Week commencing 3 August 1992

I had a request from a reader to include chart runs, so I have added them for this week for the top 150 entries, and will continue to do so.  However, given how time consuming it would be, I may not get around to the daunting task of adding them to each of my previous posts.  Anyway, here are this week in 1992's new entries peaking outside the ARIA top 100...

 

Massive Attack weren't exactly "massive" on the Australian charts in 1992.

 

Top 150 debuts:

 

Number 115 "I Wanna Sing" by Sabrina Johnston

Peak: number 115

Peak date: 3 August 1992

Weeks in top 150: 6 weeks

Chart run: 210-115-136-130-133-146-142

Weeks on chart: 7 weeks

 

American singer Sabrina Johnston scored her first, and biggest, Australian hit with her debut single "Peace" (number 24, March 1992). She followed it up with the equally-good but not as successful "Friendship" (number 64, April 1992).  "I Wanna Sing" was released as the third single from her debut album Peace (number 143, September 1992).

 

Internationally, "I Wanna Sing" peaked at number 46 in the UK in July 1992.

 

In Australia, "I Wanna Sing" performed strongest in Victoria/Tasmania, where it reached number 98 on the state chart.  The single crept into the lower region of the Australian Music Report top 100, where it peaked at number 93.

I first heard this one on the UK Chart Attack radio show.  I remember catching the video on SBS's MC Tee Vee, which was a great source at the time for dance-orientated music videos, with its clifftop scenes.  The chorus backing vocals on "let me sing someone" sounds a little bit like Annie Lennox to my ears, though I know it couldn't be her.

We will see Sabrina again in November 1992, where she shares a single with another artist.

 

 

Number 139 "What Are We Fightin' For" by Candy Harlots

Peak: number 132

Peak date: 10 August 1992

Weeks in top 150: 5 weeks

Chart run: 139-132-137-145-147

Weeks on chart: 5 weeks

 

We last saw Sydney band Candy Harlots in 1991.  Since then, they landed two top 40 hits, with the Foreplay EP (number 17, February 1992) and "Sister's Crazy" (number 37, May 1992).  "What Are We Fightin' For" was issued as the third and final single from the band's only studio album Five Wicked Ways (number 31, May 1992).

 

On the state charts, "What Are We Fightin' For" performed equally-strongest in New South Wales/Australian Capital Territory and Queensland, where it reached number 117.

 

I don't recall hearing this one before.  This would be Candy Harlots' last release.  Their lineup changed and they re-named the band Helter Skelter in 1993, and then The Harlots the following year, before disbanding in 1995.

 

 

Number 143 "Walk On" by Sunscreem

Peak: number 143

Peak date: 3 August 1992

Weeks in top 150: 2 weeks

Top 150 chart run: 143-149

Weeks on chart: 4 weeks

 

We last saw English band Sunscreem in April 1992.

 

While "Walk On" was Sunscreem's debut release in their homeland, it was issued as their second single in Australia, from their debut album O₃ (number 73, March 1993).

 

Internationally, "Walk On" peaked at number 94 (number 86 on the compressed chart) in the UK in November 1991.

 

Domestically, "Walk On" was most popular in Queensland, where it reached number 126.

 

I wasn't aware of this one at the time, though I wasn't familiar with Sunscreem until their next single, "Love U More" (number 30, March 1993), which initially debuted at number 166 on 14 September 1992 and crept into the top 150 for one week at number 141 the following week, before dropping out and re-entering at number 144 on the last chart of 1992, eventually making its way up to number 30 three months later.

We shall next see Sunscreem in January 1993.

 

 

Number 144 "Safe from Harm" by Massive Attack

Peak: number 132

Peak date: 17 August 1992

Weeks in top 150: 5 weeks

Top 150 chart run: 144-140-132-148-141

Weeks on chart: 8 weeks

English band Massive Attack formed in Bristol in 1988.  While they would not chart until March 1991 in Australia, with the single "Unfinished Sympathy" (number 95, June 1991), on which the band's name was temporarily changed to just Massive due to the Gulf War conflict, their signature sound of dissonant chords can be heard on Neneh Cherry's "Manchild" (number 58, July 1989), which was co-written by Massive Attack's Robert Del Naja, better known as 3D.

