So what of his final #1? Well, at least it’s not a syrupy ballad, or one of his God-complex blockbusters. Actually, it’s much more reminiscent of his heyday. It isn’t up there quality-wise, but there are flashes. The bridge and chorus, the growl in his voice, and the dangerous woman in the lyrics, all feel very ‘Bad’-era. We can add Suzie (Suzie’s got your number, Suzie ain’t your friend…) to Billie Jean and Dirty Diana in Jackson’s list of ladies best avoided. Interestingly, some sources claimed that ‘Suzie’ was a metaphor for AIDS – giving a horrific double meaning to the line Look who took you under with seven inches in… – but Jackson denied it.
Elsewhere, the New Jack Swing production sounds quite dated, and away from the chorus he barely sings. The verses are a series of vocal tics strung together; sounding more like dolphins communicating, and just as indecipherable. When you learn that it was written originally back in 1991, during sessions for the ‘Dangerous’ album, the sound makes sense. The song was dusted off and tarted up ahead of Jackson’s remix album ‘HIStory in the Mix’.
In some ways, this is an underwhelming way for MJ to bow out. But then, several of his six other solo #1s have been underwhelming. And actually, compared to some of his nineties hits, this is a decent, if dated, dance tune with a fairly killer, funky beat. It was his 36th UK Top 10 hit, since his solo debut in 1972, and he still had a few more to come.
In fact, since his death he has featured on big hits with Akon, Justin Timberlake, and Drake, and so you wouldn’t count against him adding to his total in the years to come. Quite why records featuring Michael Jackson are still allowed to flourish while those featuring the man who preceded ‘Blood on the Dance Floor’ at number one – R. Kelly – have been buried in quicklime is a discussion for another day… Is it as simple as one having a court conviction? Or does musical snobbery come into play…? And I’ll end with an equally pressing question: am I the only person who just now realised that ‘dance floor’ is not one word…?
Aside from Britpop, the rapid-fire turnover of number ones, and the dominance of the Spice Girls, there’s one not so expected theme for 1997… Problematic performers.
I Believe I Can Fly, by R. Kelly (his 1st of three #1s)
3 weeks, from 6th – 27th April 1997
Starting with the disgraced, and currently incarcerated, R. Kelly. I’m not going to come over all hand-wringy about it, mind you. We managed with Gary Glitter and his gang, and when Rolf Harris sang about ‘Two Little Boys’. And unlike them, ‘I Believe I Can Fly’ doesn’t have any lyrics that sound dubious in hindsight (we’ll save that for Kelly’s next #1, ‘Ignition’).
Though some double-entendres might have given us something entertaining to write about at least, because this is a fairly dull, very worthy, song for most of its verses and bridges. It was written for the movie ‘Space Jam’, a half cartoon/half live-action film in which Michael Jordan plays basketball with Bugs Bunny (that sounds crazy when you actually type it out, but as a kid I went with it…) So there are lots of lines about never giving up, achieving miracles… If I can see it, Then I can do it… If I just believe it, There’s nothing to it…
I will say that the chorus, however, has whatever choruses need to be great. Something in the chord progressions; the simple, but not clunky, rhymes; that pause in the beat on the word ‘believe’… I’m not sure exactly what it is, but it makes for a chorus that leaves the rest of mush behind, and burrows its way into the public conscience.
By the end, things have gone full-on gospel, with some soaring strings, and Kelly bringing it home with lots of whoops, hollers and melisma. Impressive, but not worth the four minutes of sludge we had to wade through to get there. And also quite a hard turn from his usual output, which had been much more upbeat, R&B for his two prior Top 10 hits, ‘She’s Got that Vibe’ and ‘Bump and Grind’ (dubious lyrics klaxon!). Plus, if schmaltzy and over-emoted nineties ballads are your thing, I’d say R. Kelly surpassed this two years later, with ‘If I Could Turn Back the Hands of Time’.
