Week commencing 12 July 1993

Before taking a look at this week in 1993's new entries peaking outside the top 100, I have updated an earlier post:

* 8 January 1990 - new bubbling WAY down under entry from Ed Kuepper and The Yard Goes On Forever.

Gary Clail: these low chart positions are worth fighting for.

Top 150 debuts:

Number 125 “U R the Best Thing” by D:Ream (1993 release)

Peak: number 117 (1993 release); number 9 (1994 release)

Peak dates: 26 July 1993 and 2 August 1993 (1993 release); 27 June 1994 (1994 release)

Weeks in top 150: 25 weeks (6 weeks 1993 chart run; 19 weeks 1994 chart run)

Top 150 chart run: 125-124-117-117-130-134

Re-entry 2 May 1994: 39-25-29-28-26-19-17-13-9-12-17-27-35-37-50-74-49-93-91

Weeks on chart: 29 weeks (1993 and 1994 chart runs combined)

Mancunian band D:Ream previously visited us in May 1993.

“U R the Best Thing” has a convoluted release history.  First released in mid-1992, including a July 1992 Australian release on 12” vinyl, “U R the Best Thing” - promoted by the first of three different music videos filmed for the song - was D:Ream’s debut release, peaking at number 72 in the UK in June 1992.

The single was re-released in 1993, with a new music video to boot (embedded below).  This time, “U R the Best Thing” peaked at number 19 in the UK for two non-consecutive weeks in April-May 1993, number 6 in Ireland, number 50 in the Flanders region of Belgium in July 1993, and number 1 on the US Billboard Dance Club Songs chart in July 1993.

After the success of the remixed and re-released “Things Can Only Get Better” (number 9 in Australia, March 1994), “U R the Best Thing” was remixed by Perfecto (Paul Oakenfold and Steve Osborne) and given a third release, and another music video.  The 1994 release of “U R the Best Thing” peaked at number 4 in the UK in April 1994, number 6 in Ireland, number 25 in the Netherlands in May 1994, number 35 in Switzerland in June 1994, number 65 in Germany for two non-consecutive weeks in June-July 1994, number 46 in the Flanders region of Belgium in June 1994, and number 9 in Australia in June 1994.

On the state charts, “U R the Best Thing” performed equally strongest in New South Wales/Australian Capital Territory and Victoria/Tasmania, where the 1994 release reached number 8.

Before D:Ream hit it big with “Things Can Only Get Better”, another single, “Unforgiven”, was released in Australia in September 1993, but failed to chart.

I like both the original and Perfecto-remixed versions of “U R the Best Thing”, but like the Perfecto version slightly more.

We’ll next see D:Ream in 1995.

Number 133 “With One Look” by Barbra Streisand

Peak: number 129

Peak date: 2 August 1993

Weeks in top 150: 6 weeks

Top 150 chart run: 133-130-131-129-133-138

Weeks on chart: 7 weeks

Babs last paid us a visit in 1992.

“With One Look” was the lead single from Babs’ twenty-sixth studio album Back to Broadway (number 3, July 1993), consisting of songs from Broadway musicals.  “With One Look” originally appeared in the Andrew Lloyd-Webber musical Sunset Boulevard.

Internationally, “With One Look” peaked at number 30 in the UK in May 1993.  Domestically, the single was most popular in South Australia/Northern Territory, where it reached number 113 on the state chart.

We’ll next see Babs in 1999.

Number 140 “Make You a Believer” by Sass Jordan

Peak: number 140

Peak date: 12 July 1993

Weeks in top 150: 2 weeks

Top 150 chart run: 140-(out of the top 150 for one week)-141

Quebec-based singer Sass Jordan was born Sarah Jordan in England, with her family emigrating to Canada when she was 3 years old.  She launched her recording career in 1988, releasing her debut album Tell Somebody that year.

“Make You a Believer” was the lead single from her second album Racine (released in Australia in August 1993, missed the top 150).  Internationally, "Make You a Believer" peaked at number 12 in Canada in April 1992, and number 51 in the Netherlands in October 1992.  The song also reached number 11 on the US Billboard Mainstream Rock Tracks chart.

 

This was Sass's only top 150 appearance on the Australian charts.

Number 146 “In All the Right Places” by Lisa Stansfield

Peak: number 132

Peak date: 19 July 1993

Weeks in top 150: 5 weeks

Chart run: 146-132-135-134-138

Weeks on chart: 5 weeks

English songstress Lisa Stansfield last paid us a visit in February 1993.

“In All the Right Places” was recorded for the soundtrack album of the movie Indecent Propsal (number 67, May 1993).  The Soul Mix of “In the Right Places” would later appear on Lisa’s third solo studio album So Natural (number 67, November 1993).

Internationally, “In All the Right Places” peaked at number 8 in the UK in June 1993, number 8 in Ireland, number 63 in Germany in July 1993, and number 24 in the Netherlands in August 1993.

Locally, “In All the Right Places” was most popular in Victoria/Tasmania, where it reached number 113 on the state chart.

