A mixed bag of new entries this week, with a common thread - of your single performing better overseas than in your home country - shared by three of them. The other new entry contains an artist who would eventually go on to greater success in Australia than in her homeland.
When the Cat's Away: Before escaping, Margaret Urlich was part of this Kiwi female covers band.
Top 150 debuts:
Number 103 "Melting Pot" by When the Cat's Away
Peak: number 103
Peak date: 17 April 1989
Weeks in top 150: 5 weeks
Top 150 chart run: 103-105-107-123-119
Weeks on chart: 8 weeks
When the Cat's Away were a female vocal 'supergroup' of sorts, although Margaret Urlich - who went on to have a successful solo career - is the only star I can identify. The group formed in 1985 to perform cover versions of songs they liked, all just for a bit of fun. This song, however, went all the way to number one on the New Zealand singles chart in December 1988. I first became aware of it when seeing it at number one on the New Zealand top 10 singles chart published in the Australian edition of Smash Hits magazine. A cover version of the 1969 Blue Mink song calling for racial harmony, this track peaked 102 places lower on the ARIA singles chart. I caught the video once or twice in early 1989 on rage, aired before the top 50 chart rundown commenced. On the state charts, "Melting Pot" performed strongest in South Australia/Northern Territory, where it reached number 59.
Number 127 "Something So Strong" by Jim Capaldi
Peak: number 126
Peak dates: 24 April 1989 and 1 May 1989
Weeks in top 150: 5 weeks
Top 150 chart run: 127-126-126-142-140
Until now, Jim's only real singles chart success in Australia had been his number 6-peaking "Love Hurts" - one of two versions of the same song that became big hits here in 1976. Making the chart 'success' of this track even more strange is that it didn't chart in his native UK, the US, or anywhere else for that matter. It does sound like the kind of thing Australian FM radio might have lapped up in the late 80s, though. Jim passed away in 2005.
Number 140 "Shooting from My Heart" by Big Bam Boo
Peak: number 122
Peak date: 15 May 1989
Weeks in top 150: 5 weeks
Top 150 chart run: 140-125-130-135-122
I would not have known this song, if not for rage re-airing a 1989 episode of The Factory that it was played on during retro month 2019. Big Bam Boo were a British duo, and this track peaked at number 61 in the UK, and number 36 in Canada. The song has a big sing-a-long chorus, and I think it deserved to do better.
Number 147 "Driven Out" by The Fixx
Peak: number 123
Peak date: 1 May 1989
Weeks in top 150: 6 weeks
Top 150 chart run: 147-127-123-131-132-142
Hailing from the UK, this single did not chart in The Fixx's homeland, but peaked at number 55 on the US Billboard Hot 100 chart in March 1989. The group had two top 40-peaking singles in Australia: 1982's "Stand Or Fall", and 1983's "One Thing Leads to Another". We will see The Fixx again in 1991.
Bubbling WAY down under:
Number 166 "One Love" by Pat Benatar
Peak: number 166
Peak date: 17 April 1989
Weeks on chart: 1 week
Pat scored a big hit in 1988 with her version of "All Fired Up" (number 2, September 1988). Few probably would have predicted at the time that it would be her last major hit. This third single from Pat's 1988 Wide Awake in Dreamland (number 13, September 1988) album barely registered a blip, peaking at number 59 in the UK and doing nothing everywhere else.
On the state charts, "One Love" performed strongest in Western Australia, where it reached number 145.
Next week (24 April): another four new entries - two artists who scored big hits during the 80s among them, plus the understated chart arrival of an artist who would go on to score a number one in Australia. Four bubbling WAY down under singles also debut. You can also follow my posts on facebook.
There's a fine line between success and failure sometimes. Does it matter if your latest single stalls outside the top 100 if your album is selling by the truckload? Does it matter if your first foray into music barely charts if you go on to be a successful producer and remixer? Does it matter if your recording career isn't that big if you go on to become a Member of Parliament? Probably not. This week, we see each of these kinds of acts among the four new top 150 entries.
Enya: Before Tiger King was a thing, Enya was the Lion Queen.
Top 150 debuts:
Number 115 "Back to the Wall" by Steve Earle
Peak: number 115
Peak date: 10 April 1989
Weeks in top 150: 6 weeks
Top 150 chart run: 115-122-135-122-128-124
Steve Earl landed a top 30 hit in Australia with "Copperhead Road" (number 23, February 1989), and this track was the second single released from the Copperhead Road album (number 39, February 1989).
"Back to the Wall" failed to register on any other sales-based chart in the world, as far as I am aware. It reached number 20 on the US Mainstream Rock Airplay chart, though (if that counts for anything - which it doesn't, in my book), in April 1989.
Another single from the Copperhead Road album, "Johnny Come Lately", peaked at number 75 in the UK in December 1988, but does not appear to have been released in Australia.
Enya's breakthrough hit, "Orinoco Flow", was so unlike anything else on the chart, which no doubt helped it to get noticed and climb to number 6 in Australia in February 1989. The follow-up release, "Evening Falls..." is a rather haunting tune, but a hit single it doth not sound like. Despite that, this single managed to reach number 3 in Enya's native Ireland, and number 20 in the UK in December 1988. I doubt the record company were too bothered that it didn't do quite as well as "Orinoco Flow", given that parent album Watermark (number 8, February 1989) went on to spend several years on the chart, and earned a 6x platinum certification in Australia.