As with Glitter, I half-expected not to find Kelly on Spotify. They did, after all, make a big fuss about deleting his music in 2018, before reinstating it but refusing to feature it in any playlists. Which is a classic case of having your cake and eating it. I’m no fan of cancel culture, but if you are going to cancel someone then do it properly! Not this ‘loudly virtue signal but quietly still take the money’ nonsense. One person who did #cancelrkelly was Lady Gaga, who recorded the banging ‘Do What U Want’ with him in 2013 – long after the first allegations against him had come to light – then quickly replaced it with an (inferior) version featuring Christina Aguilera after a backlash… (I love Gaga, but I’m still sore about that one…)
Anyway, R. Kelly still has two more number ones to come, so we have plenty of time to cover his catalogue of crimes and get ourselves worked up about cancel culture if we so wish. In the meantime, let’s move on from all this, and pretend we’ve never had a problem with sex offenders having chart-topping singles, because up next it’s… Oh…
Like their Big-Beat chums the Prodigy, the Chemical Brothers enjoyed two chart-toppers across 1996-97. When it came to the Prodigy’s ‘Breathe’, I wondered if it could be mentioned in the same breath as the pop culture moment that was ‘Firestarter’. I won’t be asking a similar question this time around…
Block Rockin’ Beats, by The Chemical Brothers (their 2nd and final #1)
1 week, from 30th March – 6th April 1997
For ‘Block Rockin’ Beats’ is not up to the standard of the wonderfully trippy ‘Setting Sun’. Not that it isn’t ear-catching, or that there’s nothing interesting in this melange of sounds. Or that underpinning the entire five minutes of noise there isn’t a pretty cool bassline. All this is true. But at times this song has the feel of a dance record from a decade before, when samples were thrown together with novelty, rather than musical, value in mind.
‘Block Rockin’ Beats’ contains what sounds like sirens, snatches of different hip-hop songs (including the constantly repeated Back with another one of those block rockin’ beats…!) and what I imagine is a donkey being assaulted with a red-hot poker. I’m not writing it off, because I do enjoy dance music when it’s this chaotic and aggressive, but it also feels like a Big Beat song written to order. ‘Setting Sun’ had the advantage of Noel Gallagher on vocals, and a thick dollop of inspiration from the Beatles, which this record lacks.
Looking further into the chart history of ‘Block Rockin’ Beats’, and other one-week #1s of the time, is interesting. It’s maybe time to introduce the term ‘non number one’. Not that I want to deny the Chemical Brothers their second chart-topper. They’ve added to the rich and interesting tapestry of 1997’s #1s, making it an enjoyable year so far. But after entering at the top, it dropped to #8 the following week, and ranked at #88 on the best-selling songs of the year list. Similarly, Blur’s ‘Beetlebum’ had fallen #1 to #7, while U2’s ‘Discotheque’ fell #1 to #6, both after just one-week stays on top.
I was asked recently by a commenter why this was, and I answered that it was to do with songs in the mid-late 1990s being promoted heavily, sometimes for weeks, before being released. So the majority of their sales were concentrated in the first week they were available. But it also ties into the fact that this period also saw some of the highest singles sales of all time. I don’t know if it was to do with disposable income, or the ubiquity of CD players, or even the quality of the music, but demand was there and record labels needed something to fill it. If anyone has noticed that it is taking us ages to get through entire years now (there will be as many #1s between January and May ’97 as there were in the entirety of 1992) then there’s your answer.
None of this is to say that the Chemical Brothers weren’t a genuinely popular act. They had no further #1s, but would go on scoring Top 20 hits for another decade after this. Including what is probably their signature song, ahead of either of their chart-toppers, 1999’s ‘Hey Boy Hey Girl’, which made #3.
Think ‘festive hits’, and your mind goes straight to Christmas, and then perhaps Halloween. Is there an Easter pop classic? Not that I can think of. What’s for certain is that the Spice Girl’s ‘Mama’ is the first, and only, number one single aimed at the Mother’s Day market.
Mama / Who Do You Think You Are, by The Spice Girls (their 4th of nine #1s)
3 weeks, from 9th – 30th March 1997
It’s a wonder why more acts haven’t tapped this under-used commercial seam… Or is it? Because ‘Mama’ pretty much ticks every box, sounding exactly how a pop song about how much we love our mothers should. ‘Mama’ killed the Mother’s Day hit off before it ever got going. It’s perfect.
But by perfect, I don’t mean it’s much good. It’s pleasant, with a nice minor-key melody, and is cleverly written as a letter of apology from a now adult child, for being such a little shit when they were growing up. I didn’t want to hear it then, But I’m not ashamed to say it now, Every little thing you said and did was right for me… And the Spices’ mums are in the video, holding pictures of the girls as kids, which is cute.