I first heard/saw the music video for this one on rage as a new release.  During the July 1993 school holidays, I sat up to watch the Friday night new releases segment of rage from around midnight until 5 a.m. Saturday morning, in real time.  Yes, I was a bit crazy, but this meant that I would get first generation VHS recordings of some music videos I wanted to keep that missed the rage top 60 chart rundown.

We shall next see Lisa in 1994.

Number 149 “Sweet Inspiration” by The Black Sorrows

Peak: number 136

Peak date: 26 July 1993

Weeks in top 150: 6 weeks

Top 150 chart run: 149-144-136-146-145-145

Weeks on chart: 7 weeks

Aussie band The Black Sorrows formed in 1983.  Their first charting single was "Daughters of Glory" (number 48, July 1987), and their biggest hit was "Chained to the Wheel" (number 9, May 1989).  "Sweet Inspiration", The Black Sorrows' fourteenth charting single, was issued as the fourth and final single from the band's seventh studio album Better Times (number 13, September 1992).  It followed "Ain't Love the Strangest Thing" (number 46, September 1992), "Better Times" (number 74, November 1992), and "Come On, Come On" (number 70, April 1993).

 

On the state charts, "Sweet Inspiration" performed strongest in South Australia/Northern Territory, where it reached number 114.

 

We will next see The Black Sorrows in 1995.

Bubbling WAY down under:

Number 181 “Sleepy Head (Serene Machine)” by Ed Kuepper

Peak: number 181

Peak date: 12 July 1993

Weeks on chart: 2 weeks

Australian singer-songwriter Ed Kuepper last visited us in 1992.

 

"Sleepy Head (Serene Machine)" was the lead single from Ed's seventh studio album Serene Machine (number 45, May 1993).  On the state charts, "Sleepy Head..." was equally most popular in New South Wales/Australian Capital Territory and Victoria/Tasmania, where it reached number 176.

Listening to this track for the first time as I write this post, I liked this more than I was expecting to.

 

We shall next see Ed in 1995.

 

Number 206 “In a Word Or 2”/“The Power” by Monie Love

Peak: number 201

Peak date: 19 July 1993

Weeks on chart: 5 weeks

English rapper Monie Love last joined us in 1992.

“In a Word Or 2”/“The Power” was the third single issued from Monie’s second, and to date last, studio album In a Word Or 2 (number 147, May 1993).  It followed “Full Term Love” (number 150, September 1992) and “Born 2 B.R.E.E.D.” (number 98, May 1993).  “In a Word Or 2” was produced and co-written by Prince.  The single version of “The Power”, the Junior Style Edit, is the first track in the second video embedded below, which plays three mixes of the track.

Internationally, “In a Word Or 2”/“The Power” peaked at number 33 in the UK in June 1993.  In Australia, “In a Word Or 2”/“The Power” performed strongest in South Australia/Northern Territory, reaching number 159 on the state chart.

We shall see Monie one more time, in September 1993.

Number 216 “Boom the Future” by Ugly

Peak: number 216

Peak date: 12 July 1993

Weeks on chart: 1 week

Ugly were British trio Glenn Gregory, Ian Martin Wright and John Uriel.  Glenn, who fronted the band, was the front man in Heaven 17, whom we last saw in June 1993.

The “Boom the Future” single was the only Ugly release.  Internationally, the single peaked at number 89 (number 81 on the truncated chart with exclusions below number 75) in the UK in May 1993.  Domestically, “Boom the Future” was most popular in New South Wales/Australian Capital Territory, reaching number 189 on the state chart.

I first heard this one in the early 2010s, while digitising a UK VHS compilation it appeared on.  I think this could have been a hit with better promotion.

Number 226 “These Things Are Worth Fighting For” by Gary Clail On-U Sound System

Peak: number 157

Peak date: 26 July 1993

Weeks on chart: 7 weeks

We last saw English Gary Clail On-U Sound System in 1992.  “These Things Are Worth Fighting For” was the second single lifted from their third album Dreamstealers (number 180, August 1993).  Again, the song deals with social issues, this time “one law for the rich and another for the poor”.

Internationally, “These Things Are Worth Fighting For” peaked at number 45 in the UK in May 1993.  Locally, the single performed strongest in New South Wales/Australian Capital Territory, reaching number 139 on the state chart.

This was the final Gary Clail On-U Sound System single to chart in Australia.  Gary returned solo in 1996 with the single “Another Hard Man” and the album Keep the Faith, but neither charted in Australia.

Number 228 Shortsharpshock E.P. by Therapy?

Peak: number 228

Peak date: 12 July 1993

Weeks on chart: 2 weeks

Northern Irish alternative rock/metal band Therapy? formed in 1989.  Their first Australian release was the Caucasian Psychosis album (released locally in May 1992, did not chart), which was a compilation of their first two mini-album indie label releases.

The Shortsharpshock EP, led by the track “Screamager”, was Therapy?’s first Australian single/EP release.  The song’s title, which does not appear in the lyrics, came into being when singer Andy Cairns and bass player Michael McKeegan were viewing the Smash Hits awards show on TV in a hotel room, noticing the audience of largely teenage girls who went wild screaming at the celebrities on stage.  The pair commented that the audience were “screamagers” rather than teenagers, and that this would make a good song title.  “Screamager” would go on to appear on the band’s second full-length album Troublegum (number 145, March 1994).  It does not appear on their first album-proper Nurse (number 194, August 1993).  A double pack Nurse/Shortsharpshock was released in Australia in 1995, reaching number 163 on the albums chart in May 1995.