Elsewhere, "Evening Falls..." peaked at number 29 in the Flanders region of Belgium in January 1989, number 32 in the Netherlands in February 1989, and number 14 in New Zealand in April 1989.
Locally, "Evening Falls..." performed strongest in South Australia/Northern Territory, where it reached number 82. "Evening Falls..." peaked within the top 100 on all state charts other than Victoria/Tasmania.
The third release from Watermark, "Storms in Africa (Part II)", seems like a much better-known song than "Evening Falls...", thanks to its use in both the movie Green Card and in Ansett TV commercials; but, somehow, it did not even chart in Australia! Enya will pay the 101-150 region of the chart another visit when 1992 rolls around.
Number 138 "Ready for Love" by Gary Moore
Peak: number 113
Peak date: 24 April 1989
Weeks in top 150: 8 weeks
Chart run: 138-134-113-121-122-118-131-141
Weeks on chart: 8 weeks
We saw Gary Moore bubble under back in February 1989. Although Gary had been releasing music since 1978 and had a few (outside the top 40) charting albums Down Under, he had so far only managed to score one moderate hit single here, with a cover of the Easybeats' "Friday on My Mind" in 1987. While his signature tune would come a year later, in the meantime, the best Gary could do was number 113 with this, the second release from his After the War (number 62, March 1989) album.
Internationally, "Ready for Love" peaked at number 56 in the UK in March 1989. Locally, the single was most popular in South Australia/Northern Territory, where it reached number 61.
Hailing from Canada, Andrew Cash these days is primarily known as being a Canadian politician, who was a Member of Parliament there between 2011 and 2015. There is scant information about his recording career on his wikipedia page, though it does mention he recorded three albums, one of which was a top 100-charting success in his homeland.
Number 150 "Jibaro" by Electra
Peak: number 150
Peak date: 10 April 1989
Weeks in top 150: 1 week
Top 150 chart run: 150
Eight months before (barely) gracing our charts, this one peaked at number 54 in the UK in August 1988. Who was behind Electra? Why, none other than Paul Oakenfold, who went on to become a successful record producer and remixer, remixing songs for the likes of Madonna, U2, Britney Spears and... The Rolling Stones, and forming Perfecto Records with partner Steve Osborne.
Bubbling WAY down under:
Number 154 "Ana Ng" by They Might Be Giants
Peak: number 154
Peak date: 10 April 1989
Weeks on chart: 2 weeks
I'm not sure where, but I once read a comment that They Might Be Giants make kindergarten music for adults, and I think that's an apt description.
Hailing from Brooklyn in the US, "Ana Ng" was the first single lifted from the band's second album Lincoln (number 116, May 1989). It was They Might Be Giants' first release to chart nationally in Australia. I say 'nationally', because a single from their 1986 debut They Might Be Giants album (number 159, December 1990), "Don't Let's Start", registered on four of the five state charts in the second half of 1988, but missed the national chart (when it ended at number 100). Such is life.
Interestingly, "Ang Ng" did not chart anywhere else, other than the US Billboard Modern Rock Tracks chart (not a 'real' chart, in my opinion), where it peaked at number 11 in December 1988. The single was not released commercially in the US, which at that time rendered it ineligible to make the Billboard Hot 100.
You may be wondering... who is the 'Ana Ng' in question? Well, the song came to be when John Linnell, who sings lead on this track, was looking at a Manhattan phonebook for inspiration when writing songs, and noticed the large number of Ng listings - a common Cantonese surname. Linnell also drew inspiration from a Pogo comic strip, depicting characters who were digging a hole to China.
They Might Be Giants would not score a breakthrough hit single in Australia until "Boss of Me" (number 29, September 2001) was used as the theme for the TV series Malcolm in the Middle. Despite their lack of hits down under, the band placed six singles outside the national ARIA top 100 between now and 1997. We will next see They Might Be Giants in 1990.
Number 164 "Right One for Me" by Tony Llewellyn
Peak: number 164
Peak date: 10 April 1989
Weeks on chart: 1 week
Australian recording artist Tony Llewellyn first registered on my radar when he reviewed the singles in Smash Hits in mid-1988. Three things I distinctly remember about this article, despite never having heard any of his music until now, are: the unusual (for 9 year-old me) spelling of his surname, his hair, and that he got to review his own single that week... which he may (again, I am not certain) have nominated as his 'single of the week'. Er...
Listening to "Right One for Me" as I write this, it reminds me a little bit of Wa Wa Nee's sound - just with less-slick production values and more-sedate vocals. "Right One for Me" was the second single lifted from Tony's only studio album The News (number 135, November 1989). It followed "Pick You Up" in July 1988 - the one he got to review in Smash Hits, which failed to chart, but I like more than "Right One for Me".
On the state charts, "Right One for Me" performed strongest in Victoria/Tasmania, where it reached number 138.
Tony would go on to play keyboards for Icehouse, from 1991 until 2004. Before then, he charted with another single, which we will see in October 1989.
Number 169 "Superwoman" by Karyn White Peak: number 162
Peak date: 17 April 1989
Weeks on chart: 2 weeks
Unmistakably a L.A. Reid/Babyface production, "Superwoman" was the second single lifted from American Karyn White's debut album Karyn White (number 130, May 1989). It followed the more-upbeat "The Way You Love Me", which was not released in Australia until January 1990 as Karyn's third single, with "Secret Rendezvous" being released in-between in June 1989. In contrast to "Superwoman", both of these singles failed to chart locally. Karyn's biggest chart success in Australia came in 1991, when "Romantic" peaked at number 68 on the ARIA singles chart in October of that year.