But by and large, it’s fairly bland. Plus, there are too many dated flourishes – scratchy fills between lines, and a strange organ riff – that distract from the actual song. It’s by far the weakest of their four singles so far. Luckily for us, ‘Mama’ is only half the main event here, and the record as a whole is redeemed by the other ‘A’-side.
‘Who Do You Think You Are’ is a fun slice of dance-pop: a tribute to the disco, funk and soul records of twenty years before. There’s a very funky bassline, and horns, and cheesy strings. There’s nothing particularly original in this pastiche, which means its only their second best song so far – still behind ‘Say You’ll Be There’ – but it’s become a wedding party staple. Plus it gave the world perhaps the ultimate Spice Girls image – Geri in her Union Jack dress, which she wore as the group performed the song at the 1997 Brit Awards.
‘Who Do You Think You Are’ was adopted as that year’s Comic Relief single, and a second video was made featuring The Sugar Lumps: a band comprised of French & Saunders, Kathy Burke, Llewella Gideon, and… Lulu. Who was a good sport because she’s actually, you know, a singer. This does mean, though, that she has been involved in the two biggest disco-pop hits of the nineties, after her feature on Take That’s ‘Relight My Fire’.
Charity records are at their best when they piggy-back on actual pop songs, and don’t inflict something ‘funny’ on the world in the name of a good cause. And this, with the Spice Girls at the height of their fame, probably made a lot more money than ‘The Stonk’. If I believed in such a thing as a ‘guilty pleasure’, then this would be one. Because who has not, at one point or another, belted out Mel C’s lines as the song closes? (She always got the best parts…)
The success of this pair of tunes confirmed a 100% chart-topping record for the Spices: four out of four. ‘2 Become 1’ had already lifted them into exalted company, as only the fifth act (and the first females) to reach #1 with their first three singles, behind luminaries such as Gerry & The Pacemakers, Frankie Goes to Hollywood… checks notes… Jive Bunny, and Robson & Jerome. And now this confirmed them as record breakers – chart-toppers with their first four, with many more to come.
Without realising it, 1997 has gotten off to a pretty rocking start. Established names like Blur, and U2, have ensured that guitars have been well-represented at the top of the charts. Carrying on the trend are a band enjoying their breakthrough smash…
Don’t Speak, by No Doubt (their 1st and only #1)
3 weeks, from 16th February – 9th March 1997
…which has gone on to become one of the decade’s best-remembered hits. ‘Don’t Speak’ is both of its time – it has that US alt-rock sound, with the post-grunge power chords, that had worked for Deep Blue Something a few months earlier. But it also has some more unusual ideas in the mix: a moody flamenco beat, and melodramatic lyrics delivered more like a showtune (You and me, I can see us dying, Aren’t we…?)
Perhaps, strangest of all, there’s a woman singing! A rock song! Any excuse not to do those dishes… I jest, of course! There have been plenty of women singing rock songs at the top of the chart, and female-fronted rock bands, like Blondie, the Pretenders, T’Pau, and…. You get my point. Gwen Stefani’s fantastic vocal performance was, I’d say, one of the main selling-points.
‘Don’t Speak’ had been around for a while – as had No Doubt, who formed in Anaheim, in 1986, and went through nearly a decade of trying to make it – in a more upbeat form. Stefani re-wrote it after breaking up with the band’s bassist Tony Kanal. The pair then took the leading roles in the video, which plays on the way the media side-lined the three other members to focus on Stefani. The band were on the verge of splitting up, allegedly, on the day they filmed it.
As good as ‘Don’t Speak’ is – and I do like it, though wouldn’t include it my pantheon of all-time nineties classics – it could be seen as a bit of a sell-out for the originally ska/punk No Doubt. The lead single from their 3rd album, the breakneck ‘Just a Girl’ had been a minor hit, and then made #3 on re-release later in 1997, and I do wish that had been the bigger smash.
Maybe it’s just the fact that the peak of their career coincides almost exactly with my formative years, but it seems very odd that this is No Doubt’s, and Gwen Stefani’s, only chart-topper. At least they managed one in the UK, with ‘Don’t Speak’ never officially being released in the US, despite a sixteen-week run on top of the airplay charts. Before we go then I should mention that, in my humble opinion, No Doubt’s grimy ‘Hella Good’, Stefani’s glorious solo debut ‘What You Waiting For?’, and her equally cool, um, ‘Cool’, all should have been number ones. No Doubt, meanwhile, recently reunited for the first time in almost a decade, and played a well-received set at Coachella.
