No tapes this week, but with an event this size happening in London this would no doubt have been the rave I'd be going to this weekend in 1995.
It was the 2nd of 3 World Dance events to be held at Wembley with the final one held on New Years Eve the following year.
The line up is a mix of drum & bass and happy hardcore in the main arena and house in the 2nd arena. As expected with World Dance the main arena line up is leaning more towards drum & bass with 6 of the 9 DJs being from the genre.
I could have seen myself venturing into the 2nd arena as well with Roy the Roach on the line up who is a DJ I've always rated.
An internet search tells me that there were celebrities attending that night too which included Mr. Motivator and some of the cast from Baywatch.
Having attending gigs at Wembley I do find it hard to imagine what a rave would have been like here. A main concern based on the gigs I've been to is that the sound quality isn't great and that's without the whistles and horns being blown. It would have been good to at least experience though.
If you look at the singles chart from Top 40 perspective which I generally do then this is the final Heaven 17 hit to date. If you look at it from a Top 75 perspective then it's their first hit.
This is one of Heaven 17s better known records, but a combination of it being banned by the BBC and the fact the group were yet to be that well known it only made number 45.
They would go on to have several Top 40 hits in the early 80s before fading into obscurity towards the end of the decade.
Then in late 1992 came the Brothers in Arms remix of "Temptation" which reached number 4. The only time they charted higher than that was the original version of "Temptation" in 1983 which made number 2.
This was the next record to get the remix treatment which this time came from the Rapino Brothers. The week prior to this reaching number 40, the Rapino Brothers occupied the number 39 slot under the name Rapination with the record "Love Me The Right Way". At the beginning of the year their remix of "Could It Be Magic" by Take That was in the Top 5 and at that point was the biggest Take That hit to date.
Heaven 17 would released their best of album in 1993 which would contain both the "Temptation" and "(We Don't Need This) Fascist Groove Thang" remixes.
Obviously some of the records will be the same as last week so therefore the review will be the same for these. I've indicated which ones are new so you can skip the others if you read last weeks post.
Once again my opinions are inevitably going to differ from other people, but I'm not trying to convince anyone something is good or rubbish, I'm simply giving my opinion.
So this is the top 30 from this week in 1992 with my verdict on each record:
Del Amitri had 3 hits in the Billboard 100 and this was one of them. It was their 4th UK Top 40 hit and lead single from their "Change Everything" album. It's not a bad record but is a bit generic.
This was the Christmas number one in 1971 which was charting again a month or so after Benny Hill's death. He actually re-recorded the song for his best of album shortly before he died. It's a novelty record by a comedian and as a result it's a terrible song, but that's the point.
I've no recollection of this ever being a single. The fact it only reached number 28 may have something to do with it. I do however know it thanks to the Kenlou aka Masters at Work remix. Whilst the remix is very much a house record, the radio edit sounds a bit more acid jazz in a watered down sort of way. As a result it's not as good as the remix but I still quite like it thanks to the remix.
I don't ever recall this being a single, but I do remember it on Wayne's World. Despite this featuring in a very memorable part of the film, it never got any higher than 27 in the charts. Perhaps people bought the movie soundtrack instead. That said, as a record itself away from the film it's pretty non descript.
I wasn't quite sure what to expect with this record as I couldn't remember how it went. I definitely know it after listening though. It's a British R&B record that's written by Don-E himself and could easily pass as an American one which is a good thing.
I remember getting really annoyed that this record made number one and Mr Big hadn't. I absolutely hated this record as a result of that. However I've not really cared how the records I like do in the charts for the bulk of the last 30 years and I still think this record is crap and would have still thought that if Mr Big got to number one instead.
Summer has arrived. This takes me back to a UK holiday I went on in 1992. When I saw the video it looked like it could almost be the coastal town I went to but I later discovered it was Camden, a place I've since been to many times. I also heard this before I heard the Stevie Wonder original. As far as Incognito hits go I'd say this ones the best.
When Celine Dion did her cover of "The Power Of Love" in 1994 I assumed she was making her Top 40 debut. Turns out she did this song a couple of years earlier with Peabo Bryson. It's from the film of the same name. I do question why cartoon films have to have such depressing songs to accompany them.
This was the Top 40 debut for The Future Sound Of London, though member Brian Dougans had previous had a Top 40 hit as Humanoid. It's also their best known record and is probably my favourite record of theirs too. It's got that blend of music you can both dance and chill out to.
As a rule I find it more difficult to identify a tune by the intro than by the chorus. With this record though it's the opposite. The intro with chimes from the clock is how I remember it, the rest of it is forgettable eurodance cheese.
Wilson Phillips are seen by many as being one hit wonders in the UK but they had a trio of number ones in America. By 1992 though it would seem even their popularity in America was in decline. This was their 2nd highest charting single in the UK and the only one to chart higher in the UK than America. Can't say I think much of it, a bit boring.