Internationally, the Shortsharpshock EP charted at number 9 in the UK in March 1993, number 2 in Ireland, and number 22 in Sweden in June 1993.  “Screamager” peaked at number 16 on the US Billboard Modern Rock Tracks chart in October 1993.

Domestically, the Shortsharpshock EP was most popular in Western Australia, reaching number 188 on the state chart.

I first heard “Screamager” in the early 2010s when it appeared on a UK VHS compilation I was digitising.  While I am generally not a metal/heavy rock fan, I like this one.

We’ll next see Therapy? in August 1993.

Number 231 “Dirty Money” by Dee Fredrix

Peak: number 219

Peak date: 19 July 1993

Weeks on chart: 2 weeks

English singer Dee Fredrix, real name Dee Fredericks, is a name that you are probably not familiar with.  However, you have likely heard her voice before.

As Dee Lewis, she sang the “when will I, will I be famous” and “when will I see my picture in the paper” chorus lines, among others, in Bros’ “When Will I Be Famous?” (number 5 for three weeks in May-June 1988) - even though Matt Goss lip syncs those lines in the music video.  Coincidentally, Luke Goss from Bros was dating Dee’s sister, Shirley Lewis, at the time, and they later married, splitting in 2020.  Dee has also performed backing vocals for many artists, appearing on Peter Gabriel’s “Sledgehammer” (number 3, June 1986), and many Stock Aitken Waterman-productions, including Rick Astley’s “Whenever You Need Somebody” (number 3 for two weeks in March 1988) (I think she’s the dark curly-haired back-up singer in the video); Laura Branigan’s “Shattered Glass” (number 60, September 1987); Kylie Minogue’s “The Loco-Motion”, “Je Ne Sais Pas Pourquoi” (number 11, December 1988), “It’s No Secret”; Jason Donovan’s “Nothing Can Divide Us” (number 3, November 1988); and Donna Summer’s “This Time I Know It’s for Real” (number 40, October 1989), to name but a few.

As a solo artist, Dee released a handful of singles in the late 1980s, under the name of Dee Lewis.  None achieved major commercial success, with Dee’s version of The Emotions’ “The Best of My Love” charting highest in the UK, at number 47 in July 1988.  My favourite of Dee’s singles as Dee Lewis is “Stuck on Love”.

”Dirty Money” was Dee’s second release as Dee Fredrix, following the single “And So I Will Wait for You” (released in Australia in May 1993, did not chart).  Internationally, “Dirty Money” peaked at number 74 in the UK in June 1993.

In Australia, “Dirty Money” performed strongest in New South Wales/Australian Capital Territory, reaching number 197 on the state chart.  The single debuted at number 231 on all five state charts, as well as nationally, which makes me think that it may have been at the bottom of the national chart this week.

This was Dee’s only charting release in Australia.

Next week (19 July): Seven top 150 entries and seven bubbling WAY down under entries.

< Previous week: 5 July 1993                 Next week: 19 July 1993 >

Week commencing 14 September 1992

I can't identify a common theme linking this week in 1992's new entries peaking outside the top 100, other than all but one of them have male lead vocals.  Let's take a look.

 

Right Said Fred were too sexy for the top 100 this week in 1992, and too stupid for the pandemic in the 2020s.

 

Top 150 debuts:

 

Number 112 "What God Wants, Part I" by Roger Waters

Peak: number 103

Peak dates: 21 September 1992 and 28 September 1992

Weeks in top 150: 6 weeks

Chart run: 112-103-103-108-117-133

Weeks on chart: 6 weeks

 

English musician Roger Waters was a founding member of Pink Floyd, who formed in 1965, in which he played bass guitar.  Roger left the group in 1985, although he had launched his solo career the year prior, with "5:01AM (The Pros and Cons of Hitchhiking)" (number 74, August 1984), and the album The Pros and Cons of Hitchhiking (number 30, July 1984).

I first became aware of Roger when his single "Radio Waves" (number 43, August 1987) appeared on the '87 Hots Up (number 8, October 1987) compilation, which was the first various artists compilation I purchased, aged 8.  Roger landed another minor hit on the Australian singles chart the following year, with "The Tide Is Turning (After Live Aid)" (number 49, March 1988).  Both tracks were lifted from Roger's second album Radio K.A.O.S. (number 33, September 1987).

 

"What God Wants, Part I" was the lead single from Roger's third solo studio album Amused to Death (number 14, September 1992).  Internationally, the single peaked at number 35 in the UK in September 1992, number 9 in Norway, number 26 in New Zealand in October 1992, and number 49 in the Netherlands in October 1992.  It also reached number 4 on the meaningless US Billboard Mainstream Rock Airplay chart in September 1992.

 

In Australia, "What God Wants, Part I" was most popular in New South Wales/Australian Capital Territory, where it reached number 84 on the state chart.

