Remixes

962. ‘Be Faithful’, by Fatman Scoop ft. the Crooklyn Clan

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First up, an apology. I bought this next #1 on CD single, and so played my part in a truly moronic record make the top of the charts…

Be Faithful, by Fatman Scoop ft. the Crooklyn Clan (their 1st and only #1)

2 weeks, 26th October – 9th November 2003

…yet I regret nothing. And I can’t even blame it solely on youthful exuberance. I thought this record was dumb at the time, and still do. It is loud, obnoxious, and vulgar. But somehow that is part of its ‘charm’ – though using a term like ‘charm’ to discuss a song like this feels wrong.

‘Be Faithful’ is essentially a mish-mash of samples, at least six, with rapper and hype-man Fatman Scoop bellowing stupid lyrics over the top, in his harsh New York accent. Scoop, it’s fair to say, has a voice that goes right through you. He makes a foghorn sound subtle.

There are lots of chops and changes of rhythm and tempo – this isn’t a record that unfolds slowly – and lots of call and response parts. A personal favourite was always the Engine, engine, number nine, On the New York Transit Line… (an old school hip-hop sample from Black Sheep) and, naturally, the following Who fuckin’ tonight, Oh, Oh! lines. Forgive me, I was but a child…

Part of the reason why I rushed to buy this record is that the song had been around for years, and had been played in nightclubs since I first blagged my way through their doors. The original had been recorded in 1999, and had been a minor hit in the US. Sample clearance issues meant that a proper release took years, though bootleg copies were circulated widely, hence how I first heard it.

The main sample involved Faith Evans, whose pleasant tones provide much needed relief from Fatman Scoop’s hollering, and her 1998 song ‘Love Like This’. Complicating things further was the fact that most of these samples were samples of samples, in Evans’ case from Chic’s ‘Chic Cheer’. It means that she does feature on a second UK chart-topper, though uncredited (a theme of the year), after ‘I’ll Be Missing You’.

So, after almost five years, Scoop and his Crooklyn Clan production team managed to dot the ‘i’s and cross the ‘t’s, and get a proper worldwide release (everywhere but the US) for ‘Be Faithful’, and scored a number one. And it is yet another remix, in a year stacked with them. I make it five now, or six if we include ‘Loneliness’…

Scoop’s long trek to the top didn’t kick off any prolonged success. He managed one further Top 10 hit, though he did stay very active in the music business with guest spots and remixes. He also appeared in various reality TV shows in the 2010s, before his death from heart issues in 2024, aged just fifty-six.

959. ‘Are You Ready for Love’, by Elton John

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Another chart-topping remix, in a summer full of them…

Are You Ready for Love, by Elton John (his 6th of ten #1s)

1 week, 31st August – 7th September 2003

Although, I think calling this a remix is generous. It’s more of a remaster, a sharpening of the mix, cleaning the tapes, that sort of thing. Even though it has been ‘remixed’, you’d be hard pressed to tell the difference between the 2003 chart-topping version and the 1977 original.

Which is a good thing. This is a slice of late seventies disco, almost unknown and unearthed, crashing incongruously to the top of the charts twenty-five years too late. All the flourishes that we remember from the golden age of disco are present and correct: a frisky beat, a natty bassline, swooshing strings… It begs the question why this didn’t do better than reaching #42 at the time.

John had recorded it in ’77, but released it in 1979 on an E.P. of songs recorded with legendary soul producer Thom Bell, during a period in which he and Bernie Taupin were not working together. The Spinners recorded a version, and also guested on a special mix of the song with Elton.

Fast-forward to 2003, and a remixed version of the song was being used to advertise Sky Sports’ coverage of the coming football season. Demand built up and, hey presto, Elton had his sixth chart-topper. It was also his third, and final, completely solo number one (though Ashley Beedle, the DJ who remixed it, might argue with that).

This great but slightly random #1 adds to the sense of 2003 as being the year for great but slightly random #1s… From Russian lesbians, to disco remixes from adverts for Lynx deodorant (and Sky Sports), to Bollywood covers of ‘Spirit in the Sky’ and proper heavy, emo rock, there’s a feeling of falling sales allowing the charts to breathe, and indulge in something more fun, rather than being an endless week-by-week parade of the biggest names in pop.

