funky's journey through the 90s (again, again) (3 Viewers)

A quick (and late) intermission to recap 1991 with my top ten singles and albums based on all this (re)discovery. Prince gets the double win this year.


TOP TEN SINGLES

10. K-Klass - Rhythm Is A Mystery
9. Jinny - Keep Warm
8. Lisa Stansfield - Change
7. FPI Project - Everybody All Over The World
6. Sounds Of Blackness - The Pressure (Frankie Knuckles mix)
5. Incognito ft Jocelyn Brown - Always There
4. Driza Bone - Real Love
3. Lenny Kravitz - It Ain't Over Til It's Over
2. Massive Attack - Unfinished Sympathy
1. Prince - Diamonds & Pearls


TOP TEN ALBUMS

10. Luther Vandross - Power Of Love
9. Frankie Knuckles - Beyond The Mix
8. Black Crowes - Shake Your Money Maker
7. C&C Music Factory - Gonna Make You Sweat
6. Lenny Kravitz - Mama Said
5. Michael Jackson - Dangerous
4. Simply Red - Stars
3. Lisa Stansfield - Real Love
2. Massive Attack - Blue Lines
1. Prince - Diamonds & Pearls
 
FEBRUARY 1992

#1s



US​
UK​
Feb-1George & Elton - Don't Let The Sun... (1)Wet Wet Wet - Goodnight Girl (2)
Feb-8Right Said Fred - I'm Too Sexy (1)Wet Wet Wet - Goodnight Girl (3)
Feb-15Right Said Fred - I'm Too Sexy (2)Wet Wet Wet - Goodnight Girl (4)
Feb-22Right Said Fred - I'm Too Sexy (3)Shakespear's Sister - Stay (1)
Feb-29Mr Big - To Be With You (1)Shakespear's Sister - Stay (2)

February sees the US having a big love-in with Right Said Fred, and I'm really having a hard time understanding America's love affair with a homoerotic British band singing a novelty song, but there we go. Mr Big ascends to the top with their only #1, which was also a smash globally. In the UK we're still in the midst of a the big ballads era, although we did rectify it by celebrating that wonderful Shakespear's Sister song. I'm not sure it needed to stay there for EIGHT fucking weeks however. America did like it too - it went to #4 there, and it went gold in both markets.

Shanice's "I Love Your Smile" peaks at #2, while Prince spends the whole month in the Top 5, peaking at #3. While "Cream" hit #1 it bounced in and out of the chart fairly quickly, while the title track deceptively crosses over in a different way by spending a long time in the chart. "Cream" has been cerfitied gold but nothing for D&P, and I think there's something not quite right there.

Atlantic Starr's new single feels like a real anomoly and I wonder if anyone can shed any light why it did so well in the US:



This R&B band had a decent run in the 80s following in the footsteps of the likes of SOS Band, Kool & The Gang and Ashford & Simpson, releasing radio friendly funk and big soul ballads - "Always" from 1987 in particular was a crossover hit and massive in the UK. But after that they disappeared.. until they returned with a nice bop "Love Crazy" that I covered a few months ago. But it doesn't really explain why this new song opened big (#35) at the start of the month and then soared up to the chart, spending over 2 months in the top 10 and peaking at #3. Following this they would release one more album without much success and then they'd be done. The song itself? A bit BORING if I'm honest! Just a strange chart anomoly. "Love Crazy" was a GREAT find though...

Over in the UK, Texas release "Alone With You", the third single from 2nd album Mothers Heaven. It's a great song and might be the track that saved their career. After the success of their debut Top 10 hit "I Don't Want A Lover" in 1989, every subsequent single missed the Top 40. Not sure why the label persisted, but this went to #32, and was followed by a non-album cover song of an Al Green song that went Top 20. That probably saved them and landed them a third album, with improved success. It wasn't until the 4th album however when things would really change for them.

The Brand New Heavies follow up their debut "hit" in 1991 ("Never Stop" reached #43) with a re-release of the previously uncharting "Dream Come True"



Seriously why does this debut album get so overlooked? Everyone knows Brother Sister, but the self titled debut has SO many gems. It also kick started the commercial explosion of acid jazz which was about to hit UK charts in a big way for the next several years.

Alison Limerick releases her biggest hit to date:



This outperformed the original release of "Where Love Lives" (but was probably boosted by that songs enduring popularity). WLL would do better in a 1996 re-release. This would also go Top 10 on the Billboard dance charts.