 

While this would be the only occasion we see Roger bubble under in Australia, he had a couple of later albums that missed the top 100, namely Flickering Flame: The Solo Years Volume I (number 139, April 2002), Igor Stravinsky's The Soldier's Tale (number 674, November 2018), and The Lockdown Sessions (number 220, June 2023).

Number 131 "Real Cool World" by David Bowie

Peak: number 131

Peak date: 14 September 1992

Weeks in top 150: 3 weeks

Top 150 chart run: 131-139-146

Weeks on chart: 6 weeks

 

We saw English singer-songwriter David Bowie as a featured artist in 1990, and fronting a band in 1991.  Here he is finally on his own!  Between 1972 and 1990, David placed 31 singles on the Australian top 100, with "Sorrow" (number 1 for 3 weeks in February-March 1974), "Ashes to Ashes" (number 3, October 1980) and "Let's Dance" (number 2, April 1983) being the biggest of those.

"Real Cool World" was recorded for the movie Cool World and appears on the Songs from the Cool World soundtrack album.  It was David's first solo charting single in Australia since "Fame 90" (number 85, May 1990).

 

Internationally, "Real Cool World" peaked at number 53 in the UK in August 1992, number 26 in Sweden in September 1992, number 27 in the Netherlands in September 1992, number 30 in the Flanders region of Belgium in September 1992, and number 83 in Germany in September 1992.  It also reached number 11 on the pointless US Billboard Alternative Airplay chart in August 1992, and number 9 on the US Billboard Dance Club Songs chart in October 1992.

In Australia, "Real Cool World" was most popular in Western Australia, where it reached number 112.

 

Of course, you'd have to be living under a rock (I sometimes do) to not be aware that we lost David Bowie in January 2016, from liver cancer, aged 69.

We shall next see David in 1995.

 

Number 134 "Machine Gun" by Warrant

Peak: number 124

Peak date: 5 October 1992

Weeks in top 150: 6 weeks

Top 150 chart run: 134-131-129-124-135-138

Weeks on chart: 7 weeks

We last saw American metal band Warrant in 1990.  Since then, Warrant had their commercial breakthrough in Australia with the single "Cherry Pie" (number 6, January 1991) - which I'm thinking was probably the last top 10 glam metal hit in Australia, and the album Cherry Pie (number 13, January 1991).  They also landed a second, minor top 40 hit in Australia with "I Saw Red" (number 36, February 1991), and another top 100 entry with "Uncle Tom's Cabin" (number 85, May 1991).  Then alternative/grunge music took off in 1991 and rendered metal bands virtually obsolete.  Nonetheless, Warrant managed to limp into the top 50 - just - with their cover of Queen's "We Will Rock You" (number 50, June 1992), which was recorded for the Gladiator soundtrack.

 

The success of "Cherry Pie" likely contributed to Warrant front man Jani Lane's demise.  He expressed his regret over writing that song, being pressured by the record label to produce another hit, in this interview, eerily stating he could shoot himself in the head for writing that song.  Jani was found dead in 2011 due to acute alcohol poisoning, aged 47.

"Machine Gun" was released as the lead single from Warrant's third studio album Dog Eat Dog (number 105, October 1992).  Internationally, the single peaked at number 36 on the meaningless US Billboard Mainstream Rock Songs chart in September 1992.

Locally, "Machine Gun" performed strongest in Victoria/Tasmania, where it reached number 105 on the state chart.

We'll see Warrant one more time, in December 1992.

Number 136 "Those Simple Things"/"(What a Day for a) Daydream" by Right Said Fred

Peak: number 121

Peak date: 28 September 1992

Weeks in top 150: 7 weeks

Chart run: 136-128-121-129-134-146-146

Weeks on chart: 7 weeks

 

English pop group Right Said Fred were brothers Richard (the singing one who also plays bass) and Fred (the guitar-playing one) Fairbass, together with guitarist Rob Manzoli.  The brothers are still together, while Rob quit the group in 1997.  The trio came to prominence with their debut single "I'm Too Sexy" (number 1 for 3 weeks in November 1991), which was essentially a novelty hit.  They avoided one-hit wonder status by following that up with the singles "Don't Talk Just Kiss" (number 18, March 1992) and "Deeply Dippy" (number 38, August 1992) - all three of these singles went top 3 in their native UK, with the latter finally giving them a number 1 there.  The group's debut album Up (number 39, July 1992) also topped the UK albums chart.

 

"Those Simple Things" was issued as the fourth single from Up, and was paired with "(What a Day for a) Daydream", a new recording and cover version of a song originally released by The Lovin' Spoonful in 1966 as just "Daydream", as a double A-side release.  Presumably, this was done to entice people to buy the single for the new track, given the album had already performed well in the UK.

The ploy did not exactly work.  "Those Simple Things"/"(What a Day for a) Daydream" under-performed in the UK, peaking at number 29 there in July 1992.  The single also peaked at number 21 in Ireland in July 1992, number 48 in Germany in September 1992, number 29 in Austria in September 1992, and number 18 in Switzerland in October 1992.

