The Spice Girls return, after missing #1 for the first time behind Run-D.M.C, with their first Geri-less single…
Viva Forever, by The Spice Girls (their 7th of nine #1s)
2 weeks, from 26th July – 9th August 1998
I can still remember where I was when I heard Geri had left the group (some generations had JFK…) I was in a minibus, on my way home from a Scout camp, when news broke on the radio. But of course, ‘Viva Forever’ had been recorded months before, so Halliwell still features both in the song and in the video – as much as any of the girls ‘feature’ in the video as animated fairies – and in fact was credited with writing most of the lyrics.
There are some lovely strings ‘n’ harmonies in the intro, then a cool Spanish guitar to bring some drama. The verses have a sense of melancholy, and the lyrics – originally about a summer romance – have a real yearning to them. The bridge even has some Spanish, for that touch of class. The verses too have a timeless quality to them, even if the chord progressions are a little predictable.
Of course, by the time Geri had left, the lyrics had ceased to be about a summer fling and seemed to fit perfectly as her ‘goodbye’ to the band. And this is a very solid pop record. In fact, it’s almost adult-oriented soft rock. And I’d put it down as the group’s best ballad, miles ahead of ‘Mama’, and pretty far ahead of ‘2 Become 1’. The fact that they had gems like this up their sleeve, two years into their career, sets the Spice Girls apart from most other pop fodder of the time.
The only thing that slightly lets this record down is the vocals. And we know, of course, seven chart-toppers in, that people didn’t buy Spice Girls’ records for the quality of their voices. But it’s on songs like this, where they can’t rely on boisterous, girl-power energy, that you can hear how reedy a couple of them were. Luckily, Mel C is on hand to do most of the heavy lifting as the song reaches its climax.
I can’t remember ever seeing the full music video for ‘Viva Forever’ before, but it’s a trip. Set in the 1970s, two boys follow an animatronic bouncing chicken into a forest where they meet the Spiceys as slightly demented looking fairies. One of the boys disappears into a Rubik’s cube with the girls, leaving his friend lost and confused… It apparently took longer to film than the entirety of ‘Spiceworld – The Movie’, and adds a ‘loss of innocence’ interpretation to the song’s lyrics.
So, Geri had left, citing exhaustion and depression. The drama was that she didn’t tell the other girls to their faces, causing a rift for many years… It wasn’t the only crack to start showing, though. Before the Girls return for their penultimate number one, their solo careers will have started, with predictably chart-topping results.
Happily preventing the Teletubbies from claiming a Christmas number one, the Spice Girls score their second of three festive chart-toppers in a row. And of the three, this is the best in my book…
Too Much, by The Spice Girls (their 6th of nine #1s)
2 weeks, from 21st December 1997 – 4th January 1998
It’s a ballad, of course (a girl group festive release will always be a ballad, there may be actual laws about this) but it’s not as straightforwardly sweet as ‘2 Become 1’, or as sentimental as the one to come next year. This is a sassy, soulful, fairly sophisticated, ballad that, with a little more oomph, could pass as a Bond theme.
It unfurls – that’s the perfect word – seductively, with plenty of horns and strings. Plus it has a couple of the Spice Girls’ best lines. As with all their good songs, they are the ones in charge, not the men. Unwrap yourself… Geri purrs… From around my finger… While in the middle-eight, Mel C unleashes the iconic: What part of ‘no’ don’t you understand, I want a man, Not a boy who thinks he can…!
When you add in her harmonies in the second chorus, Mel C here cements herself not only as the star of this single but as the official ‘Spice who could sing’. I think this might be one of the group’s less well-remembered number ones, and it certainly passed me by at the time – twelve-year-old me having given up on them after the manic ‘Spice Up Your Life’. But listening to it now, I might be tempted to place it as their 2nd best chart-topper, after ‘Say You’ll Be There’ (clearly the singles where Mel C was allowed to unleash are the best).