Adeva releases the third single from her second album and it's yet another bop:



Amazing really that she had ELEVEN charting singles from her first two albums! Even though none of them went Top 10. But any excuse to show that iconic album cover! :disco:


Discoveries:

Time for a GOLDEN BUZZER DISCOVERY! 🥇



I'm not sure what we're calling this category of pop music (pop-soul maybe?) but more of it, please. It already sounds a bit dated in 1992, and was the sort of big vocal power pop that was big in the second half of the 80s, but god bless Kathy Troccoli for bringing me this uplifting anthem - I have listened to it a LOT in the last few weeks, HONKING along to it while driving. My initial take was that it was the sort of thing you could imagine Taylor Dane foghorning to - and after a bit of digging I found out that, not only did Kathy provide backing vocals for some of Taylor's hits, but this song was actually pitched to Taylor before going to Kathy. Oh and apparently it was penned by Diane Warren!

She's so obscure chart wise that she doesn't even have a proper discography on Wiki (despite actually releasing over 20 albums!) because this was her only hit. But I found this information on a website called Forgotten Songs...

“Everything Changes” entered Billboard’s Hot 100 at a decent #73 for the week ending February 21, 1992 (chart). It slowly made its way up the chart, peaking at #14 in its tenth week (chart). In all, it was on the Hot 100 for 20 weeks. The long (for its time) run was enough for “Everything Changes” to rank at #79 in Billboard’s Year End Hot 100 for 1992 (chart).

Other charts were just as good (or better) to “Everything Changes” as well. It peaked at #15 on the Hot Dance Singles Sales chart on May 15 (chart), for example, but its best performance was on the Adult Contemporary chart, where it peaked at #6 (chart) in the midst of a 24-week run.

A hip-hop act I was not that familiar with but have heard mentioned over the years is Black Sheep, and this pops up this month:



Two reasons Black Sheep have crossed my path by name only before: one, they're affiliated with the Native Tongues collective with ATCQ, De La Soul, Queen Latifah, Fugees, and so on. Two, because they are very highly regarded in early hip-hop. Despite being a bit familiar to my ears, I clearly stepped over this as a possible favourite many times over the years - with over 50m streams on Spotify (big for a rap song from 1991) and FILLED with references that have been used by other rap acts since - maybe @old spice or @alla could confirm whether the "engine engine number 9... pick it up pick it up" in this song, which has been used SO OFTEN over the years, is possibly the ORIGINAL incarnation of it...?

Anyway this is clearly a 10/10 track and has gone straight into my hip-hop classics playlist.

Notable Chart Entries (US):

February 1

39 — MASTERPIECE –•– Atlantic Starr
69 — YOU SHOWED ME –•– Salt ‘N Pepa
70 — JUSTIFIED AND ANCIENT –•– The KLF Featuring Tammy Wynette
72 — WHAT BECOMES OF THE BROKENHEARTED –•– Paul Young
74 — THINKIN’ BACK –•– Color Me Badd
78 — I CAN’T DANCE –•– Genesis
80 — AGAIN TONIGHT –•– John Mellencamp
87 — WE GOT A LOVE THANG –•– Ce Ce Peniston
92 — SAVE THE BEST FOR LAST –•– Vanessa Williams

February 8

81 — TEARS IN HEAVEN –•– Eric Clapton
92 — EVERYTHING’S GONNA BE ALRIGHT –•– Naughty By Nature
97 — RIGHT NOW –•– Van Halen

February 15

78 — HAZARD –•– Richard Marx
83 — I NEED MONEY –•– Marky Mark & The Funky Bunch
88 — BABY HOLD ON TO ME –•– Gerald Levert
91 — MAMA, I’M COMING HOME –•– Ozzy Osbourne
96 — THE PHUNCKY FEEL ONE / HOW I COULD JUST KILL A MAN –•– Cypress Hill

February 22

54 — IF YOU GO AWAY –•– NKOTB
73 — EVERYTHING CHANGES –•– Kathy Troccoli
74 — MAKE IT HAPPEN –•– Mariah Carey
85 — ROMEO & JULIET –•– Stacy Earl
97 — KISSING THE WIND –•– Nia Peeples
98 — AIN’T 2 PROUD 2 BEG –•– TLC
99 — JUICE (KNOW THE LEGDE) –•– Eric B. & Rakim