In Australia, "Those Simple Things"/"(What a Day for a) Daydream" was most popular in Western Australia, where it reached number 95.  The single fared better nationally on the Australian Music Report singles chart, where it reached number 91.

I recall hearing this single on the UK Chart Attack radio show in 1992, but could barely remember how it went.  At this point, Right Said Fred's novelty appeal was wearing off.  Nonetheless, they continued releasing material into the 2000s, and we shall see Right Said Fred bubble under (or WAY down under) on a couple of occasions over the years, with the next time we see them being in 1994.

While the Fairbrass brothers might have been been blessed with gym-fit bodies, they were clearly much further down the queue when brains were handed out.  The pair became known for downplaying the seriousness of COVID-19 during the pandemic, and expressing skepticism over the vaccines.  In 2022, the brothers were involved with distributing leaflets for anti-climate change UK activist group Not Our Future.  What a charming pair.

 

 

 

Number 150 "Full Term Love" by Monie Love

Peak: number 150

Peak date: 14 September 1992

Weeks in top 150: 1 week

Known chart run: 169-150

Weeks on chart: 12 weeks

We last saw English rapper Monie Love in 1991.

 

"Full Term Love" was recorded for the Class Act soundtrack, and would go on to appear on Monie's second studio album In a Word Or 2 (number 147, May 1993).  As seemed to be common in the early 90s with singles blending rap and dance, a different mix of this track was released in the US (which you can listen to here) to the single version in Europe and Australasia, which I have embedded below.  The US version is much more R&B in style, while the one we got in Australia sounds similar in production to my ears to the European versions of Salt 'N' Pepa's early 1990s singles.

Internationally, "Full Term Love" peaked at number 34 in the UK in July 1992, number 96 on the US Billboard Hot 100 in August 1992, and number 58 in the Netherlands in October 1992.  It also peaked at number 43 on the meaningless US Billboard R&B/Hip-Hop Airplay chart in July 1992, number 47 on the US Billboard Hot R&B/Hip Hop Songs chart in July 1992, number 26 on the US Billboard Hot R&B/Hip-Hop Singles Sales chart in August 1992, and number 7 on the US Billboard Hot Rap Songs chart in August 1992.

Locally, "Full Term Love" performed strongest in Western Australia, where it reached number 120 on the state chart.

I remember catching the video for "Full Term Love" on M.C. TeeVee on SBS on a Sunday afternoon at the time.  I think it deserved to be a bigger hit than it was.

We shall next see Monie in 1993.

Bubbling WAY down under:

Number 155 "I Love You Goodbye" by Thomas Dolby

Peak: number 155

Peak date: 14 September 1992

Weeks on chart: 4 weeks

We last saw English singer-songwriter Thomas Dolby in June 1992.

 

"I Love You Goodbye" was issued as the second single from Thomas' fourth studio album Astronauts & Heretics (number 123, August 1992).  Internationally, the single peaked at number 36 in the UK in July 1992.

In Australia, "I Love You Goodbye" performed strongest in New South Wales/Australian Capital Territory, where it reached number 146.

 

I hadn't heard this one before.  I like it, but doesn't exactly scream 'hit'.

We'll see Thomas on one more occasion, in November 1992.

 

 

Number 182 "Going Home" by The Tyrrel Corporation

Peak: number 182

Peak date: 14 September 1992

Weeks on chart: 2 weeks

 

English duo The Tyrrel Corporation last graced our presence in May 1992.

"Going Home" was issued as the third, and in Australia, final, single from The Tyrrel Corporation's debut album North East of Eden (number 273, December 1992).  The song tells the tale of the pair returning to their small seaside hometown (population 37,000 in 2021) Redcar, in North East England, after having been away for some time, and being shocked at how run-down and stagnant the place had become, during the Thatcher government years of neglect ("expect that everything has changed, strange to find things just the same").

"Going Home" peaked at number 58 in the UK in August 1992.  Domestically, the single was most popular in South Australia/Northern Territory, where it reached number 169.

I didn't know this one at the time, but quite like it, particularly that bass line.

A fourth single from North East of Eden, the double A-side "Waking with a Stranger"/"One Day", was released in the UK at the end of September 1992, peaking at number 59 there the following month.

We will see The Tyrrel Corporation on one more occasion, in 1995.

 

Number 203 "Hangin' on a String" (Frankie Knuckles Remix) by Loose Ends

Peak: number 203

Peak date: 14 September 1992

Weeks on chart: 2 weeks

 

British R&B band Loose Ends formed in London in the early 1980s.  While they never landed a charting release in Australia - until now - they amassed six UK top 40 singles between 1985 and 1992.  The original 1985 release of "Hangin' on a String (Contemplating)" was the equal-best charting of those, reaching number 13 in the UK in March 1985.  The single also peaked at number 26 in Ireland in March 1985, number 33 in the Netherlands in April 1985, number 40 in the Flanders region of Belgium in June 1985, number 12 in New Zealand in June 1985, and number 43 on the US Billboard Hot 100 in August 1985.

This Frankie Knuckles remix of "Hangin' on a String", minus the subtitle, was released to promote Loose Ends' Tighten Up Vol. 1 compilation, which contained remixed versions of their hits.  The 1992 remixed single peaked at number 25 in the UK in June 1992.

