Boybands

719. ‘Back for Good’, by Take That

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These are the types of posts I least enjoy writing. Famous songs, that everyone knows, about which loads has already been said…

Back for Good, by Take That (their 6th of twelve #1s)

4 weeks, from 2nd – 30th April 1995

Quite often, too, they’re not songs I particularly like. And I should, in the interests of full-disclosure, admit off the bat that I’m not a huge fan of this record… I can recognise it as a good pop song – a well-constructed, grown-up pop song far beyond your usual boyband fare – and admire it thus. From a distance. With one listen per year, at most.

It’s the Barlow Conundrum, again. He’s often trying, to my ears at least, to write the perfect pop song. To prove that he and his band had long since grown beyond their ‘British New Kids on the Block’ origins. That he is to be Taken. Seriously. And of course he should be. He’s a very capable, competent songwriter. ‘Back for Good’ won an Ivor Novello award, one of British music’s ultimate accolades, for a start.

But… Compare and contrast this with another recent blockbuster boyband ballad, on a very similar lyrical theme: ‘Stay Another Day’. The lyrics to that are simple to the point of almost being trite. But something – something in their universality, in the way Brian Harvey delivers them like a lost child, in the song’s hidden subject matter – hits home in a way ‘Back for Good’ never manages.

Take the second verse here, in particular. Unaware but underlined, I figured out this story… In the corner of my mind, I celebrated glory… In the twist of separation, You excelled at being free… It all sounds clever, but does it actually mean anything? The harmonies are lovely, the want you back hook burrows its way in and never leaves, but is it all a bit fur coat and no knickers?

Or maybe it’s just me. ‘Back for Good’ has cropped up in pretty much every ‘Best songs of the…’ list for thirty years now. I am fully prepared for comments on how very wrong I am on this… But this record leaves me, like a fair old chunk of the Barlow Songbook, cold. Luckily for Take That, I am (sadly) not the arbiter of popular music, and this was a massive, massive hit all around the world. Even on the Billboard 100, where it made #7.

My feelings aside, ‘Back for Good’ was clearly the moment that Take That were made credible. Everyone who had written them off as just another boyband, even those way too cool for school, liked this record. I think it’s fair to say that without this song’s success, the band would not still be filling stadiums and topping the album charts in 2023. Back in 1995, and one of those aforementioned converts who confessed himself a fan of this song was Noel Gallagher. Speaking of whom…

714. ‘Stay Another Day’, by East 17

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Every good guy needs a bad guy. Every superhero a nemesis. And the cutest, cleanest-cut boyband of the day needed some rough east London lads as their foils…

Stay Another Day, by East 17 (their 1st and only #1)

5 weeks, from 4th December 1994 – 8th January 1995

Take That have dominated the charts of 1993-1995 like few acts ever do: they’re on five number ones in our countdown – and it’ll very soon be eight – having stuck to a winning pop formula. East 17 meanwhile had been ticking along since mid-1992, scoring five Top 10 hits packed with edgier dance and hip-hop touches, yet not coming close to matching Gary and the boys’ success.

Though the one thing East 17 can lay claim to that Take That can’t is a Christmas number one. A classic Christmas number one at that. A record… I’m just going to stick my neck on the line right now… better than any Take That ever released. (Yes, including that one…) And, ironically, to score their only number one they momentarily dropped the bad-boy posturing, and out-Barlowed Barlow himself; recording a sophisticated, grown-up ballad the likes of which Take That’s chief songwriter would have jumped at.

Baby if you’ve got to go away, Don’t think I could take the pain, Won’t you stay another day… It’s a ballad, of course, and on first listen the lyrics are standard weepy, break-up fare. The four voices meld together in an almost a cappella way – a nod to Christmas hits past? – led by a painfully young sounding Brian Harvey. It’s touching, but when you learn that Tony Mortimer actually wrote it following his brother’s suicide, then lyrics the might on the surface sound simplistic Oh don’t leave me alone like this… hit ten times harder, and elevate the song much higher.