‘Too Much’ was the girls’ 6th #1 in a row, maintaining their 100% record – a record that stands to this day (though it has since been matched by Westlife). Their next release, ‘Stop’, would be their first and only single not to make the top. As I mentioned in my last post on the Spice Girls, the returns from their second album were clearly shortening, although they remained a global phenomenon. This is also their final number one as a five-piece, as by the time of their seventh chart-topper, Geri will have famously called it a day.
In my last post I mentioned that late-1997 saw extremely high singles sales. It’s hard to say, as records vary, but this may have been the ultimate peak for physical singles in the UK. In the run up to Christmas ’97 there was a week in which the entire Top 5 all sold over 100,000 copies, and in the all-time highest-sellers table four songs from the latter half of the year remain in the Top 50 (‘I’ll Be Missing You’, ‘Barbie Girl’, ‘Perfect Day’ and the record-holding ‘Candle in the Wind 1997’). Why this is I’m not qualified to say… Cut-pricing, cultural relevance, the ubiquity of CD players are all decent reasons. The quality of music, in my opinion, is not. The autumn of 1997 has seen a bit of a drop-off compared to the first half of the year. Whatever the reason, we head into 1998 with sales still high, and the turnover at the top ever-increasing…
Just thinking about the Spice Girls’ schedule for 1997 makes me feel tired. Live shows, sponsorship deals, a movie, adverts, awards ceremonies around the world… And, of course, a second album to record and promote.
Spice Up Your Life, by The Spice Girls (their 5th of nine #1s)
1 week, from 19th – 27th October 1997
‘Spice Up Your Life’ is classic pop group lead single fare. It’s brash, it’s catchy, it has the name of the band in the title… In fact, it’s basically a call to arms for Spiceys everywhere: When you’re feeling, Sad and low, We will take you, Where you gotta go… set to a pounding, gyrating samba rhythm. People of the world, Every boy and every girl… Spice up your life!
I may have mentioned in previous posts how much of a fan I was of the Spice Girls’ first album. And I distinctly remember hearing ‘Spice Up Your Life’ for the first time… and hating it. It was annoying, it was chaotic, it felt like ‘Wannabe’ (never my favourite Spice Girls’ song) times a hundred. Maybe it was my age? I was almost twelve by this point, approaching the too-cool-for-school stage… Or maybe the song was just a bit naff?
Listening to it now, I’d say it was the latter (I’ve never been too cool for anything). By the second verse, the chaotic energy starts to rip the song apart… Kung Fu fighting, Dancing queen, Tribal spaceman, And everything in between… Then there’s the gibberish of the middle-eight: Flamenco, Lambada, But hip-hop is harder… While it’s perhaps best not to get into the yellow man in Timbuktu…
What does redeem it for me, slightly, is the fact that the chorus is an earworm, and provides its own dance moves: slamming it to the left, shaking it to the right. Plus, the song in its entirety doesn’t outstay its welcome. It blows in, upends your furniture, and blows out all in under three minutes. It charged straight to number one, of course, just as it looked like Elton John’s Diana tribute might stay there for the rest of the year (that was #1 on the Billboard charts well into 1998).
At the same time, ‘Spice Up Your Life’ only stayed on top for one-week, compared to the seven weeks of ‘Wannabe’. Although the ‘Spiceworld’ album was a massive seller, and the singles off it all big hits, it didn’t quite match the impact of its predecessor. In the video to this single, the girls descend in a spaceship to a post-apocalyptic world in which everything is ‘Spice’d. It’s visually impressive, even with the dated CGI, but you wonder what the thought behind it was. If you were starting to feel Spice Girl over-saturation, then that video wouldn’t have changed your mind…
Think ‘festive hits’, and your mind goes straight to Christmas, and then perhaps Halloween. Is there an Easter pop classic? Not that I can think of. What’s for certain is that the Spice Girl’s ‘Mama’ is the first, and only, number one single aimed at the Mother’s Day market.