I've never been a fan of this style of... schmaltz that L.A. Reid/Babyface seemed to specialise in, and which usually sold by the truckload in the US during the late 1980s and throughout the 1990s. Indeed, "Superwoman" peaked at number 8 on the US Billboard Hot 100 in April 1989.
Next week (17 April): another 4 debuts, including an all-girl Kiwi chart-topper from 1988, plus another bubbling WAY down under entry. You can also follow my posts on facebook.
Once again, I struggle to find a connection between this week's new entries, so let's just get on with the recap.
k.d. lang & Roy Orbison: Before k.d. was cravin' she was cryin'.
Top 150 debuts:
Number 108 "When I Grow Up" by Michelle Shocked
Peak: number 108
Peak date: 3 April 1989
Weeks in top 150: 6 weeks
Chart run: 108-118-119-114-127-136
Weeks on chart: 6 weeks
Michelle scored a number 51 'hit' in Australia in February 1989 with "Anchorage", and this was the follow-up release. Both singles were lifted from her Short Sharp Shocked album, which peaked at number 61 on the ARIA albums chart in February 1989. I remember seeing the music video for "When I Grow Up" when I first stayed up a little bit late to channel flick between MTV, rage, and Night Shift around 2-3 a.m. as a 10 year-old. A lyric that stuck with me from the song was "we're gonna have a hundred and twenty babies". These days, Michelle is probably more known for her homophobic statements than her music.
Internationally, "When I Grow Up" peaked at number 67 in the UK in March 1989. Locally, the single performed strongest in Queensland, where it reached number 76 on the state chart.
The only thing I reallly know about Stryper is that they're a Christian
(hair?) metal band. I remember seeing a TV commercial with them in it
circa 1987 and laughing at it with my sister. This is just another
typical overblown rock ballad 'metal' bands were churning out in the
late 80s.
Number 136 "Yeah, Yeah, Yeah" by Judson Spence
Peak: number 133
Peak dates: 10 April 1989 and 1 May 1989
Weeks in top 150: 6 weeks
Top 150 chart run: 136-133-135-136-133-143
Probably the only charting release to mention lima beans, I don't have
much to say about this release, except that his wikipedia page says it
was a top 40 hit - presumably in the US - in 1988 (the Billboardwebsite
is a bit crap these days for verifying such claims, and no source has
been cited). I can reliably tell you, however, that this single peaked
at number 31 in New Zealand in February 1989.
Number 146 "Cryin'" by Roy Orbison/k.d. lang
Peak: number 143 (1989 release); number 71 (1992 release)
Peak dates: 1 May 1989 (1989 release); 23 November 1992 (1992 release)
Weeks in top 150: 2 weeks (in 1989); 17 weeks (1989 and 1992 chart runs combined)
Weeks on chart: 21 weeks (1989 and 1992 chart runs combined)
Top 150 chart run: 146-(out for 3 weeks)-146
Re-entered5 October 1992: 119-93-78-96-92-80-75-71-78-93-90-(chart repeated for 2 week Xmas break)-107-107
This single originally bubbled under on the Australian Music Report
chart in April 1988, when it was ranked 13th, for one week, on the list
of 'singles receiving significant sales reports beyond the top 100'.
With the Big O passing away in December 1988, and being the flavour of
the month for much of 1989, the time was obviously ripe for a re-issue
of this duet with k.d. lang. The single would have greater success in
late 1992, however, when it was again re-issued and peaked at number 71. On the state charts, "Cryin'" had the most success in Western Australia, where it reached number 51 in April 1989.
Waterfront hailed from Wales, and despite its low local peak, "Cry"
debuted on the Australian chart almost two months before it entered
their native UK singles chart, where it peaked at number 17. Another
interesting fact about this one is that it performed better on the US
chart (number 10), and also did better across the ditch, where it peaked
at number 30 in New Zealand.
Locally, "Cry" performed strongest in Western Australia, where it reached number 74 on the state chart. "Cry" peaked higher nationally on the Australian Music Report chart, where it reached number 100 in July 1989.
Number 154 "Tender Hands" by Chris de Burgh
Peak: number 152
Peak date: 17 April 1989
Weeks on chart: 5 weeks
Argentina-born British-Irish singer Chris
de Burgh placed seven singles on the Australian top 100 between 1983 and
1989, with "The Lady in Red" (number 2, December 1986) being biggest one of those.
"Tender Hands" was the second single lifted from Chris' ninth studio album Flying Colours (number 37, March 1989), following "Missing You" (number 45, February 1989).
Internationally, "Tender Hands" peaked at number 43 in the UK in January 1989, and number 18 in Ireland during the same month.
Locally, "Tender Hands" was most popular in Western Australia, where it reached number 79.
Number 161 "Born This Way (Let's Dance)" by Cookie Crew
Peak: number 161
Peak date: 3 April 1989
Weeks on chart: 3 weeks
Twenty-two years before Lady Gaga proclaimed that she was "born this
way", Cookie Crew declared the same thing, with a 'Let's Dance'
subtitle. Cookie Crew scored a top 40 hit in Australia, teaming up with The Beatmasters, with "Rok Da House" (number 37, June 1988)
- a song that the Cookie Crew don't actually like, and refused to perform on Top
of the Pops when it became a UK top 10 hit, as they felt it was not
representative of their sound.