The only controversy that surrounds this record is whether or not it’s a Christmas song. So pressing an issue is it that YouGov polls have been conducted on the subject (the ‘no’s had it, with a slim majority). I’d have to say it is though. It clearly ends in a hail of church bells, that were tacked on once the song had been slated for a festive release. Plus the video has snow in it! Luckily the fact that it now gets filed away with the other festive favourites for ten and a half months of the year means it’s not been done to death. Unlike some other boyband ballads from the mid-nineties…

Speaking of the video… It’s both iconic (those white parka jackets) and yet terrible (pretty much everything else – the dodgy green screen, the floating dancer, the white gloves…) But even that can’t ruin the song. East 17 would continue until the end of the decade – scoring a further six Top 10s – with their fair share of sackings, drama and drug-related controversies. Take That, it’s fair to say, won the war, if there ever was one. Though I was very surprised to learn that if you look beyond British shores, East 17 actually sold more records worldwide, thanks to their popularity in Europe and Australia. And recording one of the best ever boyband singles ever probably helped too.

711. ‘Sure’, by Take That

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Any act that racks up twelve number ones is going to have some chart-toppers that are better remembered than others… May I present to you, then, Take That’s all-but-forgotten #1.

Sure, by Take That (their 5th of twelve #1s)

2 weeks, from 9th – 23rd October 1994

I’m ‘sure’ I’ve heard this somewhere – the sure, so sure hook in the chorus was familiar – but the rest was a surprise. A pleasant surprise at that. The intro fools you, with lullabying chords suggesting that a syrupy ballad is on its way. But then everything goes a bit funky: with a squelchy bass, and lots of horns and scratchy turntables. If Take That’s previous hits had relied on retro, disco influences – ‘Relight My Fire’ and ‘Everything Changes’ – then ‘Sure’ sees the band turn to modern, American R&B.

Though, in fairness, this new jack swing beat had been around for a while, so they were actually quite late to the party. Still, it’s a solid pop song, and boybands are always at their most bearable when they’re keeping things upbeat. The lyrics are a bit PG, compared to similar acts – it’s been well over three years since Color Me Badd wanted to sex us up. Though there is a reference here to Gary Barlow’s relationship checklist: It’s got to be social, compatible, sexual, irresistible… (Take That’s big ‘rivals’ East 17 were a lot steamier on hits like ‘Deep’, but then they weren’t scoring #1 after #1. Definitely something to be said for keeping it family-friendly.)

Speaking of Mr Barlow, I do wish he’d relinquished lead vocal duty for this one. As fun a song as it is, he just doesn’t convince as a sexy alpha on the record, or when the lads cut a slick dance routine in the video. I’ve written in my previous posts on Take That that he clearly had ambitions above ‘boyband star’ – ambitions that will come to fruition with their next number one – and on the basis of their first five chart-toppers he was clearly the dominant force. Possibly too dominant. Small wonder Robbie wanted to break free…

‘Sure’ was the lead single from the band’s third album, and so was guaranteed to be a massive hit. It got the epic, seven-minute video treatment too. Though in truth half the video tells a very dull story in which the boys babysit a little girl while also trying to get ready for a house party. (Skip forward three and a half minutes if you just want to hear the actual song.) And yet, like I said in the intro, this record feels forgotten among their more famous hits. None more so than their sixth chart-topper: a genuinely huge pop-culture moment, coming along very soon.

704. ‘Everything Changes’, by Take That

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For their fourth #1 in nine months, Take That once again take turns at lead-vocal duty. We’ve had two Garys, one from Mark, and now a Robbie…

Everything Changes, by Take That (their 4th of twelve #1s)

2 weeks, from 3rd – 17th April 1994

Which gives a fairly throwaway pop song, a chart-topper more because of the band singing it than because of any innate quality the song might have, some significance. For here is the voice of the biggest British star of the coming decade… Though you might not have realised it at first, given the strange American accent he puts on for the album version’s intro…

On the single edit that bit is cut out, and we are rushed straight into another disco-tinged piece of retro-pop; the skinnier, sickly brother of ‘Relight My Fire’. I did wonder if ‘Everything Changes’ might have been a cover, as nobody under the age of sixty has ever used the term ‘taxicab’, but no – it’s a Gary Barlow (plus guests) writing credit. I guess they just needed the extra syllable to make it scan…

It’s perfectly serviceable pop. There’s nothing wrong with it (if we overlook the dated sax solo…) but neither is there much particularly memorable about it, apart perhaps from the for-ev-er… hook. There’s a reason why it was the fifth and final single from the band’s second album. There’s also a reason why it still made number one for a fortnight despite everyone already owning a copy of said album: Take That were bloody huge by this point.