Mama / Who Do You Think You Are, by The Spice Girls (their 4th of nine #1s)
3 weeks, from 9th – 30th March 1997
It’s a wonder why more acts haven’t tapped this under-used commercial seam… Or is it? Because ‘Mama’ pretty much ticks every box, sounding exactly how a pop song about how much we love our mothers should. ‘Mama’ killed the Mother’s Day hit off before it ever got going. It’s perfect.
But by perfect, I don’t mean it’s much good. It’s pleasant, with a nice minor-key melody, and is cleverly written as a letter of apology from a now adult child, for being such a little shit when they were growing up. I didn’t want to hear it then, But I’m not ashamed to say it now, Every little thing you said and did was right for me… And the Spices’ mums are in the video, holding pictures of the girls as kids, which is cute.
But by and large, it’s fairly bland. Plus, there are too many dated flourishes – scratchy fills between lines, and a strange organ riff – that distract from the actual song. It’s by far the weakest of their four singles so far. Luckily for us, ‘Mama’ is only half the main event here, and the record as a whole is redeemed by the other ‘A’-side.
‘Who Do You Think You Are’ is a fun slice of dance-pop: a tribute to the disco, funk and soul records of twenty years before. There’s a very funky bassline, and horns, and cheesy strings. There’s nothing particularly original in this pastiche, which means its only their second best song so far – still behind ‘Say You’ll Be There’ – but it’s become a wedding party staple. Plus it gave the world perhaps the ultimate Spice Girls image – Geri in her Union Jack dress, which she wore as the group performed the song at the 1997 Brit Awards.
‘Who Do You Think You Are’ was adopted as that year’s Comic Relief single, and a second video was made featuring The Sugar Lumps: a band comprised of French & Saunders, Kathy Burke, Llewella Gideon, and… Lulu. Who was a good sport because she’s actually, you know, a singer. This does mean, though, that she has been involved in the two biggest disco-pop hits of the nineties, after her feature on Take That’s ‘Relight My Fire’.
Charity records are at their best when they piggy-back on actual pop songs, and don’t inflict something ‘funny’ on the world in the name of a good cause. And this, with the Spice Girls at the height of their fame, probably made a lot more money than ‘The Stonk’. If I believed in such a thing as a ‘guilty pleasure’, then this would be one. Because who has not, at one point or another, belted out Mel C’s lines as the song closes? (She always got the best parts…)
The success of this pair of tunes confirmed a 100% chart-topping record for the Spices: four out of four. ‘2 Become 1’ had already lifted them into exalted company, as only the fifth act (and the first females) to reach #1 with their first three singles, behind luminaries such as Gerry & The Pacemakers, Frankie Goes to Hollywood… checks notes… Jive Bunny, and Robson & Jerome. And now this confirmed them as record breakers – chart-toppers with their first four, with many more to come.
After two pop bangers, introducing the world to the phenomenon that was Baby, Scary, Ginger, Posh, and Sporty, a ballad was needed.
2 Become 1, by The Spice Girls (their 3rd of nine #1s)
3 weeks, from 22nd December 1996 – 12th January 1997
It’s the first rule of nineties pop: any girl group, or boyband, worth their salt needs at least one ballad per year. Especially around Christmas time. And so The Spice Girls start their hattrick of festive chart-toppers with this slow and sultry number.
We’ve gone from friendship never ends on ‘Wannabe’, where boys came a strict second to girl power, to Tonight is the night, When two become one… here. But the ladies are still in control of all the love making. They need the love, they’re the ones who are back for more. It’s a bootie call, basically, two years before All Saints – supposedly the more streetwise girl group – had a hit by that name. The Girls even remind the fellow to rubber up: Be a little bit wiser baby, Put it on, Put it on…
A lot is made nowadays of how nobody realised what this song was about at the time– which is bollocks, frankly, because eleven-year-old me and my friends knew just what they were singing about, and accompanied the lyrics with some predictably childish hand gestures. I will say that, listening now, some of the lines are ropey, such as Any deal that we endeavour, Boys and girls feel good together… And in fact, for the single release, they changed the second half of that line to Love will bring us back together… as they were already aware of their gay fanbase, and wanted to be inclusive. It’s still a clunky line, though.
