stalling' at #4 behind the Disney's Aladdin ballad "A Whole New World" and Duran Duran's glorious comeback "Ordinary World", which at this point look the most likely to dethrone the Queen.

Whitney Houston only managed ten weeks in the UK, where dance music was truly taking over at this point, and the song that was decided to run things was Dutch techno group 2 Unlimited, who burst on the scene and would actually carve out a somewhat short but dominant run over the coming couple of years or so. A precurser to European EDM and hard house, 2 Unlimited were never my bag but this sort of sound was massive on the contintent for quite a while and embraced by the UK, albeit less so but still enough to bag some megahits like this one. They managed 5 weeks at the top, and while it looks like we're in for another year of long running #1s, things do open up a bit more in 1993, beginning a trend throughout the 90s that would continue to the point where, by 1999, it was considered a rare and impressive feat to manage more than a week at the top. Challenging 2 Unlimited by the end of the month was the newly crossed over Take That - no longer an industry joke but now boasting an impressive fanbase, and "Why Can't I Wake Up With You" was managing 2 weeks at #2. Now I remember the Take That craze pretty well, but I have no memory of that song whatsoever. Well I had a listen and guess what - it's really not that bad at all! :o very George Michael.



CHART HIGHLIGHTS:

Some chart experts might need to help me out, but I think we might have hit one of the first instances of songs in the US being released to radio only, a strategy that would become more common in the late 90s and really fuck up the singles discographies of artists stateside, but would help to sell a lot of albums in the process. In February, Lenny Kravitz would launch his 3rd and truly breakthrough album Are You Gonna Go My Way, starting with the lead single. It's hard to know where this would have landed, as the follow up singles did not perform great in the US, but this was a huge international smash (#4 UK) and has gone on to be his most recognisable and successful song. It hit #1 on Album Rock Tracks and #2 on Modern Rock/Alternative. It's his most successful song on Spotify and YouTube. Safe to say it was big in America either way, but it might have given him the US #1 that has eluded his career.

Over in the UK, Saint Etienne release "You're In A Bad Way" the second single from second album So Tough, outperforming "Avenue" to peak at #12, one of their most successful ever singles. Don't recall this track but I like it! Great video, but why does Dannii Minogue spring to mind? Same director?



We argued earlier in the thread about Tasmin Archer falling off a cliff after the huge #1 debut single "Sleeping Satellite" but I have to say, this follow up really is wonderful. It reached #16 in the UK but didn't do much else.



"This Time" was a 4th attempt at giving Dina Carroll a smash hit, and it was another relative failure, with this peaking at #23. Amazingly they would of course persist with this album, and they would, again amazingly, get it right...



For the clubheads, this was a throwback in time! This reached #64 in the UK in February.



I can't pass through February without mentioning this track - I've never been a Neil Young fan but I don't know how anyone with a trace of rock, folk, country, acoustic or americana interest in them cannot appreciate "Harvest Moon". This was a Top 10 hit in his hometown Canada and #36 in the UK (it's since gone Gold) but has done absolutely nothing in the US - it seems he hasn't had a hit there since 1982! The album was a hit though and this remains one of his most famous and enduring songs.



DISCOVERIES:

After talking about Cathy Dennis's odd direction shift and subsequent struggle on 2nd album Into The Skyline, I was delighted to discover this lowkey but groovy bop "Falling", which went to #30 in the UK but absolutely nowhere else:



Everyone knows Sandy B as the singer from "Make The World Go Round", but I have no memory of this earlier slinky number, which sounds like it pulls from every other diva house track, but I'm in no way complaining. This reached #60 in the UK.



Weirdly, I don't remember this coming out at all for Bizarre Inc and Angie Brown, obviously on the back of their huge 1992 collab "I'm Gonna Get You" (#3), this reached a respectable #19 and it's more of the same, which is a good thing...