While it might not have been his first lead vocals on a Take That single (I have little inclination to go back through their discography and check) it was definitely Robbie Williams’ first lead vocals on a #1. On their previous three, he very much took a back-seat. It felt strange to see him dancing gamely behind Barlow and Owen, knowing that he would go on to be bigger than any of them. But then, at the time, his departure was unexpected, and nobody would have bet on him having the success that he did.

Anyway, we’re getting ahead of ourselves. They’ve got a few more hits, and a few more chart-toppers, before he strikes out alone. And of the Take That #1s that have gone before, I’m starting to think I was a bit harsh on ‘Pray’… It’s head and shoulders above their other chart-toppers so far – as fun as ‘Relight My Fire’ was, and as strange as ‘Babe’ was. Quite possibly one of their very best…?

699. ‘Babe’, by Take That

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I wrote in my last Take That post of the band’s obvious desire to be more than just teenyboppers, that their cover of ‘Relight My Fire’, and the involvement of Lulu, was proof of them aiming to become Britain’s biggest act, bar none. ‘Babe’, their third number one in under six months is another step in that direction…

Babe, by Take That (their 3rd of twelve #1s)

1 week, from 12th – 19th December 1993

It was also a clear bid for Christmas #1, entering the chart in pole position the week before the big day. But this isn’t the cosy, festive love song you might expect. No sleigh bells and novelty jumpers here. It’s the tale of a lost love, opening with dramatic strings, a disconnected phone call, and a slightly creepy first person narrator. I come to your door, To see you again, But where you once stood, Was an old man instead…

I like a song that tells a story, and that’s what this five-minute epic (another epic!) does. Mark Owen – on lead duties this time – gets her number, and calls. He manages to find out where she now lives, goes down her street… It’s pretty overwrought, with some clunky lines (You held your voice well, There were tears I could tell…), and the unanswered phone call at the beginning and end is pure melodrama.

But, while you can pick holes, this is above and beyond your usual boyband fare. Come the last verse, as she answers the door, the singer sees a little boy: He had my eyes, He had my smile… Plot twist! Why she ran away with his child, clearly never wanting to hear from him again, is not explained – but I’ll give Take That the benefit of the doubt and assume they wanted this sinister ambiguity. I hear more than a hint of menace when the singer announces I tell you I’m back again…

The video suggests that he’s been away at war, but I’m not so sure. I like the creepier reading. It builds to an almost hard rocking climax, before disintegrating into thin air, and a dialling tone. Like I said, it was clearly a bid for Christmas number one, an achievement that would have capped off Take That’s breakthrough year. And when it entered at number one the week before, all bets would have been off…

Except… Blobby, Blobby, Blobby and all that. The pink and yellow one became the first act in twenty-five years to return to the top, and the rest was history. Take That never did get their Xmas #1, though there will be a boyband classic at the top this time next year. Perhaps the fact that it is quite a dark song, which isn’t about cuddling up with your loved one by the fire, also hurt it in the end. ‘Babe’ goes down as an interesting sidebar in Take That’s career: not one of their biggest or best-loved hits, but another sign that they were here for the long run.

696. ‘Relight My Fire’, by Take That ft. Lulu

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In their early years, in amongst the Hi-NRG pop and the ballads, Take That had made a habit of popping out covers of 1970s golden-oldies. A version of Tavares’s ‘It Only Takes a Minute’ had brought them to the Top 10 for the first time, while a pumped up take on Barry Manilow’s ‘Could It Be Magic’ gave them their first Top 5 hit.

Relight My Fire, by Take That (their 2nd of twelve #1s) ft. Lulu (her 1st and only #1)

2 weeks, from 3rd – 17th October 1993

‘Relight My Fire’, their second number one, was the pinnacle of their cover version days, and the final one before their ascent to superstardom. And it’s a perfectly fine piece of pop: complete cheese – though a nice camembert rather than plastic cheddar – and completely undeniable. It’s the ultimate soundtrack to Saturday evening family TV, to a kid’s birthday party at a Charlie Chalk’s, to a Butlin’s disco…

They don’t do anything clever with it, updating the disco beat and percussion for something more post-SAW, but otherwise keeping sensibly close to the Dan Hartman original. An original which hadn’t been a very big hit in the UK. I assumed it must have been a hit of some sort, as it just sounds so very ‘peak’ disco, but no. In the US, it had topped the Billboard Dance Chart for six weeks in late 1979; but in Britain people may not have been aware of it. (The female vocalist on the original was Loleatta Holloway, who we last heard being similarly uncredited on Black Box’s ‘Ride on Time’, while Hartman sadly died just a few months after this cover became a hit.)

