Sunday, 8 June 2025

Top 30 in 1999 Reviewed: Week 23

Here's my weekly look at the Top 30 from 26 years ago. The plan is for these posts to go out at 17:30 on a Sunday.

Here is the Top 40 in full.

I've decided against repetition from previous weeks moving forward so will only feature the records I'm reviewing for the first time. I also won't repeat the reviews from the Top 20 in 1999 Reviewed posts.

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 records new to the top 30 from this week in 1999 with my verdict on each record:


I don't think too many people remember the big hit for Gay Dad let alone this less successful follow up record. To recap they were basically a band made by music critics and praised by other music critics but the general public didn't really pay much attention. This record is also crap.

Verdict - Rubbish


Underworld had been around a few years by this point but this was only their 4th Top 40 hit. Their greatest hits is one of my all time favourite albums because I think it captures the best of them more than any of their albums.

Verdict - Good

If we give the records which were good 1 point each and those which were OK half a point, the final score is 13/30, or 43%. Heading back in the right direction.

Friday, 6 June 2025

Dutch Top 40 1995: Week 23

These were the new entries in the Dutch Top 40 that never made the UK Top 40:

Jimmy Cliff & Lebo M - Hakuna Matata

It's almost surprising this record never made the UK Top 40. It was from The Lion King film which was huge at the time. It's probably because unlike the big hits from that film it's not performed by Elton John, but it was written by him. 

Minty - Useless Man

We've had some UK acts feature here before but so far there has been a good explanation as to why they'd chart in Holland but not the UK i.e. they were based in other countries. However with Minty that was not the case. Minty were Richard Torry and Leigh Bowery. It was a posthumous hit as Leigh Bowery died at the end of 1994. He was Australian but moved to the UK in the early 80s and was friends with Boy George. One explanation as to why it didn't chart in the UK is the the lyrics aren't exactly radio friendly. 

Thursday, 5 June 2025

2001: The Good Old Days? - August

Whilst we know the charts would become very indie/guitar music heavy by the mid-00s, the prediction Ash made about it happening in 2001 doesn't appear to be happening as this is certainly in the minority this month.

Dance music is the most prolific and whilst not all of it is to my liking it's refreshing to see some of the more proper dance records in the Top 40. We have "Nothing Without Me" by Manchild and "The Real Life" by Raven Maize from the house music world for house music fans.

Trance wise we don't have any of the vocal rubbish or euro cheese. There's the excellent "Superstring" by Cygnus X and the solid "Like This Like That" by Mauro Picotto whilst "Fire Wire" by Cosmic Gate is OK. The only trance record I don't like is "Precious Heart" by Tall Paul, a sample of "Never Tear Us Apart" by INXS done tastefully but just doesn't work for me.

UK Garage wise we may be seeing the beginning of the end here. There's "21 Seconds" by the So Solid Crew, the Top 40 debut from the act credited with killing garage. Then there's "Love You Anyway" by De Nada which I can't stand the singing on.

It's the rap world that gives us the best record which is "Ante Up" by MOP & Busta Rhymes. I bought the single for this and just loved the sheer aggression. Another single I bought was "Where I Wanna Be" by Shade Shiest, Nate Dogg & Kurupt. Then a decent rap rock record I didn't buy was "Revolving Door" by Crazy Town.

R&B wise we have the final Top 40 hit for the Honeyz "I Don't Know". It was seen as a questionable choice for a single notably from group member Celena but I do like it. Then we have "Just In Case" by Jaheim, an R&B record that later had a garage remix and both versions are good. No points for rubbish by Destiny's Child, Janet Jackson or Missy Elliott.

One record that deserves a mention is "Let's Dance" by 5ive. It reminds me of many nights out at the time, it's a pop record with a sense of humour and I remember a mate kept saying fuck Eminem, Dr Dre and Snoop Dogg, J from 5ive is the best rapper.

The worst record goes to Atomic Kitten with "Eternal Flame". The success of "Whole Again" gave them license to top the charts with any old rubbish, and they did with this dreadful cover.

Here's a list of the records with the best on top, worst at the bottom and the good ones in green, OK ones in amber and rubbish ones in red (and in no particular order):


Score: 35%

Here's a look at the chart:


We've exceeded the 34% we needed to even consider it as the good old days. Will we stay there?

January Charts: 1961

Here are the new entries ranked from best to worst:


In the early days of this blog I picked a record of the year for each year and 1961 stood out to me as a year when I struggled to find a record that was good enough. Now I've listened to every Top 40 hit from the first month of the year I'd still say no records are outstanding.

The best of the bunch is "A Thousand Stars" by Billy Fury, arguably the biggest star from Liverpool before The Beatles came along. Incidentally this record would appear in the 70s film "That'll Be The Day" which had both Billy Fury and Ringo Starr in it.

The number 2 record also featured in a film that came out years later with "Stay" by Maurice Williams And The Zodiacs featuring in "Dirty Dancing". 

Rock n Roll still appeared to be in, but you sense it's getting to the stage where everyone is jumping on the bandwagon which will lead to an inevitable backlash. The fact that one of the better ones was "What To Do" by Buddy Holly which would have been at least 2 years old by this point more or less illustrates this.

