90s r&b

837. ‘Genie in a Bottle’, by Christina Aguilera

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1999’s second biggest pop princess launches…

Genie in a Bottle, by Christina Aguilera (her 1st of four #1s)

2 weeks, from 10th – 24th October 1999

Despite both being former squeaky clean Disney Mouseketeers, it felt from the very beginning that Christina Aguilera was packaged as the anti-Britney, the bad girl, the girl next door if you lived in a slightly dodgier neighbourhood… And listening to ‘Genie in the Bottle’, you can see why.

Compared to ‘…Baby One More Time’ its edges are sharper, its beats more streetwise and sassy, and its lyrics a lot more steamy. My body’s saying let’s go, But my heart is saying no… One thing I’d never really notice before is the dramatic squelchy synth riff that underpins the whole shebang, that I quite like. But it’s not got the oomph of the Max Martin produced ‘…Baby’, and it has probably not gone on to be remembered as equally iconic.

Yet once it gets to the chorus, it can compete with anything any member of pop royalty could come up with. Christina has standards, and isn’t going to just give it up for anyone. If you wanna be with me, There’s a price you have to pay, I’m a genie in a bottle, You gotta rub me the right way… Conservatives frothed a little at all the rubbing – Debbie Gibson of all people claimed that it was inappropriate for a teen idol, suggesting that she hadn’t been paying much attention to the previous five decades’ worth of pop history – but really, it’s a song about abstinence: My heart’s beating at the speed of light, But that don’t mean it’s got to be tonight…

Although in terms of UK sales and chart success Christina fared less well than Britney, she trumped her in one fairly essential area. Christina can sing. There’s not much in this record to prove that fact, but towards the end she starts letting loose with some of her trademark yeaheayeahs. And to be honest, it’s enough. Less is often more with Christina, the over-singers’ over-singer.

Despite just now claiming that she can’t sing, I will not often hear a bad word against Britney. And yet, I do think that Christina has lived somewhat unfairly in her shadow. Who, for example, remembers that she also kissed Madonna at the VMAs…?? (This is all from my Western-slanted viewpoint. She is arguably a much bigger name in the Latin world, having recorded half her output in Spanish). Christina and her team clearly disliked this one-sided comparison too, as for her second English-language album she will return with one of the great pop comeback tunes, a song that will make ‘Genie in a Bottle’ sound incredibly tame by comparison. Xtina awaits…

808. ‘Goodbye’, by The Spice Girls

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Managing a Beatles-matching three Christmas number ones in a row, it’s the Spice Girls…

Goodbye, by The Spice Girls (their 8th of nine #1s)

1 week, from 20th – 27th December 1998

Could we argue that this is a more impressive feat than that managed by The Beatles, as the Fab Four’s three festive chart-toppers came before the Christmas Number One © became a thing? Perhaps. But that’s a discussion for another day. On to the ballad at hand.

For it is, of course, a ballad. My favourite of their three Xmas #1s, by far, is ‘Too Much’, because it desperately didn’t want to be a ballad. But this is much more traditional fare. Listen little child, There will come a day… To be honest, I’m not sure what this is about. A break-up, I guess? With children involved?

Of course, with lines like Goodbye my friend… and I never dreamt you’d go your own sweet way… many at the time saw this as the remaining Spice Girls making their peace with Geri, after she’d abandoned them several months before. It was, after all, the first song they recorded as a four-piece, and wouldn’t appear on an album until two years later. Others saw it as the Girls bowing out entirely, which wasn’t a strange assumption given that Mel B had already enjoyed a solo chart-topper.

Musically this is lush and atmospheric, though perhaps a little more predictable sounding. coming straight after B*Witched’s Celtic-influenced ‘To You I Belong’. I like the squelchy bass – a little out place at first – while the beat is very American R&B, very Destiny’s Child. I can’t find too much to love, though. And coming two years after I’d outgrown my tweenage passion for the Spice Girls, I’m not sure I’ve ever properly listened to ‘Goodbye’.