We come to the last of five one-week number ones, the end of a run of interesting short-stays at the top of the charts. And is this the most interesting?
Discothèque, by U2 (their 3rd of seven #1s)
1 week, from 9th – 16th February 1997
U2 do dance. Or at least, U2 incorporate dance beats, loops and lots of effects into a rock song. Sadly, the title is misleading – there’s no disco to be found here. Bono doing his best Gloria Gaynor is sadly still a pipe-dream, though at various points he does attempt a falsetto to rival the Bee Gees.
No, the ‘dance’ element is firmly nineties-dance – house beats with a techno-ish edge. But underpinning it all is a pretty cool guitar riff, which is fed through different layers of feedback as the song winds on. It is at times crunchy, chiming and, in its best incarnation, gloriously scuzzy. It means that for all Bono’s theatrics, ‘Discothèque’ is actually the Edge’s show, especially when you see his handlebar moustache in the video…
But more on that in a sec. As soon as this single was played on the radio, rock snobs may well have clutched their pearls in horror at what U2 had become. Dance beats! In a rock song! And remixes… by DJs! Pass the smelling salts… But the Prodigy and the Chemical Brothers, even Babylon Zoo, have been pushing this sound for months already, to great success. If anything the critics could have accused U2 of bandwagon jumping. But who cares if it’s not that original – it’s a fun tune. A banger that is sadly forgotten among some of U2’s bigger, more po-faced, hits.
Plus, anyone complaining about this hadn’t been listening to U2 for the better part of a decade. Large swathes of ‘Achtung Baby’ and ‘Zooropa’ had incorporated non-rock influences. Their last #1, ‘The Fly’ was well over five years earlier, but you can hear the roots of ‘Discotheque’ in it, and for most of the 1990s they had been flirting with some avant-garde stuff. So, no, this cannot claim to be the quirkiest of our recent chart-toppers – that accolade remains with White Town. Finally, what confirms this as a good song is that the band look like they’re having great fun in the video, prancing around inside a disco ball, and dressing up as The Village People.
In my posts on U2’s previous number ones, ‘The Fly’ and ‘Desire’, I may have referred to them not being my favourite band, and Bono not being my favourite frontman. But actually, their first three chart-toppers are all very good, and very different. I might even name ‘Discothèque’ as my favourite of all their #1s, if I didn’t know one of the harder-rocking ones to come. It’s definitely better than their next chart-topper, which is U2 by numbers. In fact, this, and the ‘Pop’ album, were probably the last really experimental thing that the band did. For their next LP, in 2000, they went back to the stadium rock anthems that their fanbase loves, but that always leave me a little cold.
Five weeks into 1997, and we’ve had five different number ones (if you count ‘2 Become 1’, leftover from the year before). Dance, indie, rock, and now…
Ain’t Nobody, by LL Cool J (his 1st and only #1)
1 week, from 2nd – 9th February 1997
One of hip-hops OGs. Ladies Love Cool James, or just LL Cool J to his friends. I’m the best when it comes to making love all night… LL announces in this record’s opening lines… Go deep till the full moon turns to sunlight… before commencing on a four-minute rap Kama Sutra, full of lines about bodies intertwining, animal attraction, all that jazz.
It’s based around ‘80s classic ‘Ain’t Nobody’, and I did wonder if it was a full-blown sample, meaning that Chaka Khan could grab a second #1 by association. But no, it’s an interpolation (one day I’ll have to work out the difference). The chorus is sung by an uncredited lady, who doesn’t have Chaka’s pipes, but LL does a neat little reference to ‘I Feel for You’, as he freestyles towards the end.
I’ve talked for a long time about hip-hop gradually coming of age, especially in recent years with hits from Coolio and the Fugees. I’d add this one to the pile. The rapping is tighter, faster, and obsessed with sex. Still no swearing (the Outhere Brothers remain an outlier), though we’re slowly getting saucier: see the lines above, as well as treats like I’m exploring your body and your erogenous zones, Like a black tiger caged up till you come home… And I’m sure he didn’t mean it, but the refrain of You can take it girl, Stop runnin’, Uh… sure does sound a bit dubious to today’s ears.