It also adds to the sense of Elton John’s later career being marked by slightly strange hits, such as this. It follows on sharply from his duet with Blue a few months earlier, the first time he had ever had two chart-toppers within a year. Stranger number ones are to come for Elton, before very long…

951. ‘Make Luv’, by Room 5 ft. Oliver Cheatham

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Cast your minds back to 2013, when ‘Get Lucky’ by Daft Punk’s Pharrell and Nile Rodgers-featuring ‘Get Lucky’ was everywhere…

Make Luv, by Room 5 ft Oliver Cheatham (their 1st and only #1s)

4 weeks, 30th March – 27th April 2003

Well, I always thought that mega-hit was just a poor man’s ‘Make Luv’. Ten years earlier, Italian producer Room 5 had sampled US R&B singer Oliver Cheatham’s 1983 hit ‘Get Down Saturday Night’, had it featured in an advert for Lynx deodorant, and enjoyed one of those huge, slightly random, hits that 2003 would be remembered for.

This is the other side of mid-noughties dance, away from the trance heavy beats of DJ Sammy: an old sample, tarted up with some swooshes, drops and fades. There’s not much to it, and lyrics like I like to party, Everybody does… were never likely to win an Ivor Novello, but it doesn’t take much detective work to see why it was such a big hit. It is catchy, just the right side of cheesy, and remixed with a lightness of touch that lets it float by. Plus, it has that all-important multi-generational appeal.

And if this isn’t yet another disco revival! We’ve only just got past the turn-of-the-century disco revival, to the point that we should probably just acknowledge that disco never really needed reviving. ‘Make Luv’s success won’t lead to many other disco chart-toppers in the near future, but the charts of 2003-2006 were stacked with fairly cheap knock-offs. Oliver Cheatham found himself co-writer of another similar hit the year after this, for example: Michael Gray’s #7 smash ‘The Weekend’.

Who was Oliver Cheatham, the man who had only ever featured once before on the UK singles chart, when the original from which this was sampled made #38? He’d been recording throughout the eighties, with little chart success, and had spent much of the nineties as a backing singer for various artists. He was fifty-five by the time this became an unexpected #1 smash, and he embraced it with gusto, appearing with Room 5 as they promoted it. I believe this made him the third-oldest (living) male to top the charts, behind Elton John and Louis Armstrong. 2003, in fact, will be a year of old men making number one…

Room 5, meanwhile, also struggled for further hits, teaming up again with Cheatham for a much less successful (and very similar sounding) follow-up ‘Music & You’. He had more success as his alter-ego Junior Jack, and scored a number of Top 30 and Top 20 hits under that name, before and after his one and only chart-topper.

930. ‘A Little Less Conversation’, by Elvis Vs JXL

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No song conjures up the year 2002 more than this tune, that year’s song of the summer.

A Little Less Conversation, by Elvis (his 18th of twenty-one #1s) Vs. JXL

4 weeks, from 16th June – 14th July 2002

It sounds curious, and potentially disastrous: a little known Dutch DJ remixing a little known Elvis track from one of his long-forgotten late sixties movies. But, through some strange alchemy, the original’s brassy swagger mixes nicely with JXL’s big, accessible beats, and creates a great pop song.

What remains is Elvis-enough for people who were around when he was alive, and modern enough for those who weren’t. It helps that few people probably knew the original, but also that it was recorded in 1968, around the time of the comeback special, when what is now Elvis’s most familiar pop culture persona was born. Elvis sounds like Elvis, deep voiced and lip curled, and the added echo makes it sound like he’s coming live from the other side. All that’s missing is a thank you very much to finish.

JXL (officially Junkie XL, though that was presumably shortened to keep things family-friendly) was Tom Holkenberg, a DJ active since the late-eighties. He had worked as a producer with several punk and metal bands, as well as becoming big on the rave scene and touring with the Prodigy. None of which sounds like the guy who came up with this super-mild, catchy, chart-friendly hit. As much as I like the record, I’d sooner call it cheesy than cool, and do wonder if Norman Cook considered lining up any plagiarism suits against all the Fatboy Slim style drum-breaks and goofy fills.