Instrumental rock was popular around this time, not bad music but starts to all sound the same after a while. One such record is "Pepe" by Duane Eddy and there is another version by Russ Conway on the piano instead of guitar.

There were 3 different versions of "Rubber Ball" which are quite spread out in the table. There's the original by Bobby Vee which is up near the top, a cover by the Avons which isn't bad and a cover by Marty Wilde which is your inferior British karaoke type cover.

The latter wasn't the worst record though. Below it we have "Till" by Tony Bennett, his first hit in nearly 5 years which sounds really dated in 1961. Then down the bottom we have "Bangers And Mash" by Peter Sellers And Sophia Loren, a novelty record I find really irritating.

I feel I must address the relatively low position of "Are You Lonesome Tonight" by Elvis Presley. Many consider it to be a classic but I'm afraid I just find it boring.

Overall I think this batch of records shows that good music did exist before The Beatles but at the same time it shows The Beatles needed to happen.

Score: 34

Wednesday, 4 June 2025

Saint Etienne call it a day

Saint Etienne have announced that their next album to be released later in the year will be their last. It will mark the end of a run spanning 35 years. 

They somehow passed me by in their early 90s heyday, I didn't discover them until "He's On The Phone" in 1995 and never knowingly heard another of their tunes until I saw their greatest hits on offer around the turn of the century which I bought on the strength of "He's On The Phone".

I do however remember Sarah Cracknell's brief solo career in 1996 and given that and the fact their greatest hits went up to 1995 I assumed at the time that was the year they called it a day. Already having a fondness for the early 90s I saw 1995 as a great time to bow out and they'd be frozen in time and always fondly remembered. Little did I know they hadn't split up and would be around for another 25 years.

As the years went on though they took on another significance. I live in London and have lived here longer than I've lived anywhere else, but I don't come from here originally. The thought of moving to London never appeared on my radar when I was younger, but once people started flocking there after university my head started to turn. 

With a few St Etienne albums now in my collection I realised just how London centric their music was. It painted a picture of a place I wanted to experience myself. The day I handed my notice in at work because I'd secured a job in London I was listening to Saint Etienne in my car. I didn't choose that CD on purpose, but it did seem symbolic.

When I moved to London I was in my 20s and still going to clubs full of other 20 somethings. I would describe my music of choice as electronic music and would consider Saint Etienne as part of that description. However, you wouldn't hear their music at the Ministry of Sound and the likes. In fact when I first went to see them in concert I was surprised at just how old the audience were.

Perhaps this is a factor in why they're calling it a day. Their audience hasn't really grown or dwindled over the years, it's stayed consistent. Their fan base isn't getting any younger and their legacy probably isn't going to pass through generations.

Nothing stays the same forever. Eventually my days of going to the Ministry of Sound or seeking out the latest tunes fizzled out. It was replaced by a growing interest in music history which is the main reason why I started this blog. It would appear this is where Bob Stanley's interests lie too.

By the time the "Home Counties" album had come out, Pete and Sarah had done the unthinkable. They'd moved out of London, Pete moved to Brighton and Sarah moved to the Oxfordshire countryside. Some time later Bob moved to Leeds. 

It seems a bit strange that I'm living in London but Saint Etienne aren't. But then who knows, I may have moved out of London myself by the time I get to their age. What I do know is the aspirations I have now differ from the aspirations I had when I first moved here.

At the same time my perception of Saint Etienne has changed over the years. By the time their "Words & Music" album came out in 2012 I was well and truly settled in London, the band members were probably still living in London and it felt like a moment to celebrate London I guess.

Since then I can't say I've been overly impressed by their more recent material and as much as I enjoy their older music it does have its limitations. I've also never bought any of these deluxe editions and limited edition boxsets etc. they seem to be constantly bringing out, I'm happy to make do with the normal albums.

Fair play to them though. They've carved out a moderately successful career spanning 35 years with by their own admission limited music talent and have a loyal fan base, many of whom are willing to part with vast sums of money to fund an ever growing Saint Etienne collection. Nothing lasts forever though.

Tuesday, 3 June 2025

UK Number 40s: Pet Shop Boys - It Doesn't Often Snow At Christmas (2009)

 


By 2009 there were quite a number of music acts from yesteryear who were still around and releasing new music but no longer getting into the Top 40. I knew that the Pet Shop Boys were still releasing new music but I was also surprised to see they were still actually getting in the Top 40, just.

This was their final Top 40 hit which started life as a fan club release back in 1997. It was released as a single in 2009 following 2 records from the "Yes" album from that year making the Top 40 in "Love etc" and "Did You See Me Coming?".

Following this they joined plenty of other music acts from their era by releasing new music that would continue to be popular but not make the Top 40.

Monday, 2 June 2025

UK Number 40s: Agnes - I Need You Now (2009)

 


In the UK we've had a number of TV shows manufacturing pop singers. We're also made aware that the same sort of thing is happening in America. What we're not so aware of is it happening in other countries too.

One such country is Sweden and one of the winners to their TV show "Idol" was Agnes. She made number 3 with her UK Top 40 debut "Release Me" and this was her not so successful follow up which would be her final Top 40 hit to date.

Given the sheer quantity of pop songs of the modern era that are written by Swedish songwriters it made perfect sense for them to unleash one of their own singers on the UK charts.