"Safe from Harm" was originally released in Australia in July 1991, as the second single from Massive Attack's debut album Blue Lines (number 69, July 1991).  It entered the chart at number 166 on 26 August 1991, but did not climb into the top 150 until its re-release locally in late July 1992.  In the interim, Massive Attack (just) placed a single within the ARIA top 50, with "Be Thankful for What You Got" (number 49, June 1992), accompanied by a rather risqué music video.

 

As with "Unfinished Sympathy", which is arguably one of the best records of all time, "Safe from Harm" (just as good, in my opinion) features the vocal talents of Shara Nelson, whose voice is not dissimilar from Aretha Franklin's.  The music video portrays Shara climbing a staircase in a tall apartment block at night, encountering several dodgy characters... with one eerily waiting outside her apartment at the end.

 

Internationally, "Safe from Harm" peaked at number 25 in the UK in June 1991, number 33 in Germany in July 1991, number 18 in the Netherlands in July 1991, number 23 in Austria in July 1991, and number 15 in Switzerland in August 1991.  It also registered on several meaningless US Billboard charts, reaching number 28 on the Alternative Airplay chart in September 1991, number 35 on the Dance Club Songs chart in September 1991, and number 32 on the Dance Singles Sales chart in October 1991.

 

In Australia, "Safe from Harm" performed strongest in New South Wales/Australian Capital Territory, where it reached number 109.

 

We will next see Massive Attack in 1995, but, before then, Shara Nelson will appear on her own several times, starting in 1993.

 

 

Number 145 "Sensual Motion" by S-Witch

Peak: number 135

Peak date: 31 August 1992

Weeks in top 150: 7 weeks

Top 150 chart run: 145-143-142-139-135-139-149

We last saw Australian act S-Witch in 1991.

 

As I write this post, I am waiting on someone to (hopefully) send me an audio rip of this track.  I have not as yet heard the song, so cannot say much about it.  I will hopefully be able to update this post with the audio soon...  This would be S-Witch's final top 150 chart entry.

 

 

 

Number 149 "Spanish Horses" by Aztec Camera

Peak: number 143

Peak date: 24 August 1992

Weeks in top 150: 3 weeks

Known chart run: 173-149-148-(out)-143

Weeks on chart: 8 weeks

We last saw Scottish band Aztec Camera in 1990.

 

"Spanish Horses" was the lead single from the band's fifth studio album Dreamland (number 146, June 1993).  Internationally, "Spanish Horses" peaked at number 52 in the UK in July 1992.

Within Australia, "Spanish Horses" performed strongest in Western Australia, where it reached number 107.

 

I hadn't heard this one before.  This would be the final Aztec Camera single to chart in Australia, although they had later charting albums with Frestonia (number 187, April 1996) and Original Album Series (number 956, September 2011).

 

 

 

Bubbling WAY down under:

 

Number 154 "Motorcycle Emptiness" by Manic Street Preachers

Peak: number 151

Peak date: 24 August 1992

Weeks on chart: 4 weeks

 

Welsh band Manic Street Preachers last joined us in June 1992.

 

"Motorcycle Emptiness" was issued as the final single from the band's debut album Generation Terrorists (number 182, April 1992).  Overseas, the single peaked at number 17 in the UK in June 1992, number 21 in the Netherlands in September 1992, number 35 in the Flanders region of Belgium in September 1992, and number 35 in New Zealand in October 1992.

Domestically, "Motorcycle Emptiness" was most popular in Queensland, where it reached number 127.

While I think I have heard/seen the music video for this one before, I couldn't recall how the song went, but enjoyed it.  It has that signature 'Manics' sound I am familiar with.

The Manics will next join us in November 1992.

 

Number 159 "Get Together" by Beatfish

Peak: number 159

Peak date: 3 August 1992

Weeks on chart: 7 weeks

 

Australian duo Beatfish last graced our presence in March 1992.

 

"Get Together", issued as the band's fourth single, was not lifted from their debut, and only, album Beatfish (number 79, November 1991); but, rather, was a new track - presumably recorded for a second album that never eventuated.