It’s not as good a ballad as ‘Viva Forever’, that’s for sure. But you can tell that they had access to the best songwriters of the day, as evidenced by Mel C’s genuinely memorable chorus-within-a-chorus: So glad we made it, Time’s never, ever gonna change it… She always did get the best parts… I also like the fact that none of their Xmas number ones have gone down the cliched sleigh bells and choirs route (although the video to ‘Goodbye’ does involve a lot of snow, and people frozen like ice sculptures).

So, after two and a half years, two albums, eight singles yielding seven number ones, the Spice Girls… went on a break. There was still a tour, and solo projects to invest in. But there were also still plans for a third album, that will come about eventually, and give them a final footnote of a number one. It would have been cleaner, somehow, if they’d just bowed out with ‘Goodbye’, their record-matching third consecutive Christmas #1. Pushing them all the way in the charts that week was an animated chef, voiced by a soul legend, who would have his moment in the sun soon enough…

802. ‘I Want You Back’, by Melanie B ft. Missy Elliott

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Straight on the back of Robbie Williams first solo #1, we have our first Solo Spice…

I Want You Back, by Melanie B ft. Missy Elliott (their 1st and only #1s)

1 week, from 20th – 27th September 1998

I’m not sure Mel B would have been many peoples’ choice for the Spice Girls most likely breakout star and, in truth, though she struck early she wasn’t the most successful of the five. But this is in fact the perfect solo Spice Girl number one: cool, edgy, and unlike anything the group had released in their two album career…

I’m the M to the E, L, B… Melanie Brown announces. As iconic raps go, it is not on the same level as her Now here’s the story from A to Z… moment in ‘Wannabe’, but it does the job. She tells the story of how she may think her ex is a bit of a dick, how he’s driven her to drink and distraction, but how she still wants him back…

The sharp strings and the ominous guitars over a hip-hop beat do sound pretty cutting edge for 1998, and a huge step away from what we’ve heard so far from the Spice Girls. But what roots this record in the late nineties is the very dated rap lingo. I admire the use of the term ‘wack’ in the chorus, but can’t help grimacing at lines like I know I talk mad junk, But I know what I want… And even though you’re a mack true dat, I want you back…

Still, bringing true street cred we have Missy ‘Misdemeanour’ Elliott on board, for her only credited appearance on a UK #1 single. (She will also feature, uncredited, on ‘Lady Marmalade’ in a few years time.) She does little more than spell out her name and then go ‘uh uh uh’, but hey. I think this might be the very first example of a pop star A ft. a rapper B record to make number one, with many to follow in the coming decades. To reduce Missy Elliott, a hip-hop pioneer, to the status of rent-a-rapper feels wrong though, and I do wish she’d been given more to do.

According to Mel B, this was Missy Elliott’s song, and she the one who invited the Spice Girl to duet on it. Incongruously, it also featured on the soundtrack to the Frankie Lymon biopic ‘Why Do Fools Fall in Love’. Elliott was far from a household name in Britain at this point, and wouldn’t make the Top 10 under her own steam until 2001’s ‘Get Ur Freak On’.

Mel B meanwhile peaked early in her solo career, and while she would go on to score two more Top 10 hits she will not be returning to the number one position without the help of her bandmates. ‘I Want You Back’ may not be the best remembered of the Spice Girls’ solo efforts, but I’d go as far as to say that it is not the wackest piece of music any of them have put their name to.

800. ‘Bootie Call’, by All Saints

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Suddenly it’s eight hundred not out. We continue to cut a swathe through the chart decades, almost tipping over into a new century. But there’s still plenty of life left in the 1990s, as All Saints return to form…

Bootie Call, by All Saints (their 3rd of five #1s)

1 week, from 6th – 13th September 1998

I tried to make the best of their double-bill cover record, featuring interesting takes on ‘Under the Bridge’ and ‘Lady Marmalade‘. And while it wasn’t the horror show some might have claimed, it still wasn’t that good. So here’s their third number one of the year, making them 1998’s joint most successful girl group (the other one isn’t the Spice Girls). And it’s a fun record.