Other than that, the sample (sorry, interpolation!) works well. I don’t love the song as a whole, and it’s not a patch on the original, but wouldn’t leave the dancefloor if it came on. Plus it sounds like a modern pop song, once again, furthering my argument that late ’96 / early ’97 marked one of those shifts that pop music goes through every decade or so.
This record, standard 90s hip-hop that it is, came from the unlikely source of the soundtrack to ‘Beavis and Butt-head Do America’, which I haven’t seen, and cannot imagine how it fits into the plot. The ‘B’-side was called ‘Come to Butt-head’, which seems much more appropriate.
Despite rap still being a relatively new chart-topping genre, LL Cool J had been around since the early ‘80s, which is seriously early in hip-hop terms. ‘I Need Love’, his slow-jam from 1987, was one of the first fully-rapped songs to be a chart hit in the UK, reaching #8 (meaning LL had a UK Top 10 several years before he managed one on the Billboard 100). ‘Ain’t Nobody’ was his third, and it set him up for a decade’s worth of regular hit making. And before I go, I’ll give a shout out to one of his other 1997 hits, which should have been the #1, ‘the frenetically funky ‘Phenomenon’.
On the one hand, there’s nothing very quirky about Britain’s second biggest band scoring their second chart-topper, with the lead single from their highly anticipated fifth album. And yet… ‘Beetlebum’ isn’t Blur at their most accessible – a fuzzy, droning number about taking heroin. It would actually make a good pub quiz question: name Blur’s two UK number ones. Everyone remembers ‘Country House’ because of the hoo-haa around the Battle of Britpop. But I doubt many casual fans would name this one over ‘Parklife’, or ‘Song 2’.
At the time, ‘Beetlebum’ was seen as a disappointment by some, and it’s hard to imagine this now, as it effectively signalled the start of Blur MK II, the Blur we’ve known for the past two decades. But until now, most of their singles had been laddish and upbeat, delivered with a knowing wink. ‘Beetlebum’ is a much rawer beast, perhaps the first song to mark the comedown from Britpop’s highs.
Damon Albarn was at first reluctant to admit what the song was about, but lines like And when she lets me slip away… Nothing is wrong, I just slip away and I am gone… Plus a whole minute of He’s on, He’s on, He’s on it… give the game away pretty quickly. The song neither glamourises, nor demonises the drug; more gives the feel of what it is like to be under its influence. ‘Sleepy, and sexy’, according to Albarn.
I remember reading a line – though I don’t remember where – describing ‘Beetlebum’ as ‘bum Beatles’. Which is harsh, even if the comparisons to White Album/Abbey Road-era Beatles are obvious, especially in the chorus harmonies. Perhaps because of the Beatles’ influence, Noel Gallagher went on record naming this as the one Blur song he wishes he had written.
And I think nowadays, now that people have got over the disappointment of it not being ‘Girls and Boys Part II’, we can agree that ‘Beetlebum’ is a great song, and if you listen carefully you can hear that it’s as full of hooks as any of their other hits, culminating in one of the creepiest endings to a #1 single – a full minute’s worth of that droning riff, weird noises, effects and alarms, ending with one final click. It’s definitely worthy of being Blur’s ‘other’ chart-topper. Plus, I’ve always had a more personal soft spot for the record, as it was my 11th birthday number one.
They have no further chart-toppers to come, sadly. Follow-up ‘Song 2’, their biggest hit outside the UK, stalled somewhat appropriately at number two, and the lead single from their next album, ‘Tender’, will famously be held off the top by Britney Spears. Damon will be back, though, as the mastermind behind Gorillaz. Two #1s for the best Britpop band (something I’ve just decided this very second, but it feels right) is pretty paltry, so I’ll do a Blur ‘Best of the Rest’ sometime soon.
April 21st marks the 8th anniversary of Prince’s death. One of the most talented musicians of his generation; and one of the most cheated when it comes to UK #1s. Just the one, in fact: 1994’s ‘The Most Beautiful Girl in the World’.
(We of course shouldn’t forget two very famous, and very good, songs written by Prince, that were chart-topping hits for Chaka Khan and Sinead O’Connor.)