On the whole, though, it’s a fairly classy first attempt at a ballad, and was always going to be Christmas Number 1, even though they delayed its release so that the Dunblane tribute could have a week at the top. My first thought when I picture ‘2 Become 1’ is the video, with the girls wandering around a time-lapsed version of New York. There’s also the forty-five second fade-out with the violins, in which none of the girls feature, which I’ve always thought was a bold move for a pop single (though radio stations always had the option to cut it early, I suppose).
And so that was 1996. It took us a while to get through in the end, as the turnover of number ones increased. In all, there were eleven one-weekers – which I’m pretty sure is a record for one year– and eight of them came in the second half of the year. 1997 is similarly well spread out, and so we will waste no time in jumping straight into that year, next.
Let’s recap, then. And it’s a landmark: our the 25th, the Silver Recap!
The past thirty #1s have taken us across a regulation year and a half of chart-topping history, from spring 1995 to late autumn 1996. This spell has run pretty much concurrent with the very height of Britpop but, as I discussed in a special post, very little of it actually made the top. We’ve had one each from Oasis and Blur – the latter of whom won the ridiculously hyped ‘Battle of Britpop’ – and not much else.
Away from the Big Two, you could argue that the Lightning Seeds were a Britpop band, and that almost thirty years on their Euro ’96 anthem ‘Three Lions’ is the genre’s most enduring hit. You could also argue that the Prodigy and the Chemical Brothers, while primarily dance acts, had strong Britpop elements in their two #1s (especially ‘Setting Sun’, with Noel Gallagher on vocals). We could even really stretch things and claim Babylon Zoo’s ‘Spaceman’ for Britpop, as there were elements of it mixed in amongst the techno and the grunge. I won’t go so far as to claim Texas-based Deep Blue Something for Britpop; but they did give us our one other rock-based chart-topper, ‘Breakfast at Tiffany’s’.
Britpop aside, one of the other big recent stories was Take That – the decade’s biggest boyband – bowing out after eight number ones in less than three years. They did so with the overblown ‘Never Forget’ and a fairly phoned-in cover of ‘How Deep Is Your Love’, before frontman Gary Barlow launched a solo career with the instantly forgettable ‘Forever Love’. Don’t worry, Take That will be back – just not for a few recaps yet.
1995-6 can also be pinpointed as the moment when rap went mainstream. It’s a genre that has been cropping up in the top spot, every now and then, since the mid-eighties. Often, though, hip-hop has been treated as a novelty: think Vanilla Ice, or Partners in Kryme, or the jarring rap from ‘Rhythm Is a Dancer’. Coolio’s ‘Gangsta’s Paradise’ was uncompromisingly real, though, and had an important message; while The Fugees’ take on Roberta Flack’s ‘Killing Me Softly’ showed how to incorporate rap into a pop song without taking away its edge. This pair remain two of the highest-selling hip-hop records of all time, and paved the way for the likes of ‘Ready or Not’, the Fugees’ much less commercial-sounding follow-up.
Elsewhere, Michael Jackson had his most successful chart period, many years after his true artistic peak, scoring two #1s in four months with the sappy ‘You Are Not Alone’ and the messianic ‘Earth Song’. Another pop superstar, George Michael, bowed out from chart-topping duty with the touching (if a little dull) ‘Jesus to a Child’, and a much more uplifting ode to casual sex in ‘Fastlove’. Shaggy gave us our now mandatory shot of ‘90s reggae, Livin’ Joy provided the dance-banger (though our dance-banger ratio is much down on recent recaps), and Gina G brought us the latest camp Eurovision classic.