It’s also a strange record, despite the subject matter being very All Saints. Casual sex is the order of the day, and it’s worth stopping to note that while this song isn’t at all explicit, it’s only really been since the mid-nineties that chart-toppers have started to be this up-front about sex. Never stop giving good love, ‘Cause that’s what I call you for… the girls purr… You can bring it on with the rough stuff, I don’t want to be tamed… All Saints are, of course, in charge of the whole situation, reminding their guys: It’s just a bootie call… (Why, incidentally, not ‘booty’? Is ‘bootie’ a British spelling I don’t know about?)

The strangeness comes from the production, and the sound effects that hang all over this song like weird Christmas decorations. There’s what sounds like someone snoring, a man going ‘uh’ over, over and over (once you’ve noticed him in the mix he takes over completely), plus lots of vaguely sexual breathing and spluttering. The second verse is very rough around the edges, with the girls taking turns over their lines as if ad-libbing around a looped piano riff. It could be cool; but it could also sound half-arsed. It’s certainly not polished or softened, like so many of the recent tween pop #1s, so that’s something to be thankful for. The girls don’t forget that there might be children listening though, adding a line I assume to be about safe sex: Jimmy’s got to ride in your pocket, or lock him in your wallet…

‘Bootie Call’ isn’t as good as ‘Never Ever’, or either of the band’s two remaining chart-toppers. It’s a little gimmicky, and gets a little repetitive. But even as their fourth best number one, it’s pretty enjoyable. Plus it cements their place as the biggest British girl group of the day, as the Spice Girls continue to disintegrate.

Next up we have a much delayed recap, but before that we should cast our eyes back towards each of the ‘hundredth’ number ones. What’s interesting is that almost all of them represent a facet of British chart-topping tastes. All Saints are a good way to mark the girl-powered sass-pop of the late nineties, as were Chaka Demus & Pliers (700) a good way to mark the mid-nineties reggae revival. What’s interesting is that there are barely four and half years between 800 and 700, as the turnover of number ones increases, but more than six between 700 and 600, in which T’Pau represented for all the eighties power-ballads.

500 was Nicole’s ‘A Little Peace’ (Eurovision), while 400 was ‘Don’t Cry for Me Argentina’ (showtunes). Tony Orlando and Dawn’s ‘Knock Three Times’ represents nothing more than the British public’s ongoing love of middling cheese. 200 was ‘Help’ by the biggest band of all time, while 100 was Anthony Newley’s ‘Do You Mind’, highlighting the lull that came between rock ‘n’ roll and Merseybeat. And of course, Al Martino kicked the whole shebang off in 1952, repping for all the pre-rock crooners. It’s been a lot of fun so far – thanks to everyone who has come along for the ride – and rest assured I have no intention of stopping until we make it all the way to the present day.

795. ‘Freak Me’, by Another Level

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Another boyband, another pop song, another sign that we’re now well into the late nineties…

Freak Me, by Another Level (their 1st and only #1)

1 week, from 12th – 19th July 1998

But unlike Billie Piper, there’s nothing tweeny about this raunchy record. Let me lick you up and down, ‘Till you say stop…  the Another Level lads beg… Let me play with your body baby, Make you real hot… All this over slick, modern R&B beats, and honeyed harmonising.

It’s very American, when you compare it to the more wholesome British boybands of the day (oh to hear Ronan Keating have a go with these lyrics…) And it had originally been a Billboard #1 in 1993, for US R&B group Silk, co-written by hip-hop/soul pioneer Keith Sweat. But Another Level were from London, with echoes perhaps of East 17 – Britain’s baddest boyband up this point.