After 3 years away from the Top 40, Curiosity Killed the Cat were back with a shortened name and their final Top 40 hit to date. It seems a few 80s acts were having low charting and long forgotten 90s hits around this time, but this one made number 3. It's not for me though.
This was the Top 40 debut for the Levellers and their highest charting single to date. Surprisingly "One Way" never made the Top 40 when first released. This was probably the point where lots of people I knew were getting into the Levellers. I kept changing my mind about them around the time but I certainly appreciate their music a lot more now.
This was the first Pop Will Eat Itself single where the drum machine had been replaced by a drummer. They continue to blend dance and rock music but both these records sound more aggressive than their predecessors. The same could be said of some of the dance and rock music of the time too so is quite appropriate.
Although this wasn't their debut hit, this was really the beginning of Take That becoming more or less the biggest pop act of the early 90s. Their debut "Do What You Like" never charted at all, then "Promises" only made 38, the next single "Once You've Tasted Love" didn't make the Top 40 and then came this. This was also their first single not to be written by Gary Barlow as it was a cover of the Tavares record.
This one got banned because they didn't get the clearance to sample "Walking In Memphis" the lyrics have been re-written but still sung in the tune of "Walking In Memphis". Being a raver myself, whenever I hear "Walking In Memphis" I find myself singing "Raving I'm Raving" in my head which should give you a clue to what I think of this record.
Ce Ce Penitston is known for one song but despite this she managed to score 3 Top 10 hits. This is the 3rd of them and it's a move away from dance music. It was written by Steve "Silk" Hurley, but this just suggests to me he should stick to dance music as this is pretty bland.
This was the first single to be taken from the album of the same name. Even though it sounds like a typical Elton John record, it somehow sounds catchier than most. Maybe I've just heard it too many times in my life. It's a decent enough record but hasn't quite got enough about it for me to truly like it.
In the early days of the internet a site about rave music was named after this tune. It would have clips of old rave tunes but they had the first few second of this tune on them first. When I think of old skool rave the year 1992 is the first that springs to mind so it's a bit odd having a tune from 1992 called "Back To The Old School". The rave scene had been going for a few years by this point though. What we have here is an at the time modern rave record with influences of 80s acid house in it and it works pretty well.
After they spent a long time at number one with "Stay" Shakespear's Sister followed up with this. I do remember this annoying me at the time, but as it's long forgotten I don't think I've heard it for 30 years. Listening to it now reminds me of how I found it irritating, here's hoping I won't hear it for another 30 years at least.
Ask someone to name a Faith No More record and I doubt you'd have many people naming this record, but it was their 2nd highest charting hit. Mike Patton's singing style had changed compared to their previous 2 Top 40 hits to the point that it sounds like it's someone completely different singing. It's a more aggressive tone but this goes better with the music.
I remember this on Top of the Pops with the chanting of "Utah Saints". It was their 2nd Top 40 hit and highest charting single to date. When the awful 2008 version was released I was quick to point towards this, the much better version.
This was the first Top 40 hit from the "Funky Divas" album which I own. It was their 2nd Top 40 hit overall with their debut "Hold On" coming 2 years prior. My memory of this record at the time is that it was out a similar time to "Don't You Worry Bout A Thing" by Incognito. When I first properly got into R&B, En Vogue were one of the first groups I bought albums of
I loved this record at the time and still do now. The odd thing is that this was before the scene split into happy hardcore and jungle and this sounds like it's gearing towards what would become jungle yet Slipmatt of SL2 would become one of the pioneers of happy hardcore. The only downside is that after "On A Ragga Tip 97" came out which was faster, it makes this record sound a bit slow.
I always feel this record should have been earlier than 1992 for some reason. When I think what else was going on around the time of this record though it makes perfect sense for it to be 1992. It's always been on of those records I've found to be ok but nothing more.
My memory of this record is going on holiday around this time to the same place I went when the other big Richard Marx hit "Right Here Waiting" was in the charts. I like the record at the time without paying too much attention to the lyrics. Aside from the mystery behind the story I think it also highlights how judgmental some rural communities can be.
In an era where I have more music available to listen to on the internet but less time to listen to it, I find myself listening to the shortened version of songs most of the time. Not with this one though, I'm more inclined to listen to a longer live version. It's a pretty basic song really but Guns n Roses take it to another level.
This was the Top 40 debut for Ugly Kid Joe. They were a pretty cool band to like at the time as I recall, but very quickly they became uncool. I guess it's hard to tell if they're trying to carry on the legacy of hair metal or fit into the grunge movement. One record I do recall being out at a similar time is "Lithium" by Nirvana and without really knowing the ins and outs I considered them both similar in style. I did consider this to be the better record out of the two.