One other thing I should mention before we get to the awards is that in the second half of 1996 a pretty big shift occurred. Pop music started to sound very modern. Ground Zero is the Spice Girls’ ‘Wannabe’, which introduced us to a genuine pop phenomenon, and to a breezy, streetwise nineties-bubblegum sound that will set the standard for pop as we barrel towards the new millennium. But it wasn’t just the Spice Girls. Mark Morrison, Peter Andre, and Boyzone, all made the top with songs that sound like pop music will, for better or for worse, from now until the mid-00s. The fact that I was almost eleven at the time of this recap, and for the first time fully aware of what was in the charts, perhaps makes this moment seem bigger than it does for somebody older or younger than me. But I think there’s something in my take on mid-1996 marking a shift into ‘modern’ pop.
Anyway, to the awards. Starting as is now traditional with The ‘Meh’ Award, we peruse the songs that stirred us very little. I have a shortlist that includes MJ’s ‘You Are Not Alone’, George Michael’s ‘Jesus to a Child’, and Boyzone’s simpering cover of ‘Words’. But for the winner I’m choosing Gary Barlow’s utterly underwhelming ‘Forever Love’, which was so dull it basically killed his solo career before it had even begun.
The WTAF Awardfor being interesting if nothing else has a few decent choices this time around. There’s another MJ contender, the overblown ‘Earth Song’. There’s the latest Levi’s Jeans chart-topper: Babylon Zoo’s zany, genre-hopping ‘Spaceman’. There’s the intense ‘Firestarter’, which had Middle England clutching their pearls. There’s even ‘Wannabe’, a phenomenon, yes; but also a truly bizarre pop song when you actually sit down and listen to it. Of the four, ‘Wannabe’ is a stretch, ‘Earth Song’ is a little too well-intentioned, and ‘Firestarter’ a little too good, for this award. Which leaves Babylon Zoo’s nihilistic anthem for the win!
You may have noticed that I haven’t yet mentioned the one act that have dominated the past year and a half of chart action… That’s because I was saving them for TheVery Worst Chart-Topper award. I am talking, of course, about Robson & Jerome, the first (though sadly not the last) of Simon Cowell’s crimes against music. Three #1s, thirteen weeks at the top, seven cover versions spread across their various discs… They are the only contender here, it’s just a question of which record to choose. It makes sense to go for the first one, ‘Unchained Melody’ / ‘White Cliffs of Dover’, because it was A) terrible, B) number one for the longest stretch, and C) it is currently the best-selling single of the entire decade…
Finally, then, the latest Very Best Chart-Topper. Four contenders spring to mind, all from 1996. (It has been a much better year for #1s than 1995, which could probably go down as one of the very worst…) In chronological order we have: Oasis’s soaring ‘Don’t Look Back in Anger’, the Prodigy’s incendiary (gettit?) ‘Firestarter’, the Chemical Brothers’ Beatles-based banger ‘Setting Sun’, and ‘Say You’ll Be There’, AKA The Spice Girls best song.
I’m torn. This is probably my only chance of giving the award to my two favourite childhood groups, Oasis and the Spice Girls. But I think the Spice’s would be a stretch – as fun as SYBT is – and ‘Don’t Look Back in Anger’ has simply been done by this point. ‘Firestarter’ and ‘Setting Sun’ are cut from the same cloth, and going by my write ups I enjoyed the latter more. ‘Firestarter’ was a huge cultural moment, but I think ‘Setting Sun’ is the better record. Plus, with Noel G on vocals it means Oasis still get a look in (and that the Beatles do kind of claim their second ‘Very Best’ award…) The Chemical Brothers it is!
To recap the recaps:
The ‘Meh’ Award for Forgettability
‘Hold My Hand’, by Don Cornell.
‘It’s Almost Tomorrow’, by The Dream Weavers.
‘On the Street Where You Live’, by Vic Damone.
‘Why’, by Anthony Newley.