In Australia, the 1992 mix of "Hangin' on a String" performed strongest in South Australia/Northern Territory, where it reached number 153 on the state singles chart.

 

While we won't see Loose Ends again, we will see Frankie Knuckles in 1995.

 

 

Next week (21 September): Four top 150 entries and two bubbling WAY down under debuts.

 

< Previous week: 7 September 1992                   Next week: 21 September 1992 >

Week commencing 1 July 1991

Well, we're now exactly at the mid-way point through 1991.  And what better way to mark this milestone than with one of the most hotly-anticipated songs (for me) I have had to write about so far!  Read on to find out more...

Samantha Fox: just because you're laughing (at the song title), doesn't mean that it'll be charting!

Top 150 debuts:

Number 125 "Ludi" by Dream Warriors

Peak: number 117

Peak date: 8 July 1991

Weeks in top 150: 5 weeks

Top 150 chart run: 125-117-122-128-131

Canadian hip-hop duo Dream Warriors to date had placed two singles in the lower half of the ARIA top 100, with "Wash Your Face in My Sink" (number 57, January 1991) and "My Definition of a Boombastic Jazz Style" (number 65, March 1991).

"Ludi" was issued as the third single from the duo's debut album And Now the Legacy Begins (number 53, March 1991).  "Ludi" peaked at number 56 in Dream Warriors' native Canada - oddly, their only single to chart there.  Elsewhere, the single peaked at number 39 in the UK in March 1991, number 24 in Ireland, and number 48 in the Netherlands in March 1991.

I don't recall hearing this one before.  "Ludi" was Dream Warriors' final single to dent the ARIA top 150.

 

Number 127 "Silent Lucidity" by Queensrÿche

Peak: number 104

Peak date: 14 October 1991

Weeks in top 150: 16 weeks

Top 150 chart run: 127-125-120-113-117-119-122-127-125-(out for 2 weeks)-149-147-106-110-104-115-128

Weeks on chart: 24 weeks

American progressive metal band Queensrÿche last paid us a visit in October 1990.  "Silent Lucidy" was the second single issued in Australia from the band's fourth studio album Empire (number 127, November 1990).

"Silent Lucidity" peaked at number 9 on the US Billboard Hot 100 in June 1991, becoming their biggest hit there and only top 100 entry.  The single also peaked at number 46 in Germany in June 1991, number 21 in the Netherlands in June 1991, number 24 in Switzerland in June 1991, number 11 in New Zealand in July 1991, and number 18 in the UK in August 1992 (after originally peaking at number 34 there in May 1991).

 

"Silent Lucidity" performed much stronger on the South Australia/Northern Territory state chart, where it reached number 21, than elsewhere.  Its next-highest state chart peak was number 69, in Western Australia.  It peaked outside the top 100 on the remaining three state charts.  "Silent Lucidity" also peaked higher on the Australian Music Report singles chart, reaching number 74.

"Silent Lucidity" would become Queensrÿche's last single to dent the ARIA top 150.  The band's 1994 album Promised Land (number 79, November 1994) peaked within the ARIA top 100, however.

Despite missing the ARIA top 100, "Silent Lucidity" holds a three-way tie in third position for the most weeks spent in the top 150 for a 1991-debuting single that missed the top 100.  Its 16-week top 150 chart-run ties with Chesney Hawkes and another single we will see in October 1991.  "Silent Lucidity" was still charting at the end of October 1991; its top 150 chart run was broken for two weeks in early September.

I have heard this one before, but can never remember how the song goes.  It seems that metal acts were scoring their last breath of commercial success around this time by putting out ballads or acoustic tracks that were less typical of their usual sound.

Queensrÿche will join us again in 1992.

Number 134 "Heroes Let You Down" by Schnell Fenster

Peak: number 132

Peak date: 5 August 1991

Weeks in top 150: 6 weeks

Chart run: 134-150-141-141-145-132

Weeks on chart: 6 weeks

Schnell Fenster, which translates from German as 'fast window', was a band formed in Melbourne, made up of New Zealanders.  All but one of the five members of Schnell Fenster had formerly been in Split Enz or The Swingers.  We last saw Schnell Fenster in 1989.

 

Despite the band's pedigree, Schnell Fenster failed to achieve major commercial success in Australia with none of their releases denting the ARIA top 50.  Their debut single, "Whisper" (number 56, August 1988), came nearest, with subsequent singles "Love Hate Relationship" (number 83, November 1988) and "OK Alright A Huh Oh Yeah" (number 88, October 1990) languishing in the 80s.  The group's debut album Sound of Trees (number 82, October 1988) followed similarly.

"Heroes Let You Down" was the belated second single from Schnell Fenster's second album OK Alright A Huh Oh Yeah (number 117, July 1991), coming nine months after the title track was released.  "Heroes Let You Down" was to be the band's final single, with the group splitting in 1992.

While "OK Alright A Huh Oh Yeah" seemed to receive a moderate amount of radio and TV exposure, I do not recall hearing "Heroes Let You Down" before.