The original ‘A Little Less Conversation’ had featured on the ‘Ocean’s Eleven’ soundtrack in 2001, presumably bringing it to the attention of Nike. They then commissioned JXL to remix the song for an advert to tie in with the 2002 World Cup, in which the world’s best footballers competed in a first-goal-wins tournament in a cage. Maybe I’m of the perfect age to get swept up in the nostalgia of it, but watching that advert again, much like hearing this song, feels so ‘2002’ that it hurts.

The single followed a few months after the advert, and was sitting at #1 as Brazil won a record fifth world title. Equally record-breaking was the fact that, after a twenty-five year tie, Elvis moved ahead of the Beatles and onto eighteen UK #1 singles. It kicked off a bit of a renaissance for the King, and a collection of his number one hits (including this remix) became a huge seller that autumn. I’d credit this single, and the album, for getting me into Elvis, and enjoying his music to this day. In 2003 another Elvis remix, this time of ‘Rubberneckin’’ by Paul Oakenfold, made #5.

JXL meanwhile, while not quite a one-hit wonder, never made it higher than #56 without Elvis’s help. Still, he was the first person to be allowed by Elvis’s estate to remix one of his songs, which is an honour of sorts. And he is responsible for introducing many youngsters (me included) to The King, and to one of the greatest ever rhyming couplets in chart-topping history. A little less conversation, A little more action please, All this aggravation ain’t satisfactioning me… Thank you very much, indeed.

791. ‘Feel It’, by The Tamperer ft. Maya

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It’s the end of May 1998, and I make our next chart-topper already the fourth this year to involve a reimagining of an older hit. This will be anathema to some – sampling, interpolating, remixing, call it what you will – but for me an inspired sample can be, well, inspired…

Feel It, by The Tamperer ft. Maya (their 1st and only #1)

1 week, from 24th – 31st May 1998

This takes the beat and the bells from The Jacksons’ 1981 disco stomper ‘Can You Feel It’, makes them even more stomping, and uses it as backing to a story of a spurned lover and her desire for house flattening revenge. It’s fair to say that What’s she gonna look like with a chimney on her…? is one of the year’s, if not the decade’s, great hooks. In fact, even just the way that vocalist Maya screams the ‘What!’ is a massive hook in itself.

The Jacksons are not the only sample here, as the two verses come interpolated from the wonderfully titled ‘Wanna Drop a House (On that Bitch)’, by Urban Discharge, released in 1995. What I like most about the lyrics is that they are thoroughly toxic, with the cheated woman forgiving her boyfriend and aiming her ire at the mistress. Well I’m not blaming you, But she’s still hanging round, And she’s so crazy you know man I just don’t trust her…

Nothing about this song, from the opening klaxon onwards, is subtle. The samples are in your face, the lyrics are preposterous, and the bit where everything slows down for no apparent reason is bizarre. But it’s a huge slice of dumb fun. Subtlety be damned. And yes there’s very little originality here, but I will point out that the one original moment is the ‘chimney’ line, and that’s the best bit. (One school of thought I found online is that ‘chimney’ is slang for a black eye… So she’s just going to punch the girl, not blow her house up.)

The Tamperer ft. Maya were an Italian production duo, plus US-born singer Maya Days. (Despite the ‘featuring’ credit, they never released a single which didn’t feature Maya.) This was their first release, and was a hit around Europe that summer. They followed it up with two further Top 10s, both involving bold samples. The brilliantly titled ‘If You Buy This Record (Your Life Will Be Better)’ used ‘Material Girl’, while ‘Hammer to the Heart’ borrowed ABBA’s ‘Gimme Gimme Gimme’ several years before Madonna did so to much fanfare.

In fact, their chart career ended after those three hits, and aside from a 2009 remix of ‘Feel It’ neither the Tamperer nor Maya have been seen since. And going by the comments underneath the YouTube video below, this is one of the ‘90s more forgotten number ones, with a handful of people around the world waking up each morning asking what that song about the chimney was called. I’d say we’ve had a mini-run of ‘forgotten’ #1s, from Aqua’s best song, to All Saints’ overshadowed covers, to Boyzone’s better-forgotten snoozefest. Up next though, a nineties pop ‘classic’ that, for better or worse, remains very much with us…

(The official video…)

(A better edit of the record…)