While "Born This Way..." may have been
more indicative of the Crew's typical sound, it didn't perform as well
on the charts, either here or in their native UK, where it peaked at
number 23 in January 1989. The single also peaked at number 28 in Ireland in January 1989, number 45 in the Netherlands in March 1989, and number 28 in New Zealand in April 1989.
Domestically, "Born This Way..." performed strongest in Western Australia, where it reached number 99.
In between "Rok Da House" and "Born This Way (Let's Dance)", Cookie crew released the single "Females (Get on Up)" in Australia. While it missed the national chart (before ARIA extended the chart beyond number 100), it registered on two of the state charts in August 1988, peaking at number 94 in New South Wales/Australian Capital Territory, and at number 66 in Western Australia.
Cookie Crew released two further singles from their Born This Way (number 118, July 1989) album: "Got to Keep On" (released in Australia in July 1989) and "Come on & Get Some" (October 1989), but neither charted locally.
Next week (10 April): another five new top 150 entries, including the flop second single from an album that would go on to be certified 6 times platinum in Australia and spend several years on the chart. Plus, there are three bubbling WAY down under entries. Don't forget you can also follow my posts on facebook.
Half of this week's six debuts peaked exactly at the same position where they entered, so the only way is not always up! I didn't know any of this week's new entries at the time, so let's see what I think of them now...
Paul Rutherford: The way to 'get real' in the late 80s was apparently to frolic around in the desert.
Top 150 debuts:
Number 132 "Get Real" by Paul Rutherford
Peak: number 132
Peak date: 27 March 1989
Weeks in top 150: 1 week
Chart run: 157-(off chart for 1 week)-132
Weeks on chart: 2 weeks
Ex-Frankie Goes to Hollywood member Paul Rutherford launched his solo "career" with this track. I say "career" in inverted commas as it didn't really take off. This track peaked at number 47 in the UK back in October 1988, which is as good it got for solo Paul Rutherford on the chart. I am rather partial to the even less-successful follow-up (as is often the case for me) - a cover version of Chic's "I Want Your Love", which was released locally in May 1989, but did not chart at all here, sadly. Both tracks were produced by Mark White and Martin Fry, who were the sole remaining members of ABC by this point. Paul's more vocally-gifted former band mate Holly Johnson, of course performed much better with his solo debut, although his solo career was also short-lived. On the state charts, "Get Real" performed strongest in New South Wales/Australian Capital Territory, where it reached number 104.
Number 136 "Wholly Humble Heart" by Martin Stephenson & The Daintees
Peak: number 136
Peak date: 27 March 1989
Weeks in top 150: 6 weeks
Top 150 chart run: 136-142-143-141-146-142
Like Paul Rutherford, this single flopped in the UK in 1988 - peaking at number 81 in August 1988. Ah, the days when it took six months for something to finally get released in Australia... The album did better in the UK, though, peaking at number 39. While not exactly immediate, this song has a rather pleasant vibe, I think.
Serving this week's most 80s hair-dos, Vixen's biggest hit (number 22) in their native America had to settle for a peak outside the top 100 in Australia; although it peaked at number 76 on the rival Australian Music Report chart (what's 45 positions' difference here or there, eh?). On the state charts, "Cryin'" performed strongest in Victoria/Tasmania, where it reached number 59. The single peaked within the top 100 on all of the state charts except New South Wales/Australian Capital Territory. Vixen will join us again in August.
Number 145 "Honey Be Good" by The Bible
Peak: number 144
Peak date: 8 May 1989
Weeks in top 150: 4 weeks
Top 150 chart run: 145-(out for 5 weeks)-144-146-(out for 2 weeks)-147
Another one that performed much better on the Australian Music Report singles chart is this one, which peaked at number 87 on it, while number 144 is all it could muster on the ARIA chart. Despite that, it did spend four non-consecutive weeks hovering between numbers 144 and 147, with one week apiece spent at 144, 145, 146 and 147! Oddly, this one did not enter the band's native UK chart until August 1989, where it peaked at number 54. Quite a nice, if not spectacular, song.
Number 149 "Blueprint" by Rainbirds
Peak: number 149
Peak dates: 27 March 1989, 17 April 1989 and 1 May 1989
Weeks in top 150: 3 weeks
Top 150 chart run: 149-(out for 2 weeks)-149-(out for 1 week)-149
Weeks on chart: 8 weeks
Now here's a spectacular song - or so I think. I discovered this one last year, via a 'song contest' (where you submit a song that didn't chart so well, if at all, by an obscure-ish artist) on a pop forum. Rainbirds are a German band, and this single peaked at number 7 in their homeland in February 1988. It also performed much better on the Australian Music Report chart, where it peaked at number 96. On the ARIA chart, the single interestingly spent three non-consecutive weeks at number 149!
On the ARIA state charts, "Blueprint" performed strongest in South Australia/Northern Territory, where it reached number 70.
Although "Blueprint" would be Rainbirds' only single to chart in Australia, they had one (their only) charting album later in the year. Their second album Call Me Easy Say I'm Strong Love Me My Way It Ain't Wrong (now that's a mouthful!) peaked at number 138 on the ARIA albums chart in October 1989, despite no singles from it charting in Australia.