‘Freak Me’ is, like I said, raunchy. There’s a decent soul-pop song in there amongst the gloop, and the chorus does enough to shine through. It’s also way too much. In the second verse, one of the boys announces: I like the taste of whipped cream, Spread it on top of me… They want to see the unnamed girl’s body drip, want to take a sip. Even Prince at his randiest would have thought twice about these clunky lyrics.

It reminds me of ‘I Wanna Sex You Up’, Color Me Badd’s 1991 chart-topper, in its unintentionally hilarious horniness. Which leads me to think twice about claiming that this isn’t a tween-pop record. Okay, perhaps the lyrics might have been lost on eight year olds, but I can imagine many a fifteen year old putting this one a make-out mixtape. It’s nowhere near as ‘adult’ as Another Level might have hoped.

This was Another Level’s second Top 10 hit – their first, ‘Be Alone No More’, had featured none other than Jay-Z – and they would enjoy seven in total during their short-lived, two album career. I have to admit that without the help of a search engine I couldn’t have named any of their other songs. In fact, the only other thing I know about Another Level is that one of their members, Dane Bowers, launched a mildly successful solo career, and almost managed a number one with Vicky Beckham. The rest of his post-Another Level career isn’t as impressive, dwindling down into lots of reality TV, a sex tape, and a jail sentence for assaulting his girlfriend. The other three members of the band don’t even merit a Wikipedia page…

782. ‘You Make Me Wanna…’, by Usher

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January 1998, but we take a quick step into the early twentieth century…

You Make Me Wanna…, by Usher (his 1st of four #1s)

1 week, from 25th January – 1st February 1998

Since the mid-1990s, the British charts have been very British-led. This sounds like an obvious statement, but hear me out. In 1996, the only American acts to top the charts were the Fugees, twice (one of which was, to be fair, the year’s highest-seller), and Deep Blue Something. Back in 1994, it was only Prince and Mariah Carey. 1993 saw honorary American Shaggy, Meat Loaf, and a Will Smith-Jazzy Jeff combo. Compare that to 1990, when seven US acts made number one…

Clearly the fact that European-style dance music and Britpop were the big musical movements of the mid-nineties meant that the States didn’t get much of a look-in at the top of the charts. But 1997 saw a reversal of that trend, with #1 hits from the rogues gallery of R. Kelly, Michael Jackson, and Puff Daddy, plus No Doubt, Hanson, and Will Smith. 1998 will continue this way, starting with an up and coming eighteen-year-old called Usher.

I’ll admit that I padded this post out with the preceding couple of paragraphs because I’ve never found this sort of late-90s, twitchy, minimalist R&B very interesting. It’s very modern, sounding more like what’s to come in the early ‘00s than what’s come before, and Usher’s vocals are impressive. I do like his freestyles towards the end of the song, where he sounds like a more muscular Michael Jackson. He certainly doesn’t sound like a teenager here.

But it largely washes over me without really registering. This was the sound of the Billboard charts at the time, and there’s a significance to it topping the UK charts now. It reminds me of some early Destiny’s Child tracks from the same time, with the same jerky, pizzicato production. But I like ‘Bills Bills Bills’ much more than ‘You Make Me Wanna…’, which I can only explain through the fact that Beyoncé just makes things better.

Still, it introduces one of the big names of modern pop music. This was Usher’s first British hit, though he’d have to wait a couple more years to become a huge chart force. He’ll have four chart-toppers over an impressive twelve-year span (with at least one genuine banger) and a Top 10 career that will last the best part of two decades.