Number 140 Some Like It Hot EP by Marilyn Monroe

Peak: number 140

Peak date: 1 July 1991

Weeks in top 150: 1 week

Top 150 chart run: 140

American actress, singer and model Marilyn Monroe, born Norma Jeane Mortenson, needs no introduction.  But Marilyn as a chart star?!

The title track on this EP, "Some Like It Hot", was recorded in 1959, for the movie of the same name.  I am not sure why this EP was released in 1991.  To confuse matters further, "Some Like It Hot" is track three on the single, with two mixes of "I Wanna Be Loved by You" - the 'Mr President Mix' and the original, appearing before it.  Given that "I Wanna Be Loved by You" has been remixed for this release, I assume it was actually the main/promoted track from the EP, rather than "Some Like It Hot", and have listed it first below.  "I Wanna Be Loved by You" also originally appeared in the 1959 film Some Like It Hot.

As far as I can establish, this EP was an Australian-only release.

Of course, Marilyn sadly took her own life in 1962, aged 36.

Number 147 "(Hurt Me! Hurt Me!) But the Pants Stay On" by Samantha Fox

Peak: number 123

Peak date: 22 July 1991

Weeks in top 150: 6 weeks

Chart run: 167-147-149-124-123-143-144

Weeks on chart: 7 weeks

From one blonde bombshell to another, English singer Samantha Fox came to fame as a page 3 topless model for The Sun newspaper at a tender 16 years of age.  While launching a singing career a few years later might seem like a cynical move, Sam had always had her sights set on becoming a pop star, and even had her own pre-fame flop band S.F.X., who released the single "Rockin' with My Radio" in 1983.

Sam's solo career proper was launched in 1986 with the raunchy "Touch Me (I Want Your Body)", which topped the Australian singles chart for three non-consecutive weeks in July 1986, interrupted by Whitney Houston's - who we saw last week - "Greatest Love of All".  On "Touch Me...", Sam displays her rock vocal prowess, which is not the paper-thin voice that can barely hold a note (not that there's anything wrong with that) you might expect from a model-turned-singer.

 

Between 1986 and 1989, Samantha notched up eight Australian top 100 singles.  While nothing matched the massive success of "Touch Me...", Sam had two further top 20 hits in Australia, and the Stock Aitken Waterman-produced "Nothing's Gonna Stop Me Now" (number 22, August 1987) narrowly missed out.

The saucy song titles continued, as did the brackets, with subsequent hits "Do Ya Do Ya (Wanna Please Me)" (number 18, October 1986) and "Naughty Girls (Need Love Too)" (number 64, June 1988) - the latter becoming Sam's biggest hit in the US, reaching number 3 there in June 1988.

 

A surprising fact is that Samantha was the only British female solo artist to score three top 10 singles in the UK and US during the 1980s - with five different tracks among those, no less.  Not bad for an artist whom many inaccurately label a "one hit wonder" (not that there's anything wrong with being one of those!).

As this is probably the only occasion I will get to write about Sam, I thought I would mention some of my favourite flop singles of hers, in case you haven't head them - "I Surrender (To the Spirit of the Night)" (released in Australia in August 1987, did not chart) and "I Promise You (Get Ready)" (not issued as a single in Australia, but peaked at number 58 in the UK in October 1987), both from her second album Samantha Fox (number 86, August 1987).

Issued as the lead single from her fourth studio album Just One Night (number 167, August 1991), "(Hurt Me! Hurt Me!) But the Pants Stay On" surely has the sauciest song title of all among Sam's catalogue.  However, the song was intended to be a safe-sex anthem, released during the peak of the AIDS epidemic, about not immediately jumping into bed with someone who fancies you, with lyrics like "you can want my body all night long, but the pants stay on" and "my reputation says I'm not one for hesitation, but when it comes to sex, I'm very, very patient".  Ooh er Missus!

The intended message of "Hurt Me..." was lost in the racy song title, with people assuming it was a song about sadomasochism.  The "(Hurt Me! Hurt Me!)" part of the title, however, is a crowd chant heard in the clubs back then, kind of meaning 'play that song Mr. DJ!'  But when coupled with "but the pants stay on",  it's easy to see why the song's message was obscured.

For "Hurt Me...", Sam teamed up with Full Force, who were behind her post-"Touch Me" American top 10 hits "Naughty Girls..." and "I Wanna Have Some Fun" (number 80, July 1989).  The production on "Hurt Me..." sounds to me like they were trying to emulate the C + C Music Factory sound, and I actually thought C + C Music Factory were involved until checking the credits for this post.

While I distinctly recall reading about "Hurt Me..." in pop magazines at the time, and I think the title even got a mention on Fox FM in Melbourne (which didn't play any non-'credible' female pop at all in 1991), I did not hear "Hurt Me..." until downloading the track out of curiosity in the early 2000s.  While I like the song, it doesn't quite live up to its title.

 

Sam's previous album I Wanna Have Some Fun (number 151, March 1989) had indeed been 'fun', but the album "Hurt Me..." is from, Just One Night, is just... awful, and was a huge misstep in Sam's career.  The 2012 expanded re-issue of Just One Night was partly salvaged by inclusion of a spruced up demo Sam recorded for the album with Stock Aitken Waterman, "That's What Love Can Do", which went on to become a US top 20 hit for Boy Krazy, who we will see in 1993.