I say Take That don’t do anything clever with their version of the tune, but actually… Roping in none other than Scottish pocket-rocket Lulu to belt out the Loleatta verse provided a clever bit of cross-generational appeal. And belt it out she does, as her rasping You gotta be strong enough to walk on through the night… is a clear highlight. She grasps with both hands this gold-plated chance at a chart comeback, also making sure she isn’t overshadowed by these young whippersnappers (though, amazingly, she was only forty-five when this made #1…)

It gave Lulu her first chart-topper a full twenty-nine years after her chart debut with ‘Shout’ – a record at the time. She had recently released her first album in eleven years, and this was her first Top 10 in almost twenty (not counting a re-release of ‘Shout’ in the ‘80s). But just as importantly as relaunching Lulu’s career, it announced to the world that Take That weren’t just teeny boppers aimed at twelve-year-olds. They were looking to become Britain’s foremost pop group, one that appealed to your mum, your granny, and your gay uncle (note Mark Owen’s crop top in the video, as well as Jason/Howard’s – who can tell them apart? – leather chaps…)

Come the end of the decade, all the boyband imitators that Take That had spawned would be trying the same thing. Off the top of my head, I can remember seventies covers from Boyzone, Westlife and 911 all doing very well in the charts, and I’m sure there were more. It’s songs like this which mean Take That are still filling stadiums across the country, thirty years on, with people of all ages looking for nothing more than a good night out. It’s easy to sniff (and sniff I do), but few do it better.

692. ‘Pray’, by Take That

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Here we go then…

If we’re being reductionists, we can distil the entire 1990s down to four chart-topping acts. Oasis, of course, and Blur. The Spice Girls. And Take That. And of the four, it’s the boy band who make it to number one first. Can we finally declare that the nineties, after many a false start, begin now…?

Pray, by Take That (their 1st of twelve #1s)

4 weeks, from 11th July – 8th August 1993

This record actually sounds quite cool – a new-jack swing beat and some edgy horn samples – until the voice comes in. Gary Barlow. Was he ever cool? I’d assumed he must have been, because he was young and in a hot new boyband. But even here, in his prime, he looks like the annoyingly well-behaved cousin that your mum insists on comparing you to… Why can’t you start a hugely successful boyband like Gary…? I mean, who’s he fooling, in the video, writhing around on the beach with his shirt hanging open.

Anyway, this isn’t the time to launch head first into my feelings on Gary Barlow (we can save that for his ill-fated solo career). He may sing lead here, but there are four other boys involved. And, to be fair, they all do their share of topless writhing in the video: on the beach, in the surf, in a fountain, entwined in the fronds of a banyan tree. On the one hand it’s quite arty; on the other it’s completely gratuitous.

The song itself is a funny mix. It treads a similar path to the Gabrielle hit that came before it: the verses are slow, wordy, and strangely lacking in hooks, considering that this is a pop song aimed at teenage girls. Barlow has always had ambition, writing songs that go above and beyond what you’d expect from his genre. He’s also always had the annoying habit of pulling a great chorus out of his arse. Just in time it comes racing in… Before I even close my eyes… All I do each night is pray…

We’ve had a few American boybands warming up the number one slot before this, in the shape of NKOTB, Color Me Badd, and Boyz II Men. But in the UK at least, Take That are the boyband of the decade. Perhaps of all time (1 Direction might have something to say about that, but I can’t bring myself to check the actual sales figures…) Either way, we’re going to be hearing an awful – interpret that word however you wish – lot of them in the coming posts.

And although they are the boyband of the decade, ‘Pray’ isn’t one of their hits that has been played to death. Which means that it’s actually fine to hear this again, and to enjoy the moments that soar past the sludgy verses. Take That had had quite a slow rise to the top, compared to some other pop acts. Their first release, the Hi-NRG ‘Do What U Like’ made #82 in the summer of 1991, and they slowly shed the pop-dance, scored hits with covers of Tavares and Barry Manilow, and went a bit more sophisticated. Once ‘Pray’ made #1, the rest was history. Though few at the time could have imagined that their chart-topping career would span almost two decades…

682. ‘End of the Road’, by Boyz II Men

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Things are getting very nineties around here: from iconic dance hits, to adult, dinner-party pop, to this… Yes, it’s time to sound the boyband klaxon!