So here are the Prince tunes that came closest: 8 records and 10 songs (thanks to two double-‘A’s) spread over quite a few decades… I’ll be the first to admit that I’m not as up on my Prince as I should be, so I’m not ranking them. We’ll just go by ascending chart position. Hopefully, I’ll learn something about the Purple One as we go…
‘Kiss’ (with the Revolution) – #6 in 1986
We start with the first Prince song I was ever aware of. And as an intro to the man, it ticks most of the right boxes… Outrageous funk, untamed horniness, a painfully high falsetto… check, check, check. But actually, the girl he’s looking for should be a blushing rose: no dirty talk, no flirting… You don’t have to watch ‘Dynasty’, To have an attitude… is the pick of the lines. Fun fact: the ‘ah-ah-ah’ effect is a compressed sample from Brenda Lee’s classic ‘Sweet Nothin’s’. A couple of years after the original, a remake by Art of Noise, fronted by Tom Jones, charted one place higher at #5. No comment…
‘Purple Rain’ (with the Revolution) – #6 in 2016
Title track from both an album and a movie, ‘Purple Rain’ is probably Prince’s signature tune. A gospel power-ballad, about the end of the world, it’s never really connected with me. I can respect it wholeheartedly; but I enjoy other Prince songs more. Originally written as a country song, and intended to be a duet with Stevie Nicks, ‘Purple Rain’ wouldn’t have made this list before Prince died, as it only made #8 originally. Upon his sudden death, this was understandably the song fans flocked to, making it re-chart and peak two places higher.
‘Controversy’ – reached #5 in 1993
Another song that peaked much later. Twelve years after it had failed to chart in the UK, ‘Controversy’ was re-released ahead of a Greatest Hits in 1993 and made #5. It’s tight and funky, with a disco beat, and lyrically lives up to its title. Am I black or white…? Prince asks… Am I straight or gay? In the seven-minute album version, he recites the Lord’s Prayer in full, presumably well aware that it would piss off a lot of people. Prince would spend the rest of his career playing up to similar controversy. For example, when I was at primary school, the one thing we all ‘knew’ about Prince was that he’d had two ribs removed in order to… how to put this… auto-fellate?
‘Sexy M.F.’ / ‘Strollin” (with the New Power Generation) – reached #4 in 1992
It took a while for the UK to catch up to Prince’s talents, but by the early nineties his singles were often charting higher in the UK than in the States. This coincided with what I see people now call Prince’s ‘gangsta period’. He raps most of this tune, classic lines like Can’t you see I’m harder than a man can get, I got wet dreams coming out of my ears… It’s a strangely uncommercial tune, all sharp horns and a monotonously funky beat, and that’s before we come to the x-rated title. So, in the UK it was twinned with ‘Strollin”, in the hope that radio would play that one. In the end, they just played an edit of ‘Sexy MF’ (You sexy mother-AOOW…!) ‘Strollin” is a much more jazzy, innocent number: Strollin’, strollin’, We can have fun just strollin’… and it can’t really compete with a sexy MF shakin their ass…
‘Gett Off’ (with the New Power Generation) – reached #4 in 1991
The crowning glory of Prince’s near-pornographic early nineties era. ‘Cream’, ‘Sexy MF’, and ‘Peach’ are all fun, but nothing matches the utter filth of ‘Gett Off’, from the ear-splitting shriek that kicks things off, through a tale of twenty-three positions in a one-night stand, to a brilliant flute-cum-guitar riff. Other highlights include a nod to that urban legend – Whatcha want to eat? “Ribs”, Ha, toy, I don’t serve ribs – and the crackly, funky James Brown tribute in the middle. If I were to rank these singles personally, then this one would be on top. Prince took himself seriously a lot of the time; but ‘Gett Off’ is a load of fun.
‘When Doves Cry’ – reached #4 in 1984
Early-nineties Prince might have been utter filth, but it’s not as if he was particularly pure and chaste before that… The video for ‘When Doves Cry’ caused consternation, setting up the controversy over the ‘Purple Rain’ album, and the introduction of ‘Parental Advisory’ stickers. The best single from the album, it was his breakthrough in the UK – only his second song to chart. It’s a deeply weird, deeply catchy song, that has no bass line.
‘Batdance’ – reached #2 in 1989
So, yep. Prince’s joint-second biggest hit in the UK is this. Recorded, quickly, for the soundtrack to the Michael Keaton ‘Batman’ reboot, ‘Batdance’ is a deeply, deeply strange song. If you can call it a song, which it isn’t in the traditional sense. There’s a lot going on: samples, audio from the movie, Prince’s raps, spoken asides, the classic Bat-maaaan… refrain all against a clanking, metallic beat… Then there’s a slow and funky middle-section that sounds like the needle has slipped on to a completely different song. Prince lovers may argue this an example of the scope of his talent, others might suggest it’s a classic example of over-egging the pudding. The guitar solo is wild, though.
