barry white

Random Runners-Up… 6th April

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Time for another trio of randomly selected (thanks to Random.org) number two hits from this date in chart history. Or, as I like to call them, our Random Runners-Up…

‘You See the Trouble With Me’, by Barry White – 2 weeks at #2, from 28th March – 10th April 1976 (behind ‘Save Your Kisses for Me’)

First up, a perfect marriage of disco and soul from the master of merging disco with soul, Barry White. In this song, the lyrics are limited, and way back in the mix, as if the most important thing here is the beat, and that’s hard to disagree with. The final minute of what is only a three and a half minute track is just grooving. Just what is the trouble with Barry? He can’t do nothing without his baby…

This was White’s fifth and final UK Top 10 hit, though he remained very much active until his death in 2003. A few years before that, ‘You See the Trouble With Me’ had been reduced to something of a novelty by dance act Black Legend… and reached to #1. They had to use a Barry White soundalike, as he refused to clear a sample, saying the remix was “cheap, and had no soul”.

‘Love Shack’, by the B-52’s – 3 weeks at #2, from 18th March – 14th April 1990 (behind ‘Dub Be Good to Me’ and ‘The Power’)

On this day in 1990 – though not a song you could possibly date just by hearing it – the B-52’s were enjoying their biggest UK chart success in an already decade-long career. Wikipedia lists ‘Love Shack’ as pop rock, dance rock, surf rock and funk rock, as well as new-wave. (The B-52’s were originally new-wave, but I don’t think you could still have called them that in 1990.) Anyway, that melange of genres pretty much sums up this devilishly catchy tune.

‘Love Shack’ was a comeback for the band, after less than stellar chart fortunes, and the death of founding member Ricky Wilson in 1985. With lyrics about partying in a rusty shed, it is exuberant, and danceable, even if I have to be honest and admit that I’ve always found it a little irritating.

‘Richard III’, by Supergrass – 1 week at #2, from 6th – 13th April 1997 (behind ‘I Believe I Can Fly’)

I will argue long and hard for Supergrass as Britpop’s fourth best band… Okay, maybe 5th, after Suede. This banging track is now long forgotten, while the similarly heavy Britpop classic that made #2 the week after (‘Song 2’) lives on and on and on.

Supergrass could blend proper rock with perfect pop melodies, and this is one of their greatest songs, in a peerless run of singles between the mid-nineties and the mid-noughties. Oh, and it features a theramin, which always sounds fun. It is not about the famously hunchbacked king, nor about the Shakespeare play on the subject. It is a placeholder title – Supergrass gave all their tracks-in-progress people’s names – though they have since drawn a connection between the dark and menacing lyrics and the much-maligned historical character. And tell me that a line like Spent too much time, Wondering why, I got an opinion… isn’t Shakespearean-level thinking for the modern age.

Hope you enjoyed this threesome of #2s… Back to the regular stuff in a couple of days!

862. ‘You See the Trouble With Me’, by Black Legend

/ UK #1s blog / 4 Comments

Our slow meander around the year 2000’s many, many chart-toppers continues, and we find another interesting stop along the road: the lost Barry White number one.

You See the Trouble With Me, by Black Legend (their 1st and only #1)

1 week, from 18th – 25th June 2000

First, we do have to state that it is not Barry White’s voice on this record, though vocalist Elroy ‘Spoonface’ Powell does a mighty fine impersonation. He even manages to make this sound like a live sample, introducing it with a spoken In 1975, we brought you an album, With a song… backed with lots of crowd noise.

Is it too early to suggest a mini disco revival, after Geri, Madison Avenue, and now this? (I’m also sneaking a peek at the record which replaced Black Legend at the top.) Though what dominates this record is not so much disco strings, but a naggingly insistent, thoroughly modern, house beat. On the radio edit the producers toy with us for the opening two minutes, teasing snatches of ‘You See the Trouble With Me’ (a #2 hit in 1976) that cut in and out, before finally letting ‘Barry White’ loose. For a bit. When the house beat kicks back in for the third or fourth time, it officially becomes annoying.

Barry White had refused the use of his original vocals for this remix, as he felt it ‘was cheap and had no soul’. I can understand his point, as the song uses the sample as bait, almost, to lure you to the dancefloor. The choppy nature of this song, the insistence on falling back on that irritating beat, means that there’s no release, no climax. You’re left with blue (disco) balls…

Black Legend were a very short-lived Italian production duo, with the aforementioned Powell on singing duties. They were together for three singles, and their only other appearance on the UK singles chart is with the #37 peaking ‘Somebody’. They fall agonisingly short of verified one-hit wonder status.

While I don’t much care for this remix, I am being won over by the year 2000’s fast turnover, which allowed curios like this to make number one, records that may not have made the top at any other period in chart history. Speaking of which, Black Legend are the first chart-toppers in a run of twelve one-weekers, from mid-June to mid-September 2000: a record-breaking stretch. Let the frantic fun begin!

361. ‘You’re the First, the Last, My Everything’, by Barry White

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We got it together didn’t we…? Lord, that voice. Nobody but you, and me… Thick as gravy and deep as a canyon: Mr Barry White. Add some dramatic strings and you’ve got one hell of an intro. Was this on the original single version…? I hope so.

You’re the First, the Last, My Everything, by Barry White (his 1st and only #1)

2 weeks, from 1st – 15th December 1974

After a bit of a break we’re back on a disco vibe – the sound of late-1974 – with one of the genre’s defining hits. My first, my last, my everything… And the answer to, All my dreams… A record can be as cheesy as you like, and this is a disc dripping in the stuff, but when a singer sells the vocals like Barry White sells them here… well, you can’t argue with it.

The way he belts out the Girl you’re my reality, But I’m lost in a-a-a-a dream… line, and the way he drops several octaves for the my everything… in the chorus is superb. But it’s not just the vocals that make this a classic. There are the pause-clicks between lines – perfect for drunk dancing – and the simple but effective chord progression. ‘You’re the First…’ was originally written as a slightly less sincere, country and western song: ‘You’re my First, My Last, My In-Between’. And you realise, during the interlude, with its soaring strings and backing singers, that that’s why this song is so damn catchy: it’s a simple country song, a vaudeville ditty even, dressed up as disco.

Any wedding DJ worth their salt will launch this record onto the turntable at some point in the evening. It matters not when: this is a song to dance to with wild, drunken abandon, making all the trademark ‘disco’ hand gestures. You know, the flicks and the pointing. The earnestness in White’s voice almost commands you: My first! My last! MY EVERYTHING!

I’d say that for people of my age, Barry White’s image precedes his music. Maybe it’s because most of us met him through his cameo on The Simpsons. His size, his voice, his curls… ‘The Walrus of Love’ is one hell of a nickname – though I’m not sure it’s the most complimentary – and well-earned as, according to his Wikipedia entry, White fathered ‘at least’ nine children.

He was more than just this hit and a Simpsons cameo, though. There’s ‘Can’t Get Enough of Your Love, Babe’, a US #1 to which ‘You’re My First…’ was the follow-up, and ‘You See the Trouble With Me’ (which will be remixed and taken to #1 many years from now) among others.

In the end, the thing we all know Barry White for was the thing that sadly killed him. The Walrus suffered from exhaustion, kidney failure, diabetes and high blood pressure. He passed away at the very young age of fifty-eight, in 2003. His biggest hit, however, will live on for as long as people keep getting married (and drunk, and dancing…)