February 29

70 — CHURCH OF YOUR HEART –•– Roxette
87 — CARIBBEAN BLUE –•– Enya
94 — THE CHOICE IS YOURS –•– Blacksheep
95 — YOU THINK YOU KNOW HER –•– Cause & Effect
96 — DON’T LOSE THE MAGIC –•– Shawn Christopher

A busy month as the industry recovers from the January downtime... interesting to see Vanessa Williams at the back at that big slew of new releases at the start of the month - by the end of it she would have overtaken nearly all of them and I'm pretty sure ends up outselling the lot. This was a huge global smash - #1 in the US and #3 in the UK, and became her signature tune. I have to say I'm not really a fan (I don't hate it) - it's not "One Moment In Time" levels of GLOOP, but it's a bit too poppy for me. I'm happy though to be discovering lesser known hits by her along the way.

Interesting that "Insane In The Brain" wasn't Cypress Hill's first hit - in fact that song wasn't even from the first album, but the second. This debut double-A single goes to #77 in the US and #1 on US rap, but their only chart indent until "Insane" releases in 1993.

New Kids On The Block (now NKOTB) embrace the backlash era with their 'comeback' single "If You Go Away", as they attempt to continue a massively successful career despite the fact that the US has turned against them and already labelled them passe. And while it would be easy to mock, the song actually ISN'T THAT BAD.



70s Philly-soul vocals backed by a soaring pop-rock production, they are clearly determined to prove they can sing and on that note they succeed. The song is a hit, but not by their standards and shows the damage may not be reversable. This peaks at #16 (UK #9) and it would be the last time they would trouble the Top 20. Just four and a bit years into their global takeover, the run is over. The album - suitably and cleverly entitled "Face The Music" - wouldn't actually release until 1994, and it ended up a relative flop.

Nia Peeples releases another hit and I know @alla has been outspoke about this lady I still don't have much time for this song either... but the next one - well let's see.

"Church Of Your Heart" is the 5th and final single from Roxette, and they're still doing well here, if not at the same level as previous years. This would peak at #36 in the US (#21 UK).

That Shawn Christopher track is a CLASSIC and I didn't know it was a hit in the US but it makes sense, it's classic US house:



This has been remixed ENDLESSLY over the years - the original is the best. It peaked at #71 (UK #30). It also went to #1 on US dance (UK dance #4).
 
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It's astonishing just how big Right Said Fred were for a year or 2 at this point. They SCREAMED novelty one hit wonder, which I think was the case in the USA, but also get a UK number 1 album & hit the top here with "Deeply Dippy" - after 7 straight weeks at number 2 behind Bryan Adams with "I'm Too Sexy" in the summer of 1991, it looked certain they'd missed their one chance at a chart topper.

Shanice is just wonderful. I felt she had the voice & charisma to do more, but this was her only UK top 40 hit, coming within one place of number 1.

I do like the Brand New Heavies, but it's all about the "Brother Sister" album for me. Strong 90s memories of that being played in the car all the time. A very consistent singles act too.

I much prefer "Make It On My Own" by Alison Limerick to "Where Love Lives" - it's part of a subgenre of sunny sounding pop R&B from this time period, with the Don-E song I reviewed of a similar ILK.

Eric B & Rakim are an act I thought had split up in the 80s, so AGOG to see them getting a chart entry in 1992.

Very happy to see the eternally underrated, yet enduring, FPI Project song get a mention in the top 10 of the year. I really don't get how it failed in dance heavy 1991.
 
Don't Let It Show On Your Face is PEAK ADEVA for me. It's the one I always go back to.
 
Discoveries:

Time for a GOLDEN BUZZER DISCOVERY! 🥇



I'm not sure what we're calling this category of pop music (pop-soul maybe?) but more of it, please. It already sounds a bit dated in 1992, and was the sort of big vocal power pop that was big in the second half of the 80s, but god bless Kathy Troccoli for bringing me this uplifting anthem - I have listened to it a LOT in the last few weeks, HONKING along to it while driving. My initial take was that it was the sort of thing you could imagine Taylor Dane foghorning to - and after a bit of digging I found out that, not only did Kathy provide backing vocals for some of Taylor's hits, but this song was actually pitched to Taylor before going to Kathy. Oh and apparently it was penned by Diane Warren!

She's so obscure chart wise that she doesn't even have a proper discography on Wiki (despite actually releasing over 20 albums!) because this was her only hit. But I found this information on a website called Forgotten Songs...