Again, this January is providing an interesting mix of one-week #1s that might not have made the top at any other time of year. A slow-burn girl group classic, Oasis at their most overblown, and a glimpse into the charts of the future. On a personal note, ‘You Make Me Wanna…’ (why the ellipsis?) was my twelfth birthday number one. Meh. Had I been born a day later I could have claimed the cheesy tune that is to come…

780. ‘Never Ever’, by All Saints

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Into 1998, then. The penultimate year of the century, the 46th year of the UK singles charts, and one with a thus-far record thirty number ones. And to start off, there are a few questions that I need to know…

Never Ever, by All Saints (their 1st of five #1s)

1 week, from 11th – 18th January 1998

To be honest, an opening line that clunky could kill lesser songs off before they’ve started. A few answers that I need to know, surely, scans just as well. Anyway, ‘Never Ever’ quickly recovers from that shaky start, by bringing us one of the great spoken word sections. Anyone of my vintage can probably still recite it word for word…You can tell me to my face, Or even on the phone… as well as adding all the backing harmonies.

It takes the sassy soul vibe of 1997’s final chart-topper, the Spice Girls’ ‘Too Much’, and ups both the sass and the soul. All Saints have very good voices, and great harmonies, to the point where you’re tricked into misremembering this as an a cappella track. But their voices are also flawed, like the Spice Girls’, so that you can hear their accents and dropped consonants.

‘Never Ever’ isn’t a cappella, of course, and the production is period-perfect late-90s R&B squelch (this is what we must refer to it as from now on, and we’ll be hearing it a lot as the century winds down). It’s also let down slightly by further clunky lyrics (flexin’ vocabulary… the alphabet runs right from A to Z) and simplistic rhymes: Free from pain/ Goin’ insane… So low/ Black hole… So sad/ Feelin’ really bad… But hey, at least the words stick with you. And by the end, as the harmonies build and the organs start to swirl, you forgive it. The outro is just as good as the famous intro, slipping into a hip-hop beat as the girls’ voices are filtered and distorted.

Having a pop single run over five minutes (six and a half in its album version) is always a risk, spreading a few decent lines and a hook too thin. But ‘Never Ever’ lasts the distance, thanks to the strength of the voices and the melodies, and the way that they continue to build. And talking of being long-running, the song had a particularly slow journey to the top of the charts by 1998’s standards. It first charted in November, then hung around the Top 10 for seven weeks before finally reaching the top in the post-Christmas lull. It set a record for the highest ever sales before making #1 (770,000), and it’s current total stands at 1.5 million. It is the 3rd biggest-selling girl group single of all time in the UK. (You can guess the top two in the comments below…)

It feels simplistic to call All Saints the female East 17 to the Spice Girls’ Take That, but I’m going to do it anyway. The Spice Girls were chaotic and silly, whereas All Saints were all glowering stares, pierced tongues and nose-studs, shacking up with Gallaghers. They were the girls a couple of years above you in the corridor at school, definitely not to be approached under any circumstances. ‘Never Ever’ was only their second single, but it established them as the ‘other’ girl group of the day. In 1998, they’ll even have one more #1 than the Spice Girls. In fact, they’ll have five chart-toppers in just under three years, and all but one of them will be great.

If you’ve been paying attention, you might be expecting a recap in my next post. However I’ve decided that as the turnover of #1s is ever-increasing, and to stop my all-time awards getting too skewed towards the late-‘90s/early-‘00s, I’m going to do recaps after every fiftieth chart-topper until things slow down a bit, sometime around 2003.

764. ‘I Believe I Can Fly’, by R. Kelly

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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…

752. ‘I Feel You’, by Peter Andre

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After partying all night on ‘Flava’, Peter Andre aims for the flip-side of ‘90s R&B: a sickly slow-jam…

I Feel You, by Peter Andre (his 2nd of three #1s)

1 week, from 1st – 8th December 1996

I assumed that by late-1996, as we near my eleventh birthday, there wouldn’t be any number ones that I’d never heard before. But I reckoned against the fact that, as chart-topping turnover increases, there will be lots of one-week wonders to contend with. Like this.