Still no idea who Danielle Gaha is, but I really do have a soft spot for this slinky soulful pop-house sound that everyone was having a go at in 1993. This reached #52.

 
FEBRUARY 1993 (continued):


NOTABLE ENTRIES (US):

February 6

92 — HAT 2 DA BACK –•– TLC
93 — MAN ON THE MOON –•– R.E.M.
94 — I’M SO INTO YOU –•– SWV
95 — HAPPY DAYS –•– Silk
96 — LOSIN’ MYSELF –•– Debbie Gibson

February 13

47 — SWEET THING –•– Mary J. Blige
79 — CATS IN THE CRADLE –•– Ugly Kid Joe
84 — SWEET THING –•– Mick Jagger
90 — PASSIONATE KISSES –•– Mary Chapin Carpenter
91 — SUPERMODEL (YOU BETTER WORK) –•– Rupaul

February 20

42 — FREAK ME –•– Silk
75 — BAD GIRL –•– Madonna
76 — I SEE YOUR SMILE –•– Gloria Estefan
77 — IF I EVER LOSE MY FAITH IN YOU –•– Sting
82 — COME IN OUT OF THE RAIN –•– Wendy Moten
93 — BEAUTIFUL GIRL –•– INXS
95 — STOP THE WORLD –•– Extreme


February 27

42 — I HAVE NOTHING –•– Whitney Houston
85 — LOVE U MORE –•– Sunscreem
90 — SIMPLE LIFE –•– Elton John
91 — DEDICATED –•– R. Kelly
94 — WHO GOT THE PROPS –•– Black Moon

"Hat 2 Da Back" was an attempt at a 4th single from TLC's debut album, and it was a definite step down from the 3 big singles. While it didn't manage the Top 10 placing of the first 3 singles, #30 is still a pretty good performance. It either wasn't released or flopped in the UK with no chart placement, but the last 2 singles missed the Top 40 anyways. They would be back in under a couple of years with a completely different trajectory, of course.

"Man On The Moon" was the second single from REM's Automatic For The People and while it was slightly under the performance of the lead single "Drive" it feels like time has been kinder to this one, enduring as one of their better known singles. In fact, despite only reaching #18 in the UK, the song has since been certified Gold. It reached #30 in the US.

SWV burst into the crowded and still growing US R&B girlgroup scene with "I'm So Into You" after debut single "Right Here" flopped in late '92 (not the Human Nature radio version which will come later). This would peak at #6 (#17 UK) and begin a HUGE year for them, setting them up as genuine rivals to TLC and En Vogue. The known album and radio mixes are very similar and the version everyone knows, but I'm OBSESSED with the Allstar remix, which is a really dirty, funky glowup:



Seeing Debbie Gibson entering the chart in 1993 seems strange, and I didn't know she was still recording at this point, but it's not 6 years removed from her debut so it's not THAT strange. And actually, there is a serious effort to update her sound here, with a more mature, smoother adult-pop sound. The song isn't bad! It didn't work however, managing #86 in the US and flopped entirely in the UK.



"Sweet Thing" (yes, a Rufus & Chaka Khan cover) was the fourth single from the Mary J Blige debut album, and recovered on the last single's relative flop to peak at #28 - still a long way off from establishing her as a commercial force. The song wasn't released in the UK where they had shifted to re-releasing the singles as remixes. They really did throw everything at Mary, and it is still strange to look back and remember she really was a very slow burn artist.

"Cats In The Cradle" was another one of those random 90s rock songs that would cross over internationally and give the band 15 minutes of fame. This was actually Ugly Kid Joe's second Top 10 single in both the UK and the US after 1991's "Everything About You", but aside from a few more minor UK hits, they didn't do much else. They were quite successful in Australia, where this hit #1. The song is actually a very famous cover, the original by Harry Chapin in 1974.