Number 150 "The Big Picture" by The Pony
Peak: number 125
Peak date: 1 May 1989
Weeks in top 150: 6 weeks
Top 150 chart run: 150-143-148-130-139-125
The Pony were a short-lived Australian band, going by their brief bio on discogs.com. This song is pleasant with a catchy chorus, though is not what I'd normally listen to. It sounds like it might have done better if released in about 1993.
Next week (3 April): Seven new entries, including... some Christian metal and a duet with a (then) recently-deceased singer. Don't forget, you can also follow my posts on facebook.
There are a mere three debuts peaking within the 101-150 section of the chart this week, with no real common thread between them, other than (once we include the bubbling WAY down under entry) we have both a fading teen star and a new one on the rise.
Tiffany: Tiff was rocking the double denim, if not the Australian charts, in 1989.
Top 150 debuts:
Number 125 "All This Time" by Tiffany
Peak: number 120
Peak date: 3 April 1989
Weeks in top 150: 7 weeks
Top 150 chart run: 125-122-120-124-128-124-128
Weeks on chart: 10 weeks
Tiffany's Australian chart career started on a high, with three consecutive top 15 hits. But single number four bombed, and the lead single from Tiff's second album Hold an Old Friend's Hand (number 56, January 1989), "Radio Romance" (number 65, January 1989), stalled at number 65. Tiffany's Oz chart trajectory continued its steep decline with this, the second single (though first in the US) from the album, "All This Time". Is it just me, or does Tiff sound like she has a cold on this track? I also thought the same thing about her vocals on "Radio Romance".
Internationally, "All This Time" peaked at number 6 on the US Billboard Hot 100 in February 1989, number 4 in Canada, number 47 in the UK in February 1989, and number 24 in Ireland in February 1989.
Locally, "All This Time" was most popular in South Australia/Northern Territory, where it reached number 79 on the state chart.
If you thought this would be Tiffany's last foray into the Australian charts, you would surprisingly be wrong. She has a bubbling WAY down under 'hit' coming up later in the year, and will be seen again in 1990 and 1993! Who knew?!
Number 145 "Yeah, Yeah, Yeah, Yeah, Yeah" by The Pogues
Peak: number 111
Peak date: 3 April 1989
Weeks in top 150: 6 weeks
Top 150 chart run: 145-138-111-137-131-128
This single was the Pogues' first appearance on the Australian singles chart, although an earlier-released single dueting with Kirsty MacColl would more-recently nudge the top 50. I assume the "I love your breasts, I love your thighs" lyrics are not referencing KFC... The Pogues join us again in 1990.
Number 146 "Hiwire Girl" by Catfish
Peak: number 146
Peak date: 20 March 1989
Weeks in top 150: 1 week
Top 150 chart run: 146
Before the term 'catfish' meant someone trying to trick you into an online relationship by using somebody else's pics, it was the name of an Australian band, who scored a number 72 'hit' in Australia in late 1988 with "The Early Hours". This follow-up didn't do quite as well. While it's not the sort of thing I'd normally listen to, I think this track is pretty decent. Catfish will join us again in 1991.
Bubbling WAY down under:
Number 168 "Drown in My Own Tears" by The Smithereens
Peak: number 168
Peak date: 20 March 1989
Weeks on chart: 1 week
American rock band The Smithereens formed in 1980. They did not release any material until 1986, however, scoring their first chart 'hit' in Australia when their debut single, "Blood and Roses", spent one week at number 99 in January 1987. Their debut album, Especially for You, similarly spent one week in the Australian top 100 albums chart, at number 87, in May 1987.
"Drown in My Own Tears" was issued as the second single from The Smithereens' second album Green Thoughts (number 85, June 1988), following "Only a Memory" (released locally in April 1988, did not chart).
"Drown in My Own Tears" does not appear to have registered on any other national chart, other than the pointless US Billboard Mainstream Rock Airplay chart, where it reached number 34 in October 1988.
Some readers may have known that before "Toy Soldiers" became an international smash hit for Martika, she had some more-subdued success with her debut single, "More Than You Know", which peaked at number 18 in the US in April 1989. While the single would go on to peak at number 32 in Australia when re-issued in January 1990, upon its initial release, "More Than You Know" debuted at number 160 this week on the Australian singles chart.
Next week (27 March): we have six new entries, including an ex-member of Frankie Goes to Hollywood - though it's not who you might think.
A big twelve new entries this week, from a varied bunch of artists. Let's take a look at them:
2 Brave: Looking sultry and wearing silly hats didn't seem to help this Scandinavian duo score a hit down under.
Top 150 debuts:
Number 117 "Windows of the World" by Pretenders
Peak: number 117
Peak dates: 13 March 1989 and 20 March 1989
Weeks in top 150: 5 weeks
Chart run: 174-(off chart for 1 week)-117-117-124-126-120
Weeks on chart: 6 weeks
Somewhat surprisingly, the Australian top 100 singles charts were a hit-free zone for Pretenders for almost 7 years, book-ended by two top ten hits - those being 1987's "Hymn to Her" (number 7, June 1987), and 1994's "I'll Stand by You" (number 8, June 1994). They did managed to 'bubble under' with this track, though, which is a cover of the Dionne Warwick song. Pretenders' version of "Windows of the World" was recorded for the 1969 soundtrack (number 134, July 1989).