‘The Next Time’ / ‘Bachelor Boy’, by Cliff Richard & The Shadows.
‘Juliet’, by The Four Pennies.
‘The Carnival Is Over’, by The Seekers.
‘Silence Is Golden’, by The Tremeloes.
‘I Pretend’, by Des O’Connor.
‘Woodstock’, by Matthews’ Southern Comfort.
‘How Can I Be Sure’, by David Cassidy.
‘Annie’s Song’, by John Denver.
‘I Only Have Eyes For You’, by Art Garfunkel.
‘I Don’t Want to Talk About It’ / ‘The First Cut Is the Deepest’, by Rod Stewart.
‘Three Times a Lady’, by The Commodores.
‘What’s Another Year’, by Johnny Logan.
‘A Little Peace’, by Nicole.
‘Every Breath You Take’, by The Police.
‘I Got You Babe’, by UB40 with Chrissie Hynde.
‘Who’s That Girl’, by Madonna.
‘A Groovy Kind of Love’, by Phil Collins.
‘Do They Know It’s Christmas?’, by Band Aid II.
‘Please Don’t Go’ / ‘Game Boy’, by KWS.
‘Dreams’, by Gabrielle.
‘Forever Love’, by Gary Barlow.
The WTAF Award for being interesting if nothing else
‘I See the Moon’, by The Stargazers.
‘Lay Down Your Arms’, by Anne Shelton.
‘Hoots Mon’, by Lord Rockingham’s XI.
‘You’re Driving Me Crazy’, by The Temperance Seven.
‘Nut Rocker’, by B. Bumble & The Stingers.
‘You’ll Never Walk Alone’, by Gerry & The Pacemakers.
‘Little Red Rooster’, by The Rolling Stones.
‘Puppet on a String’, by Sandie Shaw.
‘Fire’, by The Crazy World of Arthur Brown.
‘In the Year 2525 (Exordium and Terminus)’, by Zager & Evans.
‘Amazing Grace’, The Pipes & Drums & Military Band of the Royal Scots Dragoon Guard.
‘Kung Fu Fighting’, by Carl Douglas.
‘If’, by Telly Savalas.
‘Wuthering Heights’, by Kate Bush.
‘Hit Me With Your Rhythm Stick’, by Ian Dury & The Blockheads.
‘Shaddap You Face’, by Joe Dolce Music Theatre.
‘It’s My Party’, by Dave Stewart & Barbara Gaskin.
‘Save Your Love’ by Renée & Renato.
‘Rock Me Amadeus’, by Falco.
‘Pump Up the Volume’ / ‘Anitina (The First Time I See She Dance)’, by M/A/R/R/S.
‘Doctorin’ the Tardis’, by The Timelords.
‘Sadeness Part 1’, by Enigma.
‘Ebeneezer Goode’, by The Shamen.
‘I Would Do Anything for Love (But I Won’t Do That)’, by Meat Loaf.
‘Spaceman’, by Babylon Zoo.
The Very Worst Chart-Toppers
‘Cara Mia’, by David Whitfield with Mantovani & His Orchestra.
‘The Man From Laramie’, by Jimmy Young.
‘Roulette’, by Russ Conway.
‘Wooden Heart’, by Elvis Presley.
‘Lovesick Blues’, by Frank Ifield.
‘Diane’, by The Bachelors.
‘The Minute You’re Gone’, by Cliff Richard.
‘Release Me’, by Engelbert Humperdinck.
‘Lily the Pink’, by The Scaffold.
‘All Kinds of Everything’, by Dana.
‘The Twelfth of Never’, by Donny Osmond.
‘The Streak’, by Ray Stevens.
‘No Charge’, by J. J. Barrie
‘Don’t Give Up On Us’, by David Soul
‘One Day at a Time’, by Lena Martell.
‘There’s No One Quite Like Grandma’, by St. Winifred’s School Choir.
‘I’ve Never Been to Me’, by Charlene.
‘Hello’, by Lionel Richie.
