pink

936. ‘Just Like a Pill’, by Pink

/ UK #1s blog / 13 Comments

God, I haven’t heard this song in years. But within three notes of the intro, I am sixteen again.

Just Like a Pill, by Pink (her 2nd of three #1s)

1 week, from 22nd – 29th September 2002

September 2002, and I had just started my final year of high school, where Pink’s (sorry, P!nk’s) ‘Missundaztood’ (sorry, ‘M!ssundaztood’) was one of three albums that seemed to be on constant rotation, along with Red Hot Chili Peppers’s ‘By the Way’, and No Doubt’s ‘Rock Steady’.

And I can see why it appealed to us teens. It’s moody, it’s got big beefy chords, it’s got lyrics about bad trips, and morphine, and a ‘bitch’ nurse (is Pink the first woman to curse in a #1 single?). It’s emo-pop, a couple of years before that was an actual genre. But it’s still very much a pop song, crammed with hooks.

Listening to it now, ‘Just Like a Pill’ feels both slightly lightweight, and slightly too polished; but has also held up pretty well over the intervening two decades. The chorus is one of Pink’s best, and her voice suits this sort of pop rock much more than the R&B she started her career off with. It frustrates me that the middle-eight, setting up a soaring final chorus, is just a repeat of the bridge, though. It leaves something lacking.

Not that it should matter, but Pink wasn’t just cosplaying as a drug addict for credibility, having had a near-fatal overdose at sixteen. Although she was often lumped together with the other female pop stars of the day, she always had an edge to her, which for me made her one of the more interesting, but also slightly overlooked, singers of the ‘00s. And yet… having just checked her discography, colour me surprised to see that Pink has had twenty-one Top 10 hits in the UK, across twenty-one years! I’d guess that’s way more than many of her contemporaries.

I need to do a Pink deep-dive, because looking down her singles discography there are some great tunes which – like this one – I haven’t heard in an age (including one more classic pop-rock #1 to come). And actually, the fact that ‘Just Like a Pill was her first solo number one is surprising, given the ubiquity of the album’s two earlier singles – ‘Get the Party Started’, and the even more emo ‘Don’t Let Me Get Me’. So why do I overlook her? Is it because she never quite fit in with the female pop star image? Because she went her own way? Because she was, dare I say, m!ssundaztood?

900. ‘Lady Marmalade’, by Christina Aguilera, Lil’ Kim, Mýa & Pink

/ UK #1s blog / 6 Comments

We are officially 900 number ones not out! Thanks to everyone who has ever read, commented, liked and followed. I’m not sure that I ever imagined when I started writing these posts back in November 2017 (!) that I’d ever get this far. But, to paraphrase an old football cliché, I’ve just been taking it one number one at a time…

Lady Marmalade, by Christina Aguilera (her 2nd of four #1s), Lil Kim, Mýa & Pink (her 1st of three #1s)

1 week, from 24th June – 1st July 2001

Our 900th is not the most original of chart-toppers, a cover of ‘Lady Marmalade’ coming barely three years on from the last chart-topping cover of ‘Lady Marmalade’. Have two other versions of the same song ever made #1 so close together? Anyway, while All Saints’ take played fast and loose with the LaBelle original, this all-star re-imagining is much more faithful.

One big difference, though, is that Lady Marmalade no longer plies her trade down in old New Orleans. She’s been transferred to the Moulin Rouge in Paris, just in time for the big glossy Baz Luhrmann movie musical of the same name. Different brothel, same story. Kitchy kitchy kitchy yaya dada. Mocha chocolatey yaya… Voulez-vous coucher avec moi ce soir?

It would be easy to look down on this OTT, fairly superfluous take on a seventies classic, in which four bad-ass chicks from the Moulin Rouge try to out-diva one another. And I won’t claim that it is better than LaBelle’s. But I enjoyed it back in 2001, and I still do enjoy it now. It strips all subtlety from what was already a fairly unsubtle song, adds a grinding industrial synth riff, and some well-placed cowbells. Mýa warms things up with the first verse, Pink (feeling quite out of place here, and in her suspenders in the video) ups the ante with the second. Clearly things were being set up for Christina, by far the biggest name of the four at the time, to blow everything out of the water for the finish.

Except, for my money, the show is stolen by Lil Kim’s rapped verse, the song’s one big change from the original, in which she delivers the immortal line: We independent women, Some mistake us for whores, I say why spend mine, When I can spend yours…? It’s a very modern female rap, a full decade ahead of Nicki Minaj and Cardi B, that even Xtina’s explosive belting can’t overshadow. But boy, does she try. And it works, doesn’t grate, because, again, this ain’t the time for subtlety.

This record is a lot like the movie it came from, and like a lot Baz Luhrmann’s filmography: good fun, as long as you don’t stop and think about it too much. My biggest issue with it is why Missy (Misdemeanour here) Elliott, who acts as the MC for the outro, doesn’t get a credit, and therefore her second number one single?

It’s been customary, every hundred number ones, for me to look back at the marker posts that have gone before. But there’s a recap up next, and I’d like to save any retrospection for then. What is worth noting is how short the gaps between each hundred are getting. There were over seven years between the first chart-topper and the hundredth (November 1952 to April 1960), but less than three between numbers 800 and 900 (September 1998 to June 2001).