RuPaul begins a relatively successful pop career with their most successful and most well know song "Supermodel", which would peak at #45 and go gold, and hit #39 in the UK. This was a good time for RuPaul to establish themselves on the pop charts, as the slinky US house sound was a perfect backdrop to their brand, and the album actually has some great numbers. This was the only chart success in the US but some other songs would do well in the UK, including a fun cover of "Back To My Roots" (#40) and the lesser known but genuinely quite wonderful "House Of Love" (#40):



"Freak Me" is another one of those songs that I didn't know was a cover when it was remade in the UK by an inferior boyband (something that would happen a lot in the 90s and 00s.). It was a #1 hit in the UK for Another Level in 1998, with some moderate chart success around the world (although not the US). The original however was a massive song in the US, giving original owners Silk their only #1 (and actually only Top Ten) and going platinum. It only hit #46 in the UK, which would have helped Another Level making it their own over here.

If we're ever looking for the point when Madonna's original imperial era ended, one arguement could be the release of "Bad Girl" in 1993. It's unfair on the actual song, which is a really lovely ballad, but was it the right choice when the world was debating over her "bad girl" image? (Madonna did love to push the subtle and sometimes-not-so-subtle irony button with the media which sometimes worked, sometimes didn't). I'm also unsure whether "Bad Girl" is strong enough to be a single? You can understand them going for a ballad, after 2 big dance singles (which both went Top 10) and she had shown her ability to perform well with ballads throughout her career, something which would only grow stronger into the decade. Maybe the media furore had just become too much at this point. Whatever the reason, Bad Girl only managed #36, which was a huge drop off from expectations from anything Madonna. She did hit #10 in the UK, but sales were way down on her other singles. Ironically, it would be another ballad from the album and then another ballad from a soundtrack which would turn things around for her and keep things from falling off a cliff. In fact she never really did fall completely - and we wouldn't actually wait too long for the next imperial era to begin. It felt like a lifetime as a fan in the mid 90s, but in the grand scheme of things it was a blip compared to present day...

I've never been a Sting fan, but I have to say, "If I Ever Lose My Faith In You" is a fantastic fucking pop song. It reached #17 (#14 UK) and the parent album "Ten Summoner's Tales" would go onto be his most succesful album - largely thanks to this, but also because of follow up single "Fields Of Gold". This song would also go to #1 in Canada and Italy.



They really did push those Bodyguard singles out quickly... "I Have Nothing" could have easily have been lost under the weight of that other ballad on the album, but despite the pressure of expectation, this would end up being one of Whitney's most enduring, popular and successful songs. #4 US, #3 UK, 4x platinum and 2x platinum respectively, and a huge global hit. It is, I don't think it's controversial to say, vastly superior to IWALY. Let's all be reminded of THAT performance when Whitney still ruled the world:



And finally here's one for @old spice - A lovely rare gem from Black Moon, not to be confused with Black Sheep. Despite being an independent rap group, they scraped the Top 100 by peaking at #86:

 
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Always enjoyed Debbie’s ‘Losin’ Myself’. It was from her 4th album but like with many pop acts the game was over by album 3 in terms of being a commercial force. They probably should have taken more time before putting out the third album but that’s not how it rolled then.
 
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I'm not that familiar with her career, I do remember her having a good run in the UK in the late 80s, but she was always unfairly compared to Madonna. No matter what she did it was like it was Madonna-lite. Going R&B in 1993 wouldn't have helped that narrative... but the song is good!
 
It’s wild to me how quickly the late 80s pop stars like Debbie and Tiffany were just totally discarded by the culture. These days if you have success on their level you can hang around as a celebrity for ages after. I struggle to think of many modern equivalents. Maybe someone like Iggy Azelea?

Anyway, the Masters at Work remix of Losin’ Myself is where it’s at:

 
"Why Can't I Wake Up With You" might be utterly forgotten these days, but it's my favourite song by Take That by some distance. Effortlessly lush & slinky & a surprisingly mature release after the out & out pop of the rest of the debut. I do remember it was expected to give them their first number 1 & it only narrowly missed as it was about the 8th single mined from the album.