Internationally, "Windows of the World" peaked at number 120 (number 102 on the compressed chart) in the UK in April 1989.
Domestically, "Windows of the World" performed strongest in New South Wales/Australian Capital Territory, where it reached number 89 on the state chart.
This single was Billy's first foray into the Australian singles chart... kind of. He'd reach the top 100 in 1991 with "Sexuality" (number 46, September 1991), and dented the ARIA top 50 albums chart with this song's parent album Workers Playtime (number 49, March 1989).
Internationally, "She's Got a New Spell" peaked at number 132 (number 112 on the compressed chart) in the UK in November 1988.
Locally, "She's Got a New Spell" was most popular in Queensland, where it reached number 96.
This track is lifted from the Buster soundtrack (number 35, March 1989), and was written by Phil Collins and Lamont Dozier. I remember seeing the video for this one on rage while waiting for the top 50 chart countdown to begin, early on a Saturday morning. This was the group's first Australian singles chart entry since "When She Was My Girl" peaked at number 54 in early 1982.
Elsewhere, "Loco in Acapulco" peaked at number 7 in the UK in January 1989, number 23 in Germany in January 1989, number 9 in Ireland, number 9 in the Netherlands in February 1989, and number 13 in the Flanders region of Belgium in February 1989.
Locally, "Loco in Acapulco" was most popular in Western Australia, where it peaked at number 86 on the state chart.
Number 143 "When I'm With You" by Sheriff
Peak: number 117
Peak date: 10 April 1989
Weeks in top 150: 6 weeks
Known chart run: 158-143-124-133-124-117-120
Weeks on chart: 8 weeks
The first and only Australian singles chart entry for this Canadian rock band has a rather interesting back-story. The song was originally released as a single in 1983 - although I can find no evidence of it being released locally then. The band split in 1985, and after a radio station in the US began playing the song in late 1988, it was re-issued there (after having peaked at number 61 in 1983). It then went on to top the US Billboard Hot 100 chart in February 1989, despite having no music video.
Another claim made about this song is that the note held at the end of it is the longest (19.3 second) note held by a male pop singer on record. Phew! As if all of that wasn't enough, two of the band's members went on to form part of Alias, who would score a hit in 1991 with "More Than Words Can Say" (number 30, April 1991).
On the state charts, "When I'm with You" performed strongest in Queensland, where it reached number 90.
Number 146 "Follow Your Heart" by The Party Boys
Peak: number 107
Peak date: 10 April 1989
Weeks in top 150: 11 weeks
Top 150 chart run: 146-(out for 1 week)-110-109-107-114-118-(out for 3 weeks)-123-131-130-132-134
Australia's Party Boys scored a big number one hit in 1987 with their version of "He's Gonna Step on You Again" (number 1, July 1987), but would have to settle for bubbling under the top 100 with this release, less than two years later. While it's not the sort of thing I normally listen to, I concede that the chorus is catchy. Despite peaking at number 107, this single spent 11 weeks in the 101-150 section of the chart.
A certain Scandinavian duo hailing from Sweden would conquer the Australian charts in 1989, but this duo, originating in Norway, couldn't manage to crack the top 140. It's a shame, really, as this is quite a good slice of infectious pop music that I hadn't heard before. I wonder who knew about it locally to snap up sufficient copies of it to dent the top 150? The duo had greater success in their homeland, where this reached number 4.
Number 148 "Johnny" by The Celibate Rifles
Peak: number 128
Peak date: 10 April 1989
Weeks in top 150: 7 weeks
Chart run: 148-134-131-137-128-136-137
Weeks on chart: 7 weeks
Despite forming in 1979, this was actually the Australian band's first taste of chart 'success'; albeit, at a rather modest level. "Johnny" is lifted from The Celibate Rifles' fifth studio album Blind Ear (number 85, July 1989). They'll go on to visit the 101-150 section of the singles chart on no fewer than four other occasions in the coming three years.
On the state charts, "Johnny" performed strongest in South Australia/Northern Territory, where it reached number 86.
The Celibate Rifles will next join us in June 1989.
Number 149 "Why Does Love Got to Be So Sad" by Buckwheat Zydeco
Peak: number 129
Peak date: 10 April 1989
Weeks in top 150: 7 weeks
Top 150 chart run: 149-147-141-140-129-138-(out for 1 week)-141
This is another one I'd never heard of before. Buckwheat, born Stanley Dural, Jr., was an American accordionist. I say 'was', because he sadly passed in 2016. This track is a cover of a track by Eric Clapton's band Derek & The Dominoes, from 1970. Oddly, this version by Buckwheat Zydeco does not appear to have charted elsewhere - I've no idea why it 'charted' in Australia.
Number 150 "Back to the Track" by Shane Howard
Peak: number 148
Peak date: 3 April 1989
Weeks in top 150: 2 weeks
Chart run: 150-(off chart for 2 weeks)-148
Weeks on chart: 2 weeks
Another track I'd never heard before, though I was familiar with Shane via his massive hit with Goanna, 1982's "Solid Rock" (number 3 for 5 weeks in December 1982-January 1983), and the handful of minor top 50 hits he had locally in 1990-1991. This release appears to have been his first solo single, and was the title track of his Back to the Track (number 111, March 1989) album.
On the state charts, "Back to the Track" performed strongest in Western Australia, where it reached number 94.