Oddly, Australia was the only country "Hurt Me..." charted in that I can verify.  The single performed strongest on the South Australia/Northern Territory state chart, where it reached number 102.

A second single from Just One Night, "Another Woman (Too Many People)", was released in Australia in September 1991, but failed to chart.  Sam then did not release a single in Australia again until 1997, with "Let Me Be Free", which also did not chart.

 

"(Hurt Me! Hurt Me!) But the Pants Stay On" would be Samantha's final single to chart in Australia.  She would, however, have a further album register on the ARIA albums chart, with Angel with an Attitude (number 476, August 2007).

Samantha recently married her girlfriend of six years, Linda Olsen.

Number 148 "California Dreamin" by The Midnight Shift featuring Robin Wright and Issy Van Randwyck

Peak: number 134

Peak date: 29 July 1991

Weeks in top 150: 6 weeks

Top 150 chart run: 148-137-146-143-134-139

"California Dreamin'" (note apostrophe) was written by John and Michelle Phillips, from The Mamas and the Papas - who were Chynna Phillips from Wilson Phillips' actual mama and papa - in 1963.  The song was first recorded by Barry McGuire.  The Mamas and the Papas' own version, however, is the best-known one, and was released in 1965.

The Midnight Shift appear to be a British act, but their version of "California Dreamin" - minus the apostrophe - appears to have only been released on CD single in Australia, with only 12" vinyl UK and Spanish pressings listed on discogs.  The wonderfully (?) cheap video embedded below was on an Australian VHS compilation designed for play in nightclubs and retail outlets that I picked up on eBay last year for a silly price.  Yes, I sometimes go to great lengths for these chart recaps...

This single performed better on the Australian Music Report singles chart, where it reached number 94.

Number 149 "Yo!! Sweetness" by MC Hammer

Peak: number 149

Peak date: 1 July 1991

Weeks in top 150: 1 week

Known chart run: 152-149

Weeks on chart: 4 weeks

Stanley Burrell, better known as MC Hammer, burst onto the Australian chart in 1990 with the lead single from his second album "U Can't Touch This", which was number 1 for five weeks in July and August 1990.  The follow-up release "Have You Seen Her" (number 42, September 1990), however, stalled outside the top 40.  "Pray" (number 8, January 1991) returned MC Hammer to the top 10, but fourth single "Here Comes the Hammer" (number 37, April 1991) just crept into the top 40.

 

"Yo!! Sweetness" was released as the fifth and final single from Please Hammer Don't Hurt 'Em (number 5, August 1990) in Australia.  While I remember seeing the single in the shops, I did not hear the track at the time, and it barely crept into the ARIA top 150.  By mid-1991, Hammer, together with pop-rap rival Vanilla Ice, seemed to be a bit passe and uncool.

Internationally, "Yo!! Sweetness" peaked at number 16 in the UK in June 1991, and number 11 in Ireland.  The track was not released as a commercial single in North America.

 

On the state charts, "Yo!! Sweetness" performed strongest in Victoria/Tasmania, where it reached number 111.

The music video for "Yo!! Sweetness", embedded below, uses the LP version of the track, but the single version, both here and in Europe, was the Boilerhouse Radio Mix, which I have embedded beneath it.  The Boilerhouse Mix of "Yo!! Sweetness" prominently samples Cameo's "Word Up" (number 6, March 1987), while both versions sample Rick James' "Give It to Me Baby" (which oddly did not chart in Australia).

We will next see MC Hammer in October 1991.

Bubbling WAY down under:

Number 200 "Down to Earth" by Monie Love

Peak: number 152

Peak date: 8 July 1991

Weeks on chart: 2 weeks

British rapper Monie Love, born Simone Johnson, made her debut on the Australian chart in 1989 with "Grandpa's Party" (number 93, September 1989).  She followed it up over a year later with another minor hit, "It's a Shame (My Sister)" (number 90, February 1991); interim single "Monie in the Middle" (released in Australia in August 1990) failed to chart.  Monie's biggest Australian hit came next, with "Ring My Bell" (number 35, May 1991), a duet with Adeva.

 

"Down to Earth", the title track from Monie's debut album Down to Earth (number 114, July 1991), was released overseas in late 1990, before "Ring My Bell".  The single's release, for whatever reason, was pushed back in Australia.

 

Internationally, "Down to Earth" peaked at number 31 in the UK in December 1990, number 33 in Germany in January 1991, number 15 in Switzerland in February 1991, and number 29 in the Netherlands in March 1991.

 

Within Australia, "Down to Earth" was most-successful on the New South Wales/Australian Capital Territory state chart, where it reached number 136.

 

Of note is that "Down to Earth" is the earliest single I have a number 200 or below position for, at the time of writing this post.

 

We will next see Monie in 1992.

Next week (8 July): Six top 150 debuts and four bubbling WAY down under entries.  Among them is a song that dented the top 50 back in 1986.

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