Dina Carroll's first few single releases might have missed the top 10 but they were all top class & "This Time" was no exception. It was my favourite Dina song for yonks & although it should have been a bigger hit, it did, at least, keep sales of the album ticking over nicely before she really got going later in 1993. It also features much loved Eternal sisters Fester & Vern on backing vocals, FACT FANS.

Marge's Queen of Pop crown felt like it was slipping with "Bad Girl" but time's been kind to it & the album, years removed from all the Sex backlash. I've certainly related to the DRUNKEN SLUTTY vibe at times over the years.

Sting's song coincided with Long Wave Radio Atlantic 252 becoming a must listen station at this time for some reason. They played it all the time & I associate it strongly with them.

I can't listen to the Ugly Kid Joe song with both my parents gone. The lyrics are too poignant.
 
VoR said:
It’s wild to me how quickly the late 80s pop stars like Debbie and Tiffany were just totally discarded by the culture. These days if you have success on their level you can hang around as a celebrity for ages after. I struggle to think of many modern equivalents. Maybe someone like Iggy Azelea?

Anyway, the Masters at Work remix of Losin’ Myself is where it’s at:

Click to expand...

I always thought Debbie would do well in the songwriting & production background at least when she was able to write, arrange & produce a US number 1 at age 16, yet she's a really odd case in that all her biggest success came in her teens & I can't recall her even penning a hit for anyone else later.
 
Yes it’s interesting. If anything, Debbie seems to have gotten quite stuck in her teen pop moment wheras Tiffany, who was much more of your traditional manufactured pop star who wrote none of her own hits, at least made a decent stab at evolving. Her Colour of Silence album from 2000 was pretty good.

 
Sardonicus said:
I always thought Debbie would do well in the songwriting & production background at least when she was able to write, arrange & produce a US number 1 at age 16, yet she's a really odd case in that all her biggest success came in her teens & I can't recall her even penning a hit for anyone else later.
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She said in an interview in the past that she actually sent Madonna ‘ We Could Be Together’ for consideration, Madonna or her team rejected it so Debbie ended up keeping it and it was one of her UK Top 40s.
 
Why Can't I Wake Up With You isn’t one of my favourites of theirs, but the rebooted single version is way better than the dreary version on the first album.

Presumably the record label were nervous after having their biggest success with Could It Be Magic,and otherwise having to wait several months until Pray, and so went with it that as the best option - I really don't think there was anything left on that album to go with and have any chance of a hit, which could have been fatal to their momentum at that point.
 
VoR said:
Yes it’s interesting. If anything, Debbie seems to have gotten quite stuck in her teen pop moment wheras Tiffany, who was much more of your traditional manufactured pop star who wrote none of her own hits, at least made a decent stab at evolving. Her Colour of Silence album from 2000 was pretty good.

Click to expand...

I don't know a huge amount about Debbie's career & how she got started so young but I do wonder if she had pushy showbiz parents & she got burned out quickly. It's perplexing that she's not been able to turn her genuine musical talents into writing for others at least, but maybe if she was pushed so hard at an early age, it stopped her from progressing musically.

I remember her doing some sort of Instagram post to celebrate the "birthday" of one of her old albums & people were making mean comments that she was silly & stuck in the past. I felt quite sorry for her.
 
I don’t really understand how I don’t remember that Take That single; I don’t even recall the title itself being part of their singles run. Granted I’m not their biggest fan and they hadn’t quite crossed over to mass market yet but I was 14 at the time, so they would have been everywhere in the media I was consuming, and it was a big hit! I remember all the other early singles, which ironically I didn’t like. I grew to like “Love Don’t Live Here Anymore” over time. But this one completely passed me by. I wonder if I was having a break from new pop music at the start of the year for SOME REASON…
 
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