I have the album (and 7", 12", cd single), never thought of her as an obscure act! But she probably is; I still play it a lot, and the follow up You've got a way, that probably made the AC chart.

Btw, the best version of the song is the Hot radio mix, that was the one played on the radio; much better than the album version IMO. Of course it's not on Spotify :rolleyes:


 
Atlantic Starr's new single feels like a real anomoly and I wonder if anyone can shed any light why it did so well in the US:



This R&B band had a decent run in the 80s following in the footsteps of the likes of SOS Band, Kool & The Gang and Ashford & Simpson, releasing radio friendly funk and big soul ballads - "Always" from 1987 in particular was a crossover hit and massive in the UK. But after that they disappeared.. until they returned with a nice bop "Love Crazy" that I covered a few months ago. But it doesn't really explain why this new song opened big (#35) at the start of the month and then soared up to the chart, spending over 2 months in the top 10 and peaking at #3. Following this they would release one more album without much success and then they'd be done. The song itself? A bit BORING if I'm honest! Just a strange chart anomoly. "Love Crazy" was a GREAT find though...



Oh wow, I have to disagree with you. The song is 100% Atlantic Starr, a ballad very much in the style of their biggest hits, I don't know where the anomaly is. The first single, Love crazy, is much more r&b, so I can see why it wasn't a pop hit (it went top 10 r&b). Masterpiece is a much more top40 friendly track, and radio fell for it instantly. The song opened at #35 because it was sent to radio a few weeks earlier, and it was already top 20 on airplay when the single was released, that's why. I think it's a fantastic song 🤷‍♂️
 
A hip-hop act I was not that familiar with but have heard mentioned over the years is Black Sheep, and this pops up this month:



Two reasons Black Sheep have crossed my path by name only before: one, they're affiliated with the Native Tongues collective with ATCQ, De La Soul, Queen Latifah, Fugees, and so on. Two, because they are very highly regarded in early hip-hop. Despite being a bit familiar to my ears, I clearly stepped over this as a possible favourite many times over the years - with over 50m streams on Spotify (big for a rap song from 1991) and FILLED with references that have been used by other rap acts since - maybe @old spice or @alla could confirm whether the "engine engine number 9... pick it up pick it up" in this song, which has been used SO OFTEN over the years, is possibly the ORIGINAL incarnation of it...?



I have literally no idea, sorry. I only know this song because I remember watching the video and saying WOW, some visual effects were amazing for 1992. I remember I taped the video, and years later watched it frame by frame, to learn how to edit and stuff.
 
I have the album (and 7", 12", cd single), never thought of her as an obscure act! But she probably is; I still play it a lot, and the follow up You've got a way, that probably made the AC chart.

Btw, the best version of the song is the Hot radio mix, that was the one played on the radio; much better than the album version IMO. Of course it's not on Spotify :rolleyes:




Omg that dance remix is gorgeous!
 
Oh wow, I have to disagree with you. The song is 100% Atlantic Starr, a ballad very much in the style of their biggest hits, I don't know where the anomaly is. The first single, Love crazy, is much more r&b, so I can see why it wasn't a pop hit (it went top 10 r&b). Masterpiece is a much more top40 friendly track, and radio fell for it instantly. The song opened at #35 because it was sent to radio a few weeks earlier, and it was already top 20 on airplay when the single was released, that's why. I think it's a fantastic song 🤷‍♂️

The anomaly was more in that chart performance vs the rest of their career really - not the song. I don’t love the song but I don’t hate it either. They just seemed to come out of nowhere after disappearing after 1987 and then disappearing again shortly after. Yes they had minor R&B hits before and after but this song was seemingly MASSIVE. i guess it’s mostly because I don’t know it at all and didn’t know they were even still an act in the 90s… they did nothing in the UK after 87.
 
Shanice is just wonderful. I felt she had the voice & charisma to do more, but this was her only UK top 40 hit, coming within one place of number 1.

I’ll get into Shanice more as the year goes on. There’s probably more to her to discover from stateside activity but her immediate follow up hits after this are… interesting.
 
The anomaly was more in that chart performance vs the rest of their career really - not the song. I don’t love the song but I don’t hate it either. They just seemed to come out of nowhere after disappearing after 1987 and then disappearing again shortly after. Yes they had minor R&B hits before and after but this song was seemingly MASSIVE. i guess it’s mostly because I don’t know it at all and didn’t know they were even still an act in the 90s… they did nothing in the UK after 87.
I know what you mean, sometimes there are come backs, out of nowhere, and you wonder why that one and not many other ones. Surface reaching #1 in 1991 is another example.