787. ‘It’s Like That’, by Run-D.M.C. vs Jason Nevins

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Check this out… Just a couple of weeks after Norman Cook worked his magic on Cornershop’s ‘Brimful of Asha’, American house DJ Jason Nevins has his wicked way with a hip hop golden oldie…

It’s Like That, by Run-D.M.C. vs Jason Nevins (their 1st and only #1s)

6 weeks, from 15th March – 26th April 1998

I remember this being huge, an omnipresent hit that spring. And six weeks at number one is a very impressive run for the late-nineties (only one song will beat that total in 1998). But listening now, I’m a bit stumped trying to work out why it was quite so popular… It’s a bit repetitive, a sledgehammer beat that goes on, and on, with a less stardust sprinkled by Nevins compared to Fatboy Slim. Some of the transitions are predictable, and the original Run-D.M.C. vocals feel off in the mix.

Not that it’s bad, or that I don’t enjoy it on a certain level, or that it doesn’t unleash a heady wave of nostalgia listening to it again in 2024. I just mean that I can’t really locate the reason that it became the year’s 3rd best-selling single and – even more impressively – the only record to ever hold a Spice Girls’ song off number one in the UK (this was released in the same week as ‘Stop’, which it beat to the top by well over 100,000 copies).

The original ‘It’s Like That’ had featured on Run-D.M.C.’s debut album in 1984, and was released as the LP’s first single. It’s a call-to-arms – a spikier, more cynical ‘What’s Going On’ for a new decade: Unemployment at record highs, People coming, People going, People born to die… Don’t ask me because I don’t know why, It’s like that, And that’s the way it is… What’s interesting about the original is that the 1998 hit is there, fully formed. If anything, the beat is even heavier. Nevins does little more than tart it up with a standard dance rhythm and some up-to-date flourishes (which admittedly is also what Norman Cook did on ‘Brimful…’, I just like that song better).

The one notable thing that Nevins does add is the sped-up Run DMC and Jam Master Jay! break, along with a bit off beatboxing. That’s the part I most remember, perhaps the hook that sold this as a hit. But in actual fact it last barely ten seconds, before that relentless beat comes slamming back in. (I always assumed that ‘Jam Master Jay’ was Jason Nevins, but he was actually the DJ in Run-D.M.C, who was sadly shot dead in 2002.)

Not surprisingly, this would be both Run-D.M.C.’s and Jason Nevin’s biggest ever hit. Nevins has only returned to the Top 10 one further time, although he’s gone on to work with stars like Nelly and Ariana Grande. For Run-D.M.C., this was their second Top 10, a decade on from ‘Walk This Way’ – in which they and Aerosmith fused rap with rock, much like Nevins was fusing rap and dance on this record.

Is it too early to call this the Age of the Remix? It is true that we’ve had two in quick succession, and that remixed hits will be more noticeable at the top of the charts as the century turns. I think it’s the fact that this is the first ‘versus’ record to make #1, as opposed to a plain old ‘featuring’ or an understated ‘&’. It feels so very turn of the twenty-first century (though a quick scan has shown me that there will actually only be a couple of other ‘someone versus someone else’ number ones between now and 2005.)

785. ‘Brimful of Asha’, by Cornershop

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Up next, a quirky little number one. An indie-pop tune about classic Indian movies, by a band who had never previously been higher than #60 in the charts…

Brimful of Asha, by Cornershop (their 1st and only #1)

1 week, from 22nd February – 1st March 1998

‘Brimful of Asha’ had originally been released in 1997, in a more pedestrian, lo-fi version. It’s nice – a different angle on British rock in the late-Britpop years – but it needed a sprinkling of stardust to turn it into a hit. Enter Norman Cook, AKA Fatboy Slim. This is already Cook’s third chart-topping persona, following a spot as a member of the Housemartins in 1986, and with Beats International in 1990.

Compared to some of the other big dance acts of the time – think Prodigy or the Chemical Brothers – Cook’s work as Fatboy Slim has a much poppier, more accessible style. The production on this record – the chunky drum fills, the loops – is very late nineties. But it probably sounds ‘very late nineties’ because Fatboy Slim was one of the defining sounds of that era. ‘Brimful of Asha’ was the launchpad for him to enjoy several years of hits.