‘I Feel You’ has some nice Boyz II Men style chord changes, a funky bassline and, if you squint your ears (you know what I mean…) you could just about mistake Andre for Michael Jackson. It also has, as most songs of this ilk do, some unintentionally stomach-turning lyrics: I’m thinking about the bedroom, baby, We’d be making love…Making love! As well as a very steamy video featuring, naturally, Andre’s six-pack as one of the main characters.

By and large, though, this song is dull. Spotify only hosts an extended five-minute mix, which is a slog when it comes to a song of this quality. And it’s sexiness is so forced, that anyone who isn’t Pepe Le Pew will be turned off. It’s custom made for horny teenagers to put on their make-out mixtapes, and they were presumably one of the song’s main customer bases in getting it to the top.

This should have been the last we hear from Peter Andre. His star shone brightly, but briefly: seven Top 10 hits between 1996 and 1998. Fate had different ideas, however. It does mean that, in seven years or so, he will reappear, and his best single will belatedly make #1… But at what cost?

Since this is looking like being a very short write-up, I’ll mention something that I’ve hinted at in earlier posts. Late-’96 is the moment that the singles chart became the chart I grew up with – not just in terms of the songs sounding like modern pop, as I’ve discussed before, but in the way they started entering at #1, and staying there for just seven days at a time. As I said above: ‘one-week wonders’, like this one, and the next song we’ll be featuring…

744. ‘Flava’, by Peter Andre

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Straight after the ‘90s most famous five-piece, the decade’s most famous six-pack arrives on the scene…

Flava, by Peter Andre (his 1st of three #1s)

1 week, from 8th – 15th September 1996

To be fair to this record, we have to try forget what Peter Andre is now – the butt of a million jokes, basically – and cast our minds back over a quarter of a century (gulp!) to when he was hot property. And if we are being fair, this record is a perfectly serviceable slice of mid-nineties dance/pop/R&B. Listening to it, you’d assume that Andre was American, especially when singing lines like Can’t bring myself to sleep, So I get the keys to my Jeep…

Except Mark Morrison recently proved that Brits (or British-Australians in Andre’s case) could do these sort of new-jack swing, R&B jams as well as, if not better than, the Americans. Not that ‘Flava’ is in the same street as ‘Return of the Mack’, but they do share the same postcode. And interestingly, Andre also sings in the chorus that the Mack’s back with the flava of the year… (Since writing my post on Mark Morrison, I’ve learned that ‘Mack’ is US slang for ‘a confident, successful man who has many sexual partners’, according to the OED, possibly stemming from the blaxploitation movie of the same name.)

The weakest link here is Peter Andre himself, and his reedy voice which never quite convinces that he is someone who parties all night, or who gets drunk as hell blazin’ up with the smoke, as the uncredited Cee raps in his verse. But this leads us on to what the legacy of ‘Flava’, an otherwise average, throwaway tune, is… The fact that it is a completely and utterly modern pop song.

There’s that beat that Max Martin would be rinsing the life out of by 1999, there’s a synth riff that I’m pretty sure was used by both the Backstreet Boys and 5ive (if not several others), and there’s a rent-a-rapper brought in for the middle eight. This is how pop music will sound for the next twenty-odd years, and here it first appears on top of the charts. With Peter Andre, musical trailblazer…

Or maybe it’s because I can remember 1996, and so my subconscious is forcing me to hear it as modern. It’s either that, or accept that I’m old… Anyway. I made a big play of Peter Andre’s six-pack in the intro, but in the ‘Flava’ video he keeps it fairly well hidden behind an array of baggy shirts. This was probably a reaction to the ‘Mysterious Girl’ video, which had made #2 earlier in the year and in the video for which he spent most of his time topless, under a waterfall. He clearly wanted to be known for his art, dammit, not his body! I won’t link to ‘Mysterious Girl’ – his one true classic – as that makes #1 eventually, under circumstances that will lead to Peter becoming the boob he is nowadays