And if we talk about anomalies, this is one:

#1s
US​
UK​
Feb-1George & Elton - Don't Let The Sun... (1)Wet Wet Wet - Goodnight Girl (2)


This hit #1 by miracle, as it was #5 in both airplay and sales (it would peak as high as #4 in both charts), but those singles higher on sales were doing worse on airplay, and viceversa. This was very unusual until now, but since Soundscan we're going to see sales and airplay disassociate more and more.
 
About Shanice, I think her album had a lot more potential for hit singles, but it was all a hot mess. I remember the annoncement of a single that was never released, and really odd choices that didn't give her another big hit. I totally believe this was the record company's fault, something that wasn't unusual.
 
Shanice has some great songs but it always felt like the label didn’t know how to utilize her correctly.

Right Said Fred IS a weird one because it somehow appealed to EVERYONE at school. Jocks, stoners, nerds, cheerleaders. The entire campus loved that damn song. It got played constantly at the local teenage pool hall to the point of nausea.

Make It Happen is a fave Mariah song for me
 
70 — JUSTIFIED AND ANCIENT –•– The KLF Featuring Tammy Wynette

now THIS is a masterpiece :D my love of this song is ridiculous but as a country kid that grew up listening to Tammy, this was wild to see her on MTV and on the radio with a song like this

Tammy said “Mu Mu Land looks a lot more interesting than Tennessee… But I wouldn’t want to live there.”
 
Make it Happen was considered the downfall of Mariah at the time. It was her first US single to miss the top two, but after the predecessor (Can’t Let Go) was the first to miss the top spot.

It was what caused Sony to abandon the album after just three singles and move to MTV Unplugged, which obviously gave us I’ll Be There and a megahit #1 again. It’s a shame because Emotions has so much more that could have crossed over…
 
Shanice has some great songs but it always felt like the label didn’t know how to utilize her correctly.

I believe that's exactly what happened, it was a mess.

Right Said Fred IS a weird one because it somehow appealed to EVERYONE at school. Jocks, stoners, nerds, cheerleaders. The entire campus loved that damn song. It got played constantly at the local teenage pool hall to the point of nausea.

The song is catchy as hell, but the marketing had a lot to do with it too. The cover of the single says "pick me" when you were going to buy a single.

ImTooSexy.jpg


Make It Happen is a fave Mariah song for me

Same. You know, on Radio & Records (R&R), the other big chart published back then, both Can't let go and Make it happen went to #1 (a chart heavily based on airplay; both singles had peaked at #2 on airplay in the Billboard chart). The first Mariah single that didn't reach number one there? Without you, spend weeks and weeks at #2, unable to dethrone what woulb be the #1 song of the year: Ace of Base's The Sign.
 
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This single review was published on Billboard in the last number of Jan '92, but that didn't help these energetic girls to chart anywhere, not that I'm aware. Yes, this sounds like a cheap Salt'n'Pepa song, but you can't go wrong with a name like The Get Fresh Girls :disco:



anBlZw.jpeg



 
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Make It Happen live in any form is so much better than the album version.

Despite the love from seemingly everyone else, Justified & Ancient never clicked with me. I actively disliked it for a long time. Now I can just take or leave it.
 
God that Right Said Fred single cover is a nostalgia kick :D

I didn’t have it but you saw it everywhere for about a year
 
Make it Happen was considered the downfall of Mariah at the time. It was her first US single to miss the top two, but after the predecessor (Can’t Let Go) was the first to miss the top spot.

It was what caused Sony to abandon the album after just three singles and move to MTV Unplugged, which obviously gave us I’ll Be There and a megahit #1 again. It’s a shame because Emotions has so much more that could have crossed over…

It would be somewhat unfair considering that she had a run of about 6 #1s, and top 5 was considered a flop. Nobody can sustain that level forever. She was also entering a new territory where the chart was becoming less dynamic and much harder to bounce up the chart and hit number one for a week.

Make It Happen also feels decidedly MIDTEMPO compared to her other dance radio hits. Did it have good remixes? I can’t remember with this one.

It’s still a bop, mind.

Personally I think Emotions is her weaker 90s album. That said, it’s still very good.
 