And while it does sound rooted in the late-90s, ‘Brimful of Asha’ also has nods back to the sixties in the guitar line, and the fact that Cook added a sample from ‘Mary, Mary’, by the Monkees. The ‘Asha’ in the title refers to Asha Bosle, a famous soundtrack singer and one of the most influential names in Bollywood. And of course there’s the famous hook: Everybody needs a bosom for a pillow, Everybody needs a bosom… It all comes together to create an intoxicatingly catchy song.

Cornershop were from Wolverhampton, and had been ploughing an alt-indie furrow since 1991. Their references to Indian cinema came from founders and brothers Tjinder and Avtar Singh (though Avtar had left in 1995), and the band’s name is a tongue-in-cheek reference to the stereotypical line of work that Indian immigrants tended to take up in the UK. It’s actually quite a big cultural moment, this: British Indians topping the charts with a song celebrating their ancestral country. It’s also a surprisingly early nostalgic tribute to vinyl records (Brimful of Asha on the ’45…) just after the format had been largely killed off, and before hipsters rediscovered it.

Sadly, Cornershop would struggle for hits when Norman Cook wasn’t involved. The follow-up, ‘Sleep on the Left Side’, made #23, and their last Top 100 appearance came in 2004. They remain active, though, both recording and touring. Norman Cook, meanwhile, went from strength to strength after this. In the months following ‘Brimful of Asha’s success, he had his first hit as Fatboy Slim with ‘The Rockafeller Skank’, setting him up for several years of solo success. I have a feeling that his poppy, Big Beat style might have been looked down upon in more fashionable dance circles, but he was always undeniably catchy. And he’ll be back along with his own solo #1 very soon!

The 1997 original:

The Norman Cook Remix:

756. ‘Professional Widow (It’s Got to Be Big)’, by Tori Amos

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1997, then. The late ’90s! And we get off to a banging start…

Professional Widow (It’s Got to Be Big), by Tori Amos (her 1st and only #1)

1 week, from 12th – 19th January 1997

‘Professional Widow’ was a track from singer-songwriter Tori Amos’s third studio album, ‘Boys for Pele’, which had made #2 exactly a year before this. It had been released as the album’s third single, making #20. It’s a woozy, rude, barroom stomper of a song, driven by a harpsichord, and Amos’s Kate Bush like vocals. It’s ear-catching, but it does nothing to prepare you for the remix that would eventually top the chart.

The word ‘remix’ doesn’t feel sufficient here. A remix is a song rearranged, extended, or stretched out over a new beat. This is a song completely reimagined, huge chunks chopped off it, with very little of the original remaining. One line is repeated over and over: Honey bring it close to my lips… while the other line – It’s gotta be big – must be somewhere in the original, even if I can’t quite hear it.

It’s amazing how Armand Van Helden, the DJ responsible, could hear the opening harpsichord riff and reimagine it as a modern disco bassline. Some remixes are fairly lazy, with few changes of any note; but not this. It almost samples the original, the riff and the two lines, and creates a completely different song. Van Helden is American, and the track is more house-influenced than our recent dance #1s, but there’s hints of the Prodigy and the Chemical Brothers in the big chunky beats, in the creepy background noises, and the sudden break halfway through.

The ‘Professional Widow’ of the title is apparently a snide reference to Courtney Love, something that Amos has neither confirmed nor outright denied. She had nothing to do with the remix – she was contractually obliged to approve them – but in interviews she has said she enjoys Van Helden’s version. It brought about the biggest hit of her long career, anyway – surpassing the #4 peak of the folksy ‘Cornflake Girl’ from 1994 – and is, to date, Amos’s last visit to the UK Top 10. Armand Van Helden was just getting started, and will go on to be one of the biggest dance producers of all time. He’ll be back at number one, fully credited, fairly soon.

We can’t finish without mentioning the misheard lyric – one of pop’s filthiest mondegreens – where It’s gotta be big becomes… Well, I won’t write it out. Safe to say, once you hear it you can’t unhear it. Misheard or not, it does fit in fairly well with the bawdy original.

You could say that this is a classic January #1 – a fairly random remix sneaking a week at the top in the post-Christmas lull. In fact, January 1997 is one of the best examples the phenomenon, with a run of fun and quirky one-weekers coming up that I’m looking forward to getting into.