I remember how I find out who made this record. Somebody told me they'd just bought the Kris Kross record and I thought they were talking about Christopher Cross of "Arthurs Theme" fame. Then they played it and I realised it was a completely different act. In theory 2 squeaky voiced kids rapping should be terrible, but this one isn't. The actual tune helps a lot, but they rap it well too.
This was the first version of "Please Don't Go" that I heard. The original is by KC & the Sunshine Band, but it's basically a clone of a cover done the same year by Italian act Double You. I do like it, but the other tune "Game Boy" is better. Whilst "Please Don't Go" is a commercial dance record, "Game Boy" is very much a rave record.
Verdict - Good / Good
If we give the records which were good 1 point each and those which were OK half a point, the final score is 18.5/30, or 62%. More crucially though, there isn't a bad record in the Top 10.
I was unable to find a rave from this week in 1995 with tapes from it. There were however raves happening every week, one of which was Club Kinetic which is what I've picked this week.
We had the debut outing of "Toy Town" 3 weeks ago. Love it or hate it, this was a significant part of rave history. Like with most tunes making their rave debut though, it was yet to be released.
This is where this particular night at Club Kinetic comes in. On the flyer it says it's the launch night of Platinum Records. Given the timing and the fact Hixxy and Dougal were on the line up it's safe to assume the "Platinum Records" they refer to is Essential Platinum.
Hixxy was the creator of "Toy Town" and Dougal was the DJ who played it out for the first time. Together they launched Essential Platinum records and "Toy Town" was the first release.
In addition we have Force & Styles on the line up. Whilst they'd previously played together as part of Force & the Evolution this is the first time I've seen the name Force & Styles on the flyer. It was also the previous week we'd seen the first Force & Styles tune played out.
If ever there was a night the early 90s would transform into the late 90s then this night would be it. Both Hixxy and Force & Styles were amongst the biggest names in the late 90s and what we are seeing here are the roots of how they got there.
Early leader Central Cee remains top though he hasn't added to his total for a while. Kendrick Lemar had 4 Top 50 hits in the last month which puts him 2nd. A bunch of people on 3, whilst Drake has finally made it onto the board and now has 71 Top 40 hits to his name, just Elvis, Cliff and Elton John can claim to have more.
There's been a few rap hits this last month and now accounts for 43 of the 91 Top 40 hits so far this year or 47%.
In May 1997 I was most likely to be listening to a Helter Skelter tape. There were still a few chart records I liked though:
Propellerheads - Spybreak!
This record only just scraped into the Top 40. The Propellerheards were certainly much bigger than their Top 40 performance though.
I'll be honest I was a bit of a reluctant fan at the time due to it being commercial and potentially appealing to rock fans. I had to admit it was a great record though.
Smoke City - Underwater Love
After the previous years disappointment of hearing the full version of "Spaceman" having initially liked it from the Levi's advert I was more cautious with this years effort.
Fortunately I wasn't disappointed with this one. I'm sure I'd acknowledged by this point there was room in my life for chill out music amongst the hard and fast dance music I was listening to at the time. This one definitely fitted that.
Olive - You're Not Alone
A chart topping record by a former member of Simply Red was exactly the sort of thing I didn't want to be listening to at the time. I really didn't want to like this record, but I couldn't help but like it.
The only bad thing I have to say about this record is that it was perhaps a bit overplayed at the time. Other than that I love everything about it.
Strike - I Have Peace
Yes this is the same Strike who did "U Sure Do" a couple of years earlier. It was their final hit and a change in direction compared to their previous effort.
It's also really a bridge to the next phase of it's members careers with Freestylers and Plump DJs.
Double 99 - RIP Groove
This was one of the best known records from the speed garage era. It was a bit of a silly name really because it wasn't very fast. Maybe it was an indication of how quickly it would come and go as a genre.
A memory I have of this record is it coming on the radio one day and someone asking me whether it was by Pete Tong.
Back in the 70s there were a number of bands who would have a huge following but have little to no presence in the Top 40. One of these bands was Genesis. To put that into perspective, in 1976 when they released their 8th album they only had 1 minor Top 40 hit to their name.
Despite them not being a chart band in their early years, they would go on to have 21 Top 40 hits over a 23 year period. This was hit number 20.
As a band they had been going for over 25 years by this point. That alone is a reason to struggle to get into the Top 40. However, the most logical reason for this only making number 40 is that it was take from the "We Can't Dance" album which had been released in 1991 and had topped the album chart. Therefore most people who were likely to buy this would have already had it on the album.
It would be the final Genesis single to feature Phil Collins. He left the band in 1996 and was replaced by Ray Wilson and had their final Top 40 hit to date in 1997 with "Congo".