This time, vocal duties were handled by Mentals As Anything member Martin Plaza.

Listening to this track as I write this post, musically it sounds not dissimilar to The Style Council, to my ears.  It's much more laid back than Beatfish's earlier singles.  It's not bad, but doesn't exactly scream commercial success in 1992... hence the number 159 peak.

On the state charts, "Get Together" performed strongest in Western Australia, where it reached number 129.

Presumably, James and Martin disbanded Beatfish soon after this release, as it would be their last one together.  We shall see Martin Plaza solo in 1994, and with Mental As Anything in 1995.

 

 

Number 171 "Take Me" (The Prodigy Mix) by Dream Frequency featuring Debbie Sharp

Peak: number 162

Peak date: 14 December 1992 (chart repeated 21 December 1992 and 28 December 1992)

Weeks on chart: 8 weeks

 

English-American duo Dream Frequency/Debbie Sharp last joined us in June 1992.

 

I have a feeling that ARIA didn't yet quite know what to do with multi-part releases on the chart, as e.g. we had separate listings for a certain artist I don’t wish to promote on this blog with a single that topped the chart in late 1991, and the Clivillés & Cole Remixes single of the same track charted separately a few months later. This time, we have The Prodigy Mix of Dream Frequency's "Take Me" charting separately from the regular release of "Take Me" (number 62, September 1992), which debuted at number 165 the following week, on 10 August 1992.  To confuse matters, the Prodigy Mix of "Take Me" appears as track 2 on both the CD and cassette single formats.  Presumably, this release is the 12" vinyl single, on which this mix is the lead track.  We last saw The Prodigy in June 1992.

 

"Take Me" was the second single released from Dream Frequency's debut album One Nation (number 160, January 1993).  Internationally, the single peaked at number 39 in the UK in April 1992, and at number 22 in Ireland during the same month.

In Australia, "Take Me" (The Prodigy Mix) performed strongest in South Australia/Northern Territory, where it reached number 118.  The regular version of the single was much more popular in South Australia/Northern Territory than elsewhere, reaching number 13 on the state chart.  Its next-highest state chart peak was number 37 in Western Australia.

We shall see Dream Frequency on one more occasion, in 1994.

 

 

Number 194 "Straight Talk" by Dolly Parton

Peak: number 194

Peak date: 3 August 1992

Weeks on chart: 2 weeks

 

Country legend Dolly Parton last joined us as part of a duet in 1990.  Dolly's biggest chart hit in Australia was her duet with Kenny Rogers, "Islands in the Stream" (number 1 for one week in December 1983).  Surprisingly, one of Dolly's best-known songs, "Jolene", stalled at number 99 on the Australian Kent Music Report singles chart in July 1974.

 

"Straight Talk" was lifted from the soundtrack album to the movie of the same name, in which Dolly starred.  She also wrote and performed all of the tracks on the album.

 

Internationally, "Straight Talk" peaked at number 81 in the Netherlands in August 1992.  It also peaked at number 64 on the meaningless US Billboard Hot Country Songs chart in April 1992.

 

In Australia, "Straight Talk" was most popular in Queensland, where it reached number 158.

 

We shall next see Dolly in 1994.

 

 

Number 206 "Wishing on a Star" by The Cover Girls

Peak: number 181

Peak date: 14 September 1992

Weeks on chart: 7 weeks

 

We last saw The Cover Girls in 1991.

"Wishing on a Star" is a cover version of a Rose Royce single from 1977, which surprisingly does not appear to have been released in Australia, but was in New Zealand.  In more-recent years, part of the song's chorus was interpolated in Soul II Soul's "A Dreams a Dream" (number 27, June 1990).

The Cover Girls released their version of "Wishing on a Star" as the second single from their third studio album Here It Is (number 236, September 1992), more than a year after the first single from the album, "Funk Boutique".  Internationally, the single peaked at number 9 on the US Billboard Hot 100 in July 1992, number 38 in the UK in July 1992, number 6 in the Netherlands in September 1992, number 76 in Germany in September 1992, and number 26 in the Flanders region of Belgium in October 1992.

Locally, "Wishing on a Star" performed strongest in Queensland, where it reached number 156 on the state chart.