American r&b singer Alexander O'Neal's recording career almost began in 1980 as a member of The Time, a band that would be signed under a clause in Prince's recording contract with Warner Brothers Records. However, Alex was replaced by Morris Day following a dispute with the purple one.
Alex's first solo album Alexander O'Neal, partly produced by James Harris and Terry Lewis, was released in 1985, but does not appear to have received an Australian release (it did, however, receive a New Zealand one).
Alex's second album Hearsay (number 142, March 1989) was released in Australia in August 1987, led by the original release of "Fake" in June 1987. "Fake" failed to chart in Australia, but bubbled under on the Australian Music Report's list of singles receiving significant sales reports beyond the top 100, reaching fifth place on the list in August 1987. The 1987 release of "Fake" became Alex's biggest hit on the US Billboard Hot 100, reaching number 25 there in September 1987.
The second single from Hearsay, "Criticize", was issued locally in November 1987, but failed to chart. In contrast, "Criticize" was Alex's biggest hit in the UK, peaking at number 4 there in December 1987. "Criticize" is also my favourite Alexander O'Neal song that I have heard.
The Hearsay album spent 40 weeks on the US Billboard 200 chart, despite only peaking at number 29, and similarly spent 103 weeks on the UK albums chart, where it reached number 4. Owing to the album's chart longevity, a string of singles was released from the album (though not in Australia), including "Never Knew Love Like This", a duet with Cherrelle.
Alex had previously dueted with Cherrelle on "Saturday Love", which was Alex's first release in Australia in April 1986, though it failed to chart here. "Saturday Love" reached number 6 in the UK in January 1986.
As the 1987 issue of "Fake" only reached number 33 in the UK in June 1987, a remixed version of the single was released in September 1988, to promote the remix album Hearsay - All Mixed Up. "Fake 88" peaked at number 16 in the UK in October 1988. As there was often a several month delay between European and Australian releases back then, it was 1989 by the time "Fake 88" was issued in Australia, and, accordingly, its title was adjusted to "Fake 89", although it was the same remix.
Unfortunately for Alex, he never landed a top 100 single or album in Australia. We will see him bubble under on a few more occasions, though, with the next one being in 1991.
Number 164 "Little Liar" by Joan Jett and The Blackhearts
Peak: number 164
Peak date: 13 March 1989
Weeks on chart: 1 week
Having not listened to this track until writing this post, I am surprised by how similar the music and chord progressions are to Cher's "I Found Someone" (originally recorded by Laura Branigan in 1985). "Little Liar" was released as the second single from Up Your Alley, following "I Hate Myself for Loving You" - both of which failed to chart in Australia, to my surprise. This track had greater success in the US, where it peaked at number 19 on the Billboard Hot 100 in January 1989.
We will next see Joan and the gang in 1994.
Number 172 "My Song" by Glass Tiger
Peak: number 172
Peak date: 13 March 1989
Weeks on chart: 1 week
Canadian rock band Glass Tiger scored their biggest, and only real, hit in Australia with "Don't Forget Me (When I'm Gone)" (number 9, January 1987) in 1986. They followed it up with two further singles that barely dented the top 100, "Thin Red Line" (number 91, February 1987) and "Someday" (number 97, April 1987). All three tracks were lifted from the band's debut album The Thin Red Line (number 77, February 1987). A fourth single from the album, "I Will Be There", was released in Australia in June 1987, but failed to chart.
Glass Tiger returned in 1988 with "Diamond Sun", which missed the national chart (when it ended at number 100), but registered on the state charts for South Australia/Northern Territory and Western Australia, where it peaked at numbers 73 and 53 respectively, in July 1988. "My Song" was issued as the third single from the band's second album Diamond Sun (released in Australia in June 1988, did not chart), following "I'm Still Searching" (released locally in August 1988, did not chart).
Internationally, "My Song" peaked at number 33 in Canada in October 1988.
Next week (20 March): Just three new top 150 entries - among them is a young star from 1988 whose 15 minutes looked like they were already up; a bubbling WAY down under debut, and another bubbling WAY down under entry from another teen artist who would go on to be massive later on in the year.
Sometimes, a new act looks like they're going to become the next big thing. Other times, an act who looks like they're destined to become a one-hit-wonder turn out to have a more-enduring career, even if the immediate follow-ups aren't as successful. 'Success' is a relative term, and this week we see both types of acts among the new entries, as well as one act tempting fate by naming their single 'Success', and another titling their flop single 'The Big One'. Oh, the irony! We also see a future recording star who went on to considerable success getting her first break as a back-up dancer... in one of this week's new entries!
Black: looking more like 'White'.
Top 150 debuts:
Number 113 "Get Up Everybody (Get Up)"/"Twist and Shout" by Salt 'N' Pepa
Peak: number 111
Peak date: 13 March 1989
Weeks in top 150: 5 weeks
Known chart run: 163-113-111-118-126-113
Weeks on chart: 8 weeks
This double A-side single became Salt 'N' Pepa's second top five hit in the UK, but in Australia, it became their first release to miss the top 100. It seemed, to me, as though Salt 'N' Pepa were destined to become one-hit wonders in Australia, with "Push It" (number 3, October 1988) - of course, that was proved wrong in 1991. I caught their cover of "Twist and Shout" on rage a couple of times in early 1989, while waiting for the top 50 chart rundown to begin, but didn't hear the other A-side until the early 2010s. Anastacia, who would go on to have her own recording career, got an early break as one of the female backing dancer ensemble in the video - you'll be able to spot her with her trademark glasses on.