End of the Road, by Boyz II Men (their 1st and only #1)

3 weeks, from 25th October – 15th November 1992

When I think of ‘90s boybands’, the first ones that spring to mind are all homegrown: Take That, East 17, 5ive, Boyzone (OK, Irish but still…) Yet all four of the boyband #1s that we’ve covered so far have been by Americans. And they’re getting progressively more sophisticated and mature – from NKOTB, to Color Me Badd, and now Boyz II Men. So much so that it feels slightly unfair to label these dudes as a ‘boyband’.

Except, the name, Boyz II Men, is pure ‘90s Boyband. Is there a ‘z’ in place of the ‘s’…? Check. Are there numbers and/or symbols…? Check. Is it memorably cheesy…? Check check check. Still, musically, this is a big improvement on ‘I Wanna Sex You Up’. It’s an update on the classic sixties/seventies vocal group sound: great voices, and great harmonies, with bass, tenors and baritones swooping all around one another.

If this was a one-off smash by a one-hit wonder, then I might be more effusive in praising it. It is a good record, a well-produced, well-written, well-performed pop song with a soaring bridge, and a catchy chorus: Although we’ve come, To the end of the road… It also has a great spoken word section (and intro, on the album version) in which bass vocalist Michael McCary does his best Barry White: All those times… You ran out with that other fella, Baby I knew about it…

The reason why I’m feeling a bit down on this record is because I know that this was not Boyz II Men’s only hit. And most of those other hits sound very much like ‘End of the Road’. They had a sound, and they rinsed the arse off it: ‘One Sweet Day’, ‘On Bended Knee’, ‘Water Runs Dry’… The one Boyz II Men song that I like more than ‘End of the Road’ is the preposterous ‘I’ll Make Love To You’, which basically sounds like someone doing a Boyz II Men parody.

At least in the UK this was the Boyz only visit to the top of the charts, and the first of just three Top 10 hits. Compare and contrast this with their complete domination of the Billboard charts in the mid-nineties. Two of their singles (including this one) set records for most consecutive weeks at #1. They were the first act since The Beatles to replace themselves at the top. Their five chart-toppers spent a combined 50 (fifty!) weeks at number one…

Thank God, then, for their less-fanatic British fans. They sent the band’s (second) best single to number one, for a perfectly sensible three weeks. And we can appreciate it for the fine piece of soul/R&B that it is. Plus, it was technically a Motown release, giving that legendary label its first UK #1 since ‘I Just Called to Say I Love You’ and, unless anyone wants to tell me otherwise, its last.

665. ‘I Wanna Sex You Up’, by Color Me Badd

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I arrive at this next chart-topper, and a question immediately springs to mind: what’s worse – the name of the song, or the name of the group?

I Wanna Sex You Up, by Color Me Badd (their 1st and only #1)

3 weeks, from 2nd – 23rd June 1991

I mean, both could win the pop music equivalent of the Razzies. But for me it’s the song title that is a smidge more excruciating. And that’s because it lends its name to four minutes of cringe-inducing boyband R&B. Come inside take off your coat, I’ll make you feel at home… squeaks a Poundshop Prince. The lyrics start of icky – all lighting candles and pouring wine – and only get ickier…

For example: Disconnect the phone so nobody knows… Personally, I don’t see disconnecting the phone as a sexy move; more a creepy, ‘there’s no escape’ kind of move. And then there’s the piece de resistance: making love until we drown… dig… Drown in what, dare I ask? (Vomit, probably, given the way these lyrics are making me feel.)

There’s a spoken-word section, of course, though it’s more of a whispered-word section: Just lay back, Enjoy the ride… The only redeeming moments in the song are the two hooks – the ooh-ooh-eeh-ooh and the tick tock ya don’t stop – that run on a loop. In fact, if you can block out the lyrics, the song itself sounds very modern. If I hadn’t known, then I’d have placed it in the mid-to-late nineties, rather than 1991. The song featured on the soundtrack (another soundtrack #1!) to ‘New Jack City’, an action-crime movie featuring the likes of Chris Rock, Wesley Snipes and Ice-T.