 

Embedded below is the video for the single version of "Wishing on a Star".  You can view the video for the extended version here.

This would be The Cover Girls' final single to chart in Australia.

 

 

Next week (10 August): Two top 150 entries and seven bubbling WAY down under debuts.

 

< Previous week: 27 July 1992                              Next week: 10 August 1992 >

Week commencing 30 July 1990

In once sense, all of this week's new entries are 'all in the same gang', as they all missed the ARIA top 100 singles chart.  Ho ho ho... I couldn't resist making that quip.  You'll see what I am referring to if you read on.  Let's do just that...

 

Paula Abdul: knocked out of the top 100.

 

Top 150 debuts:

 

Number 135 "We're All in the Same Gang" by The West Coast Rap All-Stars

Peak: number 106

Peak date: 13 August 1990

Weeks in top 150: 8 weeks

Top 150 chart run: 135-126-106-118-124-123-127-127

During the 1980s, it became commonplace for artists to unite together to record a song for a cause - usually a charity, such as the famine in Ethiopia.  Unfortunately, the quality of the records in question was not always that great.

The West Coast Rap All-Stars was a 90s take on the theme, uniting rap artists to record a song with an anti-violence message.  The artists in question who perform on this track are: King Tee, Body & Soul, Def Jef, Tone Lōc, Above the Law, N.W.A., Michel'le, Digital Underground, Young MC, Ice-T, Eazy-E, Oaktown's 3.5.7, MC Hammer, and J.J. Fad.  We have seen Young MC and Michel'le bubble under on the Australian singles chart in 1989-1990, while others will bubble under in years to come.  The song was produced by Dr. Dre.

 

"We're All in the Same Gang" was not a huge commercial success, peaking at number 35 on the US Billboard Hot 100 in August 1990.  In Australia, the single narrowly missed the top 100.  It performed much better across the ditch, though, reaching number 11 on the New Zealand singles chart in September 1990.

Number 138 "Knocked Out" (Remix) by Paula Abdul

Peak: number 115

Peak date: 27 August 1990

Weeks in top 150: 5 weeks

Chart run: 138-124-133-135-115

Weeks on chart: 5 weeks

Before Paula Abdul became known as the 'nice' judge on American Idol in the early 2000s, she had a happening recording career in the late 80s and early to mid 90s.  But before that, she was an in-demand choreographer, best-known for being behind the nifty dance routines in the classic music videos from Janet Jackson's Control (number 25, September 1986) album.

Paula's chart career got off to a decent, if not massive, start in Australia when "Straight Up", her first single released locally, peaked at number 27 in May 1989, and spent 23 weeks in the top 150.  But it was followed by a string of singles that missed the top 50: "Forever Your Girl" (number 51, June 1989), the original version of "Knocked Out" (number 82, September 1989), "Cold Hearted" (number 68, December 1989), and "(It's Just) The Way That You Love Me" (number 76, February 1990).

Paula finally scored a major hit down under when "Opposites Attract", the sixth and final single from her debut album Forever Your Girl (number 1, May 1990), topped the ARIA singles chart for two weeks in April 1990.

In Paula's homeland, the US, she scored five top 3 singles from Forever Your Girl, with only one of these, "(It's Just) The Way That You Love Me)", missing the number 1 spot on the Billboard Hot 100.  The album also topped the US Billboard 200 albums chart for 10 non-consecutive weeks (one week in 1989, and 9 weeks in 1990), and spent over a year in the top 10.

The Forever Your Girl album campaign took a while to get off the ground in the US, though.  "Knocked Out" was issued as Paula's debut single there, stalling at number 41 on the Hot 100 in August 1988.  The original release of "(It's Just) The Way That You Love Me" performed even worse, peaking at number 88 in November 1988.  But then "Straight Up" was released just a few weeks after that, and the music video, with Paula's impressive dance skills on display and a cameo from Arsenio Hall, started receiving heavy rotation on MTV.  The rest is history.

Paula released a remix album, Shut Up and Dance (number 16, May 1990), in 1990.  "Straight Up" (Ultimix Mix) from the album was issued as a single in Australia, and nowhere else, peaking at number 55 in June 1990.