‘I Want to Know What Love Is’, by Foreigner.
‘Star Trekkin’’, by The Firm.
‘Nothing’s Gonna Change My Love for You’, by Glenn Medeiros.
‘Let’s Party’, by Jive Bunny & The Mastermixers.
‘(Everything I Do) I Do It for You’, by Bryan Adams.
‘Don’t Stop (Wiggle Wiggle)’, by The Outhere Brothers.
‘Unchained Melody’ / ‘White Cliffs of Dover’, by Robson & Jerome.
The Very Best Chart-Toppers
‘Such a Night’, by Johnnie Ray.
‘Cherry Pink and Apple Blossom White’, by Perez ‘Prez’ Prado & His Orchestra.
‘Great Balls of Fire’, by Jerry Lee Lewis.
‘Cathy’s Clown’, by The Everly Brothers.
‘Telstar’, by The Tornadoes.
‘She Loves You’ by The Beatles.
‘(I Can’t Get No) Satisfaction’, by The Rolling Stones.
‘A Whiter Shade of Pale’, by Procol Harum.
‘I Heard It Through the Grapevine’, by Marvin Gaye.
‘Baby Jump’, by Mungo Jerry.
‘Metal Guru’, by T. Rex.
‘Tiger Feet’, by Mud.
‘Space Oddity’, by David Bowie.
‘I Feel Love’, by Donna Summer.
‘Heart of Glass’, by Blondie.
‘The Winner Takes It All’, by ABBA.
‘My Camera Never Lies’, by Bucks Fizz.
‘Relax’ by Frankie Goes to Hollywood.
‘You Spin Me Round (Like a Record)’, by Dead or Alive
‘Stand by Me’, by Ben E. King (Honorary Award)
‘It’s a Sin’, by Pet Shop Boys.
‘Theme from S-Express’, by S’Express.
‘Nothing Compares 2 U’, by Sinéad O’Connor.
‘Would I Lie to You?’, by Charles & Eddie.
‘Stay Another Day’, by East 17.
‘Setting Sun’, by The Chemical Brothers.
Up next, we’ll briefly pause the regular countdown. I’m going to launch a new series, and take us back to the 1970s…
Forget ‘Wannabe’, and all its gimmicky, chanting, in your face-ness… This is the moment that the Spice Girls announced themselves as a genuine phenomenon.
Say You’ll Be There, by The Spice Girls (their 2nd of nine #1s)
2 weeks, from 20th October – 3rd November 1996
To me anyway, as this was the song that caught my ears and made me a fan at the time; its charms less obvious but running much deeper than its shouty predecessor. Should I go as far as to claim, less than four sentences into this post, that it is the Girls’ one true classic record?
It’s a pop song. Pure pop. Peak-nineties, sugar-filled, bubble-gum. The production dates it almost to the month, with the squelchy synths and the scratchy cuts. But it’s just hook, after hook, after hook. Within the first minute we’ve already gone through three levels of catchiness: Emma Bunton’s verse, Mel B’s pre-bridge, and Victoria on the bridge proper. And then there’s a timeless chorus.
But it doesn’t stop there – any downtime, any moment that could have been dead air is crammed with something ear-catching. Mel B’s little rap, the Yeahhh I want you, the Stevie Wonder harmonica solo… (Not actually by Stevie Wonder, but by Judd Lander, who also contributed the iconic intro on ‘Karma Chameleon’.) The best bit, though, is Mel C’s harmonies on the final chorus, in which she announces herself as The Spice Girl who could genuinely sing…
The lyrics are more female empowerment, with the girls this time setting the rules for a relationship: This time, You gotta take it easy, Throwin’ far too much emotion at me… I’m not sure if they’re making the imagined man swear his undying faithfulness, or just roping him in for a one-night stand, but it’s clear that they’re the bosses. Girl-power, indeed…
I’ve come out with some grand statements already, so here’s another for good measure: ‘Say You’ll Be There’, not ‘Wannabe’, set a pop-song template that will be followed for the next decade, or more. Listen to All Saints, S Club 7, Five, or Atomic Kitten when they come along, and you will hear elements of ‘Say You’ll Be There’s lightly-funky, mildly-soulful, gold-standard pop. Max Martin must have been taking notes too, as US pop sensations like Britney Spears and NSync will also borrow from the Spice’s sound.
