enya

980. ‘I Don’t Wanna Know’, by Mario Winans ft. Enya & P. Diddy

/ UK #1s blog / 4 Comments

Normal service is resumed on top of the charts. Sort of.

I Don’t Wanna Know, by Mario Winans (his 1st and only #1) ft. Enya (her 2nd and final #1) & P. Diddy (his 2nd of three #1s)

2 weeks, 6th – 20th June 2004

At least this isn’t a bitch-fest, with Mario Winans listing the ways his ex-lover has wronged him, cheated on him, done the dirty… In fact, the crux of the song is that ignorance is bliss: I don’t wanna know, If you’re playing me, Keep it on the low, Cause my heart can’t take it anymore… But it’s still a mopey break-up song, in a year that has already seen its fair share of mopey break-up songs. Forget ‘I Don’t Wanna Know’; make that ‘We Don’t Wanna Know’, Mario. Just keep it to yourself.

What makes this track actually quite interesting is the sample from Enya’s eerie ‘Boadicea’, which gives it a real obsessing-in-the-middle-of-the-night atmosphere. Winan’s knew the sample from the Fugees’ 1996 #1 ‘Ready Or Not’, but unlike on that track Enya actually agreed to re-record the sample, receiving a credit and a second chart-topper, sixteen years on from ‘Orinoco Flow’.

Listening now, I wonder how this record would have sounded if they had just stuck with the ‘Boadicea’ sample, and the piano line that enters later? Instead a fairly basic, jittery hip-hop beat comes in, and spoils the desolate feeling. I suppose it might have sounded too similar to ‘Ready or Not’ otherwise, but still. The middle-eight picks things up a bit, as Winans harmonises nicely with himself, but much of is bland and mushy.

I also wonder how this would have sounded without P. Diddy’s rap. Not just because he’s now persona non grata, but because it’s such a non-event. I guess, like the hip-hop beat, they asked him to phone it in and stuck it on because it was the done thing for an R&B track in the mid-‘00s, and because he was a name and Mario Winans wasn’t, rather than because it adds much to the song. Still, it is Sean Combes’ second of three UK #1s, all coming under different pseudonyms.

For Mario Winans, this was his only UK Top 10 as a lead artist. He is more prolific as a producer and songwriter, having worked with Destiny’s Child, Jennifer Lopez and The Weeknd, among various others. He is also the nephew of Bebe Winans, who guested on Eternal’s 1997 chart-topper ‘I Wanna Be the Only One’, and part of the extended (and apparently quite important in the gospel music world) Winans Family.

One other thing to note before we finish is that like the gruesome twosome he knocked off number one, ‘I Don’t Wanna Know’ inspired its own answer song. ‘You Should Really Know’ by the Pirates ft. Shola Ama, Naila Boss and Ishani (and Enya, of course) is actually quite good, with an interesting Indian flavour to it, and made #8 later in the year.

745. ‘Ready or Not’, by The Fugees

/ UK #1s blog / 3 Comments

I first proposed the existence of ‘shadow #1s’ way back at the start of this blog when covering Frankie Laine’s ‘Hey Joe’, which had made top spot shortly after his mega-hit ‘I Believe’ (the song that still holds the record for weeks at number one). ‘Hey Joe’ was a zany, whip-crackin’ country ditty, a world away from the spiritual ‘I Believe’, and I suggested that the reflected glow of the earlier hit had paved the way for the follow-up.

Ready or Not, by The Fugees (their 2nd and final #1)

2 weeks, from 15th – 29th September 1996

It’s a phenomenon we’ve seen repeated a few times. ‘Baby Jump’ by Mungo Jerry springs to mind as one of the most obvious. ‘Shadow #1s’ don’t even have to follow a chart-topper, as both Alvin Stardust and a-Ha achieved their only number ones after their much more famous number twos… All of which is my long-winded way of introducing ‘Ready or Not’, one of the ultimate shadow #1s…

I tried to claim that The Fugees earlier cover of ‘Killing Me Softly’ was hip-hop’s big arrival as a chart force. But actually, this is the moment. This is no funky cover of a seventies classic; this is uncompromising rap. (Though it is built around a very distinctive, very haunting sample from Enya, so I suppose it does have some mum-friendly credentials.) Like Peter Andre’s ‘Flava’, which was a particularly modern sounding pop song, this is modern rap – East Coast rap, apparently, though I’m not qualified to clarify what that actually means – and could have been a credible chart-topper anytime between 1996 and now.