Was this controversial at the time? Few #1s have been this upfront about sex, save for Serge and Jane, and Frankie saying ‘Relax’. (Off the top of my head, I believe this might be the first chart-topper to feature the word ‘sex’ in its title.) Or did people just write it off as simply too ridiculous to be a threat to young and impressionable minds? The video is nowhere near as saucy as it might have been, mainly featuring the four Badds sauntering along railway tracks, like NKOTB’s moody older brothers. And, of course, it seems very PG-13 compared to some of the songs that have made number one between then and now, from ‘Freak Me’ to Megan and Cardi B’s wet-ass you-know-whats…

Color Me Badd were four high school friends from Oklahoma, who were helped on their way to brief stardom by Robert Bell of Kool & The Gang, who found them a manager, and Bon Jovi, who let the boys open for them at a concert in New York. They were a racially diverse group, too: one white, one black, one Mexican, and one part Native-American.

They had two further #1s in the US (where ‘I Wanna Sex You Up’ stalled at #2), including the actually pretty great ‘All 4 Love’, which was their only other UK Top 10. They split up in 1998. They’ve left behind a complicated legacy: some sources list this as one of the ‘50 Worst Songs Ever’, while others have it as one of the ‘100 Greatest Songs of the ‘90s’. Personally I’d lean towards the former, though it is so silly in places that it almost becomes quite fun.

639. ‘Hangin’ Tough’, by New Kids on the Block

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Here we go then. The nineteen nineties. The fifth decade of the UK singles chart. The decade I did half my growing up in. Almost four years old at the start, almost fourteen by the end. I’ll try to keep the personal reminiscences – interesting for nobody but myself – to a minimum as we go. But there’s no escaping the fact that some of  these are the first #1s that I can remember in ‘real time’.

Hangin’ Tough, by New Kids on the Block (their 2nd and final #1)

2 weeks, from 7th – 21st January 1990

Not that three-year-old me, brain filled with Thomas the Tank Engine and dinosaurs, had much interest in 1990’s first number one. NKOTB were back, just a month after ‘The Right Stuff’ had vacated top-spot, to bless the decade with its first of many, many boy-band chart-toppers.

First things first, a question. Did ‘Hangin’ Tough’ ever actually sound tough? I suppose it might have to twelve-year-olds, who were the only audience that mattered. But at a remove of thirty-odd years, the bass chords, the whistles and the oh-oh-ohing all sound incredibly lame. Hangin’ tough… the boys chant, very slowly (this song needs a shot or two of caffeine) Are you tough enough!? they demand, before ending the chorus on a very unconvincing We’re rough!

At my high school these dweebs would have been laughed all the way behind the bike sheds, before having their lunch money nicked. And I think the Kids knew it, because the vocals – especially the oh-oh-ohs – feel half-arsed compared to ‘The Right Stuff’. Elsewhere, the chords in the chorus remind me of ‘I Love Rock ‘n’ Roll’, and it’s never a good idea to rip-off a classic song to make a bang-average one like this. A remixed version of the record, the one that presumably got airplay at the time, beefs things up a bit; but not enough.

In fact, the rockier mix takes away one of the few really interesting things about this song. In the album version, a good minute or so is given over to a fiddly, noodly synth-organ solo. I’m not claiming it’s very good, just that few teen-pop songs are allowed moments of such self-indulgence. (The rockier mix switches the organs for a pretty forgettable guitar solo.) By the end though, the Kids are beat-boxing and freestyling, and the song really loses its way. You know it ain’t over till the fat lady sings… one of them announces, and you wish she’d started singing earlier.

The one thing to be thankful for is that, once again, it’s not a syrupy ballad. NKOTB had plenty of them among their ten British Top 10 hits, but none of them troubled the top. The band split in the mid-nineties, with Jordan Knight and Joey McIntyre attempting solo careers. They reformed in 2008, then teamed up for a tour and an album with Backstreet Boys (NKOTBSB anyone?)

Whatever their merits (or lack thereof), New Kids on the Block hit two chart milestones with ‘Hangin’ Tough’. They joined Al Martino, Michael Holliday, Edison Lighthouse and The Pretenders in scoring the first #1 of a new decade (a big deal for chart geeks like me!) The second was less illustrious: in the record’s first week on top of the charts, it posted the lowest sales ever for a number one single…