I know that I’m prone to over-nostalgia when it comes to the Spice Girls, so I will assure readers that I won’t be so gushing over any of their remaining seven #1s. ‘Say You’ll Be There’ is not their only great record, but it is their best. One more thing to say before I finish – and this really puts me into ‘back in my day’ territory – but the campy, ninja-inspired video, in which the Girls are dressed very sexily (but not all that sluttily), feels a world away from modern pop videos. I won’t wade into whether or not this is a good thing – I’m not sure where I stand, to be honest, and I enjoy many current female stars who writhe around in next to nothing. I just thought it was worth noting…
Wannabe, by The Spice Girls (their 1st of nine #1s)
7 weeks, from 21st July – 8th September 1996
And not just because it introduces us to a genuine musical phenomenon, who by certain metrics are the most successful chart act ever; but because the Spice Girls were my first modern pop obsession, the first act that I loved in real time.
Listening to ‘Wannabe’ now, I can confirm that I still know all the words, and that I can still picture the one-shot video frame by frame. I’m still pretty sure I know what zigazigah means… But can I now admit that this record isn’t… very… good?
Of course I can. Even aged eleven, I didn’t have that much time for ‘Wannabe’. Far greater pop songs were to be found on the Spice Girls’ debut album, including some of their upcoming #1s. The verses are slightly risqué nursery rhymes – If you want my future, Forget my past, If you wanna get with me, Better make it fast… – while the chorus is an aggressively nonsensical chant: I’ll tell what I want what I really, really want… So tell me what you want etc. etc. etc. It’s breakneck, the sudden changes in direction are dizzying, and it leaves you with a bit of a headache.
One thing remains iconic: the ‘rap’, in which all the Spices are introduced to us. Like the chorus it makes little to no sense, but it does include an all-time classic line: Easy V doesn’t come for free, She’s a real laydee… (at which point in the video, the soon to be Mrs Beckham is grinding on a priest’s lap). Otherwise, this song is best viewed as a statement of intent, a big slap around the face with a leopard-print handbag. Or perhaps it’s actually the Spice Girls’ manifesto, with all those lines about putting friendship first, and everything being on a girl’s terms. (This is before they were lumped with the slogan ‘Girl Power’.)
The Spice Girls probably wouldn’t have been as huge if they hadn’t released ‘Wannabe’ as their debut single (and it surely had to be released first, or not at all). It’s a marmite track, something the girls and their management acknowledged at the time, but they went with it and were rewarded for their decision, and then some. Number one in thirty-seven countries, and voted as the most recognisable pop song of the past sixty years…
‘Wannabe’ itself probably wouldn’t have been as big as it was without the chaotic video, in which the girls rampage through a posh soiree at the St. Pancras Hotel in London. Again, it’s the perfect introduction to the group, their friendship, their vibe. And it’s interesting how young the target audience clearly is: you have five youthful, attractive females, and yet there’s nothing very sexual going on, aside from a bit of zigazigah-ing. It feels more like a madcap kids’ TV show.
In fact, the helter-skelter, cut and paste feel of the song, and the zany anarchy of the video, is pushing me to call this… not ‘pop punk’, as that’s already taken… maybe ‘punk pop’? Cheap, cheerful, and far more to do with attitude than any sort of musical quality. It works for now, anyway. We’ll have plenty of time to further assess the Spice Girls over the coming months. I might even bring up my homemade Baby Spice badge, and the saucy graffiti I drew all over the CD sleeve of their album, at some point too…
The UK Number Ones Blog 