 

Shep Pettibone, who produced Madonna's "Vogue", remixed "Knocked Out" for Shut Up and Dance, and an edited version of this mix was issued as a single in Europe and Australia.  A new video for the remixed "Knocked Out" was produced, embedded below, using footage from Paula's earlier videos set on a screen at a boxing match.

 

The remixed version of "Knocked Out" peaked at number 21 in the UK in July 1990, number 17 in Ireland in July 1990, and number 45 in France in September 1990.  The single performed stronger on the Australian Music Report chart, where it reached number 95.

 

One further single from Shut Up and Dance was issued in Australia - another Australia-only release - the "1990 Medley Mix", which was a megamix of the six Forever Your Girl singles (plus "State of Attraction" on the full-length LP version), and peaked at number 33 in October 1990.

Paula will bubble under again on the Australian chart in 1996.

Number 145 "The Crying Scene" by Aztec Camera

Peak: number 123

Peak date: 10 September 1990

Weeks in top 150: 11 weeks

Top 150 chart run: 145-141-140-143-140-126-123-130-130-124-134

Weeks on chart: 13 weeks

Scottish band Aztec Camera formed in 1980, but had to wait until 1988 to score their first Australian hit, with "Somewhere in My Heart" (number 34, September 1988).  Despite that, I recall hearing an earlier single of theirs, "Deep & Wide & Tall" - released in Australia in October 1987, on the radio.

 

"The Crying Scene" was the first single released from Aztec Camera's fourth studio album Stray (number 107, September 1990).  The single peaked at number 70 in the UK in July 1990.  I recall seeing the music video for "The Crying Scene" on Countdown Revolution more than once, so its low chart peak in Australia is surprising.

 

On the state charts, "The Crying Scene" performed strongest in Western Australia, where it reached number 80.

 

A chorus lyric from "The Crying Scene" - you only get one hit, that's the beauty of it - could, ironically, describe Aztec Camera's Australian chart career.  The band would, however, score a second and final top 100 single in Australia with "Good Morning Britain" (number 65, February 1991), a duet with Mick Jones from Big Audio Dynamite II, formerly of The Clash.

We shall see Aztec Camera again in 1992.

 

Number 146 "Red Dress" by Andrew Ridgeley

Peak: number 110 

Peak date: 20 August 1990

Weeks in top 150: 7 weeks

Top 150 chart run: 146-136-115-110-117-132-136

 

Together with former Wham! band-mate George Michael, Andrew Ridgeley placed 11 singles on the Australian chart between 1983 and 1986, with only two of those missing the top ten.

George Michael launched a successful solo career in 1984 with "Careless Whisper" (number 1, September 1984) at the height of Wham!'s fame, although the duo did not split until 1986.

Andrew took a little longer to embark on a solo career, releasing "Shake" (number 16, June 1990) earlier in the year.  Interestingly, Australia appears to have been the only country in the world where "Shake" made the top 40 - the single stalled at number 58 in Andrew's native UK in April 1990, and peaked at number 77 on the US Billboard Hot 100 in May 1990.  "Shake" also charted in the Netherlands, where it reached number 48 in April 1990.  In Australia, "Shake" was the 81st highest-selling single of 1990.

In a similar fashion, "Red Dress" peaked at number 190 (number 132 on the compressed chart) in the UK in July 1990; the only other country it appears to have charted in.  While I remember seeing the single in the shops, I don't think I actually heard the song or saw the video at the time.  Both "Shake" and "Red Dress" were lifted from Andrew's only solo album Son of Albert (number 63, June 1990).  Son of Albert did not even chart in the UK, and peaked at number 66 in the Netherlands in May 1990, and number 130 in the US in June 1990.

Andrew did not release any further singles or albums, although Son of Albert received an expanded re-issue in 2018.  Since 1990, Andrew has largely shunned the limelight.  He has been in a long-term relationship with Keren Woodward from Bananarama since 1990, although the couple split for two years in 2017.

Although we don't see Andrew Ridgeley charting again, we will see his Wham! partner George Michael bubble under in 1991.