‘1999’ / ‘Little Red Corvette’ – reached #2 in 1985
One of Prince’s more straight-forward pop moments, albeit one with a deeply cool synth-funk riff, and lyrics about dancing towards the apocalypse. ‘1999’ only made the Top 30 initially but made #2 when re-released in 1985. I wonder if ‘1999’ was ever Prince’s most popular hit, as it seems that the longer we get from the actual year in the title the more its fame is overshadowed by other Prince songs. It charted for a third time, making #10, in… 1999. For the ’85 re-release, it was paired with ‘Little Red Corvette’, which had been an even smaller hit originally. In it, Prince carries on the fine rock ‘n’ roll tradition of comparing beautiful women to cars (baby you’re much too fast…) It’s a fine song: a sort of smokey, disco-power ballad. Recorded in 1982, it’s the sound of the 1980s just starting to come into their own.
Aside from the music, there can be no doubt that Prince was one of, in not THE, ultimate rock star. Beautifully androgynous, deeply strange, myths and legends about him sprouting left, right and centre, and most importantly of all supremely talented. RIP.
In my last post I promised you something quirky. Is this quirky enough for you? Are you not quirked??
Your Woman, by White Town (his 1st and only #1)
1 week, from 19th – 26th January 1997
A gender-bending tale, centred around a trumpet sample from the 1930s, all written , recorded and produced by a fairly geeky looking chap in his bedroom. And catchy. I should also mention that it’s incredibly catchy.
It’s also very hard to describe. Is it dance, funk, indie, Britpop…? Is it lo-fi, hip-hop… boom bap?? (I have no idea what ‘boom bap’ is – Wikipedia suggested it, and I just liked the sound of it.) It’s at times creepy – the horn sample sounds like a haunted gramophone – but also quite funny – the middle eight with the plinky-plonky Game Boy sound effect is brilliant, my favourite part of the song, but also surely a musical piss-take.
Most of all it’s pretty subversive. Musically so, because number one singles aren’t meant to be recorded by nerds in their bedroom. And lyrically, because it sounds at first like our most explicitly gay chart-topper since ‘Relax’. A clipped, very English-sounding man delivering lines like: Well I guess what you say is true, I could never be the right kind of boy for you, I could never be your woman… The man behind it has said that it’s not explicitly queer though, more just about loving someone who isn’t right for you, when love and lust get mixed with your highbrow ideals…
The man behind White Town being Jyoti Mishra, born in India and raised in Derby, who had been in bands since the late 1980s and was well-known in underground scenes. ‘Your Woman’ was pushed heavily by Radio 1, leading to it entering the charts at the top, but Mishra struggled to follow it up. Having signed with EMI, he felt a loss of creative freedom, as well as frustration at his sudden fame. Frustrating for me is the fact that the follow-up to ‘Your Woman’ managed to scrape to #57, meaning that White Town isn’t strictly a one-hit wonder.
I mentioned above that the trumpet hook came from the ‘30s, more specifically ‘My Woman’, a 1932 hit written by Bing Crosby. (The music video nicely plays with the 1930s theme, aping the pratfalls and scene fades of old silent films.) The version sampled by Mishra is a different version, still from 1932, by Lew Stone & His Monseigneur Band. It’s been used since by rapper Naughty Boy and, probably most famously, by Dua Lipa on her 2020 song ‘Love Again’. It’s also been suggested that the original trumpet riff inspired one of the world’s most famous pieces of film score: the ‘Imperial March’ from Star Wars.
Jyoti Mishra and White Town were quickly dropped by EMI, and went back to recording independently, releasing their most recent album last year. For the 20th anniversary of ‘Your Woman’, he re-recorded the song using instruments commonly used in 1917. Because why not. Back in 1997, the tune was such a smash that it made its way onto ‘Now That’s What I Call Music 36’, which was the first edition of the series I ever bought, on cassette, probably with my 11th birthday money. And I’m not just inventing a cute ending for this post when I say that back then ‘White Town’ was my favourite track across the whole four sides… It really was.
The UK Number Ones Blog 