It still makes use of Lauryn Hill’s amazing voice, in the chorus, but while she sang angelically on ‘Killing Me Softly’, her voice now drips with deadpan attitude. Ready or not, Here I come, You can’t hide… Around this, each of the three MCs take turns telling us how the Fugees are poised for world domination. I like Hill’s alliterative voodoo line, as well as: While you’re imitating Al Capone, I’ll be Nina Simone, And defecating on your microphone… But perhaps the most important verse is Pras Michel’s, which focuses on the group’s immigrant background: I refugee from Guantanamo Bay, Dance around the border like Cassius Clay… (the band name is, after all, short for ‘Refugees’).

Although uncompromising, this isn’t gangsta rap. Hill’s verse even calls out stereotypical rappers: Frontin’ n*ggas give me heebeejeebees… Enya threatened to sue the trio for sampling ‘Boadicea’ before she realised that the lyrics went deeper than just guns and pimping. (Although, while there’s no swearing, there is the above-mentioned debut appearance of the n-word in a UK #1.) Meanwhile, though it isn’t strictly a sample, the chorus is heavily based around the Delfonic’s ‘Ready or Not Here I Come (Can’t Hide from Love)’, a minor hit in 1969.

In calling this a ‘shadow #1’, I don’t mean to suggest that this doesn’t have musical merit. The verses are impressive both lyrically and in the way they are delivered, while the use of ‘Boadicea’ is one of the all-time great samples (so effective that this won’t be its only appearance in a number one single…) There was also the small matter of a multi-million dollar video featuring submarines, sharks and helicopters to promote it. But no, all that aside, this is an impressive and important song, and I say that as someone with a fairly low tolerance for rap.

The Fugees weren’t together for long after their chart-topping summer of ‘96, with the members moving on to solo projects by the following year. All three will have their own hits, but only Wyclef Jean will feature on another #1. Lauryn Hill has had the most interesting post-Fugees career, involving both charity work and other philanthropic endeavours, jail time for tax fraud, as well as the small matter of eight Grammy awards and the title of ‘Greatest Female Rapper’. The group have reunited twice over the years.

618. ‘Orinoco Flow (Sail Away)’, by Enya

/ UK #1s blog / 18 Comments

We move from one of the most bombastic #1s – Whitney’s ‘One Moment in Time’ – to one of the oddest.

Orinoco Flow (Sail Away)’, by Enya (her 1st of two #1s)

3 weeks, from 23rd October – 13th November 1988

If you’ve been listening carefully, though, there have been signs that a big nu-folk, new-age smash hit was coming. Both the Bee Gee’s ‘You Win Again’, and T’Pau’s ‘China in Your Hand’ had touches of it, to my ears at least. Still, it’s a shock to hear a song so out there appearing at the top of the singles chart.

And while it does sound like a slightly more focused version of the sort of music piped into to spas and massage parlours, with some unidentifiable chanting and chords that break and ebb like waves, ‘Orinoco Flow’ is a pop song underneath all the hippy dressing. The sail away, sail way hook is a real earworm, while the airy synths (the technical term is pizzicato, and the fact that it sounds a bit like water dripping in the rainforest is very new-age) are distinctive.

The lyrics that aren’t ‘sail away’ are pretty cryptic. It’s basically a list of places Enya wants to visit on the Orinoco flow (the Orinoco being both a river, and the name of the studio where the song was recorded): From Bissau to Palau, in the shade of Avalon…, which one wag has described as ‘the itinerary for the most expensive gap year of all time’.

Then there’s the break, in which things slow down and we’re treated to some chanting in what I guessed was some Bornean tribal language, but what is actually just: Turn it up, turn it up, turn it up, up, adieu… (Actually, this probably sums up the ‘new age’ movement quite well: what appears authentically ethnic turns out to be some gibberish cooked up by middle-class women for money…) Still, when the main beat breaks back in with a big bass drum, you too are swept along with this funny little chart-topper.

There don’t seem to have been any external reasons for it turning into such a big smash hit – no TV theme, no advert… It was from Enya’s second album, but was her first charting single. She had been a member of Celtic folk-rock band Clannad for two years, with various of her siblings and uncles, before going solo in 1982. Perhaps the time of year helped – this is the archetypal ‘autumn’ chart-topper, and I’m not sure it could have been such a big hit at any other time of year. (I’m not sure why this is, something to do with yearning, minor keys…) There are summer smashes, festive songs (obviously), and cosy autumnal hits; but I’m yet to pick out a ‘sound of spring’.

Enya, born Enya Patricia Brennan in County Donegal, has gone from strength to strength since her debut smash, and is the second biggest-selling Irish act ever (we also recently met the best-selling – U2). She scored reasonable-sized chart hits throughout the eighties and nineties, including a handful of further Top 10s, which is pretty impressive considering that her genre isn’t the most commercial. She will also feature on two big hip-hop #1s: one of which she’s credited on; the other one she isn’t…