Internationally, "Get Up Everybody (Get Up)"/"Twist and Shout" peaked at number 4 in the UK in November 1988, number 18 in Ireland in November 1988, number 5 in the Netherlands in December 1988, number 11 in the Flanders region of Belgium in January 1989, and number 37 in Germany in January 1989. In the US, both tracks charted separately on the Bilboard Hot R&B/Hip-Hop Songs chart, with "Get Up..." reaching number 14 in December 1988, and "Twist and Shout" reaching number 45 in February 1989. "Get Up..." also peaked at number 39 on the Billboard Dance Club Songs chart in December 1988. Both tracks also registered on the Billboard Dance Singles Sales chart, with "Get Up..." reaching number 8 in January 1989 and "Twist and Shout" reaching number 18 in February 1989.
Within Australia, the "Get Up Everybody (Get Up)"/"Twist and Shout" AA-side single performed strongest in Western Australia, where it reached number 75.
Colin Vearncombe, aka Black, scored a decent-sized, belated hit in Australia in 1988 with "Wonderful Life" (number 7, May 1988). Other, earlier-released overseas singles "Sweetest Smile" and "Everything's Coming Up Roses" failed to give Black a second hit down under when issued after the success of "Wonderful Life".
This track, the lead single from Black's second album, Comedy, peaked outside the top 50 in the UK, and was another to miss the top 100 in Australia. A 'big one' it wasn't.
Locally, "The Big One" was 'biggest' in South Australia/Northern Territory, where it reached number 78.
Colin was sadly killed in a car accident in Cork, Ireland in January 2016, aged 53.
Black will join us again in 1993.
Number 144 "Baby Baby" by Eighth Wonder
Peak: number 113
Peak date: 27 March 1989
Weeks in top 150: 9 weeks
Top 150 chart run: 144-144-129-113-118-131-126-123-129
Weeks on chart: 11 weeks
Eighth Wonder returned to the top 150 with their third single, after we saw the second debut back in January. This track was another Pete Hammond production for PWL, the record label owned by Pete Waterman of Stock Aitken Waterman. Unlike the first two singles, which reached the top 15 in the UK, this one stalled at number 65 in the band's homeland... and that was pretty much it for Patsy Kensit's singing career.
On the state charts, "Baby Baby" performed strongest in Western Australia, where it reached number 73.
Number 145 "Success" by Sigue Sigue Sputnik
Peak: number 141
Peak date: 20 March 1989
Weeks in top 150: 3 weeks
Chart run: 177-145-(off chart for 1 week)-141-146
Weeks on chart: 4 weeks
Speaking of Stock Aitken Waterman, this track saw the unlikely pairing of the trio with the punk-looking Sigue Sigue Sputnik. The single sleeve jovially changed the band's name to Sputnik Aitken Waterman. Several SAW-produced acts, such as Kylie and Rick Astley, and non-SAW acts, such as Bros and... Gary Glitter make cameos in the video. Not that any of this helped the band score a hit, really, as the single stalled at number 31 in the group's native UK in November 1988, and just scraped into the top 150 locally.
On the state charts, "Success" had a lot more 'success' in South Australia/Northern Territory, where it reached number 57, than anywhere else. The single peaked outside the top 100 on the other four state charts.
Number 146 "Shout (Parts 1 & 2)" by Johnny O'Keefe
Peak: number 146
Peak date: 6 March 1989
Weeks in top 150: 1 week (in 1989)
Top 150 chart run: 146
Someone reading this may know, but I'm not entirely sure why this 30 year-old track re-charted in 1989.
Melbourne band Schnell Fenster, which is German for 'fast window', are made up of former members of Split Enz and The Swingers - i.e. they are all actually Kiwis!
"This Illusion" was the band's third single, lifted from their debut album Sound of Trees (number 82, October 1988). It followed "Whisper" (number 56, August 1988) and "Love Hate Relationship" (number 83, November 1988). The band never landed a top 50 hit in Australia.
Number 157 "The Price of Love (The R & B '89 Remix)" by Bryan Ferry
Peak: number 157
Peak date: 6 March 1989
Weeks on chart: 1 week
At this point, Bryan Ferry had landed 13 solo singles on the Australian chart, and 10 with his former band Roxy Music. His biggest solo hit in Australia was "Let's Stick Together (Let's Work Together)", which reached number 1 for two weeks in November 1976.
A remix of "Let's Stick Together", released to promote The Ultimate Collection (number 9, December 1988), peaked at number 38 in Australia in December 1988. This remix of "The Price of Love", not on the aforementioned compilation album, was issued as the follow-up release.
The original version of "The Price of Love" peaked at number 9 in Australia in November 1976.
Internationally, the 1989 remix of "The Price of Love" peaked at number 49 in the UK in February 1989, and number 30 in Ireland during the same month.
It's not a single peaking outside the top 150, but I'm sure that most people would be shocked know that Madonna's new single, "Like a Prayer" debuted at number 164 this week, before climbing to number 3 the following week and then going on to reach number one. I can only assume that the low debut is due to the single being available in limited retail outlets, for one day of sales, before the survey this week's chart was based on closed.
Next week (13 March): A bumper edition, with nine new entries peaking within the 101-150 region of the chart, and three bubbling WAY down under debuts.