Number 147 "Stay Forever" by Bang the Drum

Peak: number 114

Peak date: 17 September 1990

Weeks in top 150: 11 weeks

Chart run: 147-134-120-121-127-129-134-114-125-117-128

Weeks on chart: 11 weeks

Australian band Bang the Drum scored two minor hits earlier in the year with "Only You" (number 31, April 1990) and "Passion" (number 43, May 1990).  Both singles were lifted from the band's only album Bang the Drum (number 51, May 1990).

"Stay Forever" was the band's third and final single release.  Despite missing the top 100 nationally, it peaked within the top 100 on four of the five state charts, performing strongest in South Australia/Northern Territory, where it reached number 44.

I don't recall hearing this one before, but it presumably received airplay, as it was just the kind of 1927-esque middle-of-the-road soft rock/pop that Australian radio programmers of the time lapped up.

Number 150 "Baby Says" by The Shivers

Peak: number 150

Peak date: 30 July 1990

Weeks in top 150: 1 week

Top 150 chart run: 150

Melbourne band The Shivers first made an appearance in the top 150 on the first ARIA chart for the 1990s, back in January.

 

While the group issued two more singles in Australia - "Not in Love" (released in Australia in October 1990) and "Downtown Sister (Town Is Gone)" (April 1991), neither of which is on YouTube at the time of writing this - "Baby Says" was their last release to dent the top 150.

Bubbling WAY down under:

Number 166 "Come Again" by Damn Yankees

Peak: number 166

Peak date: 30 July 1990

Weeks on chart: 1 week

We saw American band Damn Yankees just four weeks ago with their debut single, and here they are again, with the second release from their Damn Yankees (number 112, April 1991) album.

 

"Come Again" peaked at number 50 on the US Billboard Hot 100 in June 1990.  It also reached number 5 on the Billboard Mainstream Rock chart in July 1990.

Damn Yankees would eventually land a top 100 entry on the Australian chart, with "High Enough" (number 57, April 1991).  "High Enough" was also the band's biggest hit in their native US, reaching number 3 on the Hot 100 in January 1991.  It would, however, become Damn Yankees' final single to chart in Australia, although they had a second charting album, with Don't Tread (number 188, October 1992).

Number 169 "Heartbeat" by Seduction

Peak: number 169 

Peak date: 30 July 1990

Weeks on chart: 1 week

Seduction started out as a studio project produced by Robert Clivillés and David Cole, who were the studio boffins behind C+C Music Factory.  Seduction's second single and first Australian release (in October 1989), "(You're My One and Only) True Love", featured the uncredited vocals of Martha Wash, who was the (again, uncredited) vocalist on all of the singles from Black Box's Dreamland album, minus "Ride on Time". Martha's vocals were also used, again without credit, on C+C Music Factory's "Gonna Make You Sweat (Everybody Dance Now)" (number 3, February 1991).  Martha successfully sued Clivillés and Cole for royalties and a credit on the song.

While "(You're My One and Only) True Love" failed to chart in Australia, it became an unexpected mainstream hit in the US, reaching number 23 on the Billboard Hot 100 in October 1989.  As the single started to gain traction, Clivillés and Cole assembled "a group of women who displayed talent, sex appeal, and multi-format potential", to quote Wikipedia, as a front for the group.

The band's third single, and second Australian release, "Two to Make It Right", was released in Australia in June 1990, but failed to chart.  However, it became Seduction's biggest hit in the US, peaking at number 2 in February 1990.  This time, two of the group members actually sang on the track.

"Heartbeat", the band's third release in Australia, just scraped into the top 170, but reached number 13 in the US in April 1990.  An album, Nothing Matters without Love, peaked at number 36 in the US in March 1990, and number 142 in Australia in September 1990.

 

On the state charts, "Heartbeat" performed strongest in South Australia/Northern Territory, where it reached number 142. 

Listening to this track for the first time, it sounds like an instrumental hook from it was used on the remix of Donna Summer's "Breakaway", released as a single in the UK (but not in Australia) at the end of 1990.

We will see Seduction again in early 1991.

Next week (6 August): Five new top 150 entries, and four bubbling WAY down under debuts.

< Previous week: 23 July 1990                                    Next week: 6 August 1990 >