70 — JUSTIFIED AND ANCIENT –•– The KLF Featuring Tammy Wynette

now THIS is a masterpiece :D my love of this song is ridiculous but as a country kid that grew up listening to Tammy, this was wild to see her on MTV and on the radio with a song like this

Tammy said “Mu Mu Land looks a lot more interesting than Tennessee… But I wouldn’t want to live there.”

It’s SUCH a tune. I forgot to mention it actually. Shouldn’t work but really does!
 
Jumping ahead but some of Shanice’s follow ups are quite awful, can’t quite remember which is which as I’ve already listened to some of them (I’m a bit ahead listening to the tunes)

There’s one though where she shows her chops off and can quite clearly sing. I do think the single choices were wrong either way and I’m curious what else the album had to offer or whether she was a typical label rush job after a surprise debut megahit …
 
I love Saving Forever For You from the 90210 soundtrack which I think did pretty well. I don’t. think she’s really had much chart success. She seems to stay consistently busy though.
 
It would be somewhat unfair considering that she had a run of about 6 #1s, and top 5 was considered a flop. Nobody can sustain that level forever. She was also entering a new territory where the chart was becoming less dynamic and much harder to bounce up the chart and hit number one for a week.

Make It Happen also feels decidedly MIDTEMPO compared to her other dance radio hits. Did it have good remixes? I can’t remember with this one.

It’s still a bop, mind.

Personally I think Emotions is her weaker 90s album. That said, it’s still very good.

Of course it was unfair, but welcome to Sony in 1991/92! :D You do make a good point, though- the charts were more about longevity rather than peaks by this point- but MIH was released as a safe choice after the album had begun to tank. I say “tank”, it wasn’t a disaster, but it was a massive step down from the debut and I remember lots of talk about her being a one- album wonder as a result.

There’s a good C&C remix of Make It Happen, but nothing on the level with the later Morales mixes.

I actually love Emotions, but its main issue is the oft repeated issue of trying to recreate the magic of a debut in a super quick time. They promoted the hell out of the debut, so when was time found to write and record Emotions, considering it came out without a break at all? Or was it leftover tracks given a polish up and thrown out supposedly to maintain momentum?
 
It IS very similar to the debut album so the latter theory is possible. If it is then they certainly did polish it up very nicely. It does feel finished - just more of the same.

The highlight of the album for me is "If It's Over" - but let's face it, it's not a single (it definitely doesn't fit the upbeat-dance-bop-or-power-ballad template that she and so many of her ilk followed in the early 90s) and anyway, the Unplugged version is MUCH better, rendering the Emotions version now pointless. That doesn't help the album's status with me either!
 
A quick (and late) intermission to recap 1991 with my top ten singles and albums based on all this (re)discovery. Prince gets the double win this year.

Umm, I thought you were meant to be my fellow Tribe stan round here @funky ? :( Please explain why you'd wish to puncture my already-maimed heart by snubbing them from 1991's top tens. Despite your cruelty, I thank you for introducing me to the Driza Bone, Sounds of Blackness, and K-Klass tunes. And I will readily admit that I LOVE a sexy list - I hope you won't mind if I show you mine given how you've got yours on permanent display up there!

  1. 'Unfinished Sympathy' -- Massive Attack
  2. 'Mind Playing Tricks on Me' -- Geto Boys
  3. 'Losing My Religion' -- R.E.M.
  4. 'Gett Off' -- Prince
  5. 'One' -- U2
  6. 'Justified & Ancient' -- The KLF ft. Tammy Wynette
  7. 'Scenario' -- A Tribe Called Quest
  8. 'When You Sleep' -- My Bloody Valentine
  9. 'Smells Like Teen Spirit' -- Nirvana
  10. 'Hit' -- The Sugarcubes
I struggle to find ten great albums this year, so I'll nominate five à la some wretched awards show:
  • Achtung Baby -- U2 [runner-up]
  • Blue Lines -- Massive Attack
  • Loveless -- My Bloody Valentine
  • The Low End Theory -- A Tribe Called Quest [WINNER]
  • The White Room -- The KLF
I recall liking Screamadelica a fair bit too, but it's not something I ever return to. Pixies, Public Enemy, De La Soul, and Prince released albums I can appreciate but which are a notch or few below their peaks imo. Nevermind is probably on a par with those.

One last line of query about 1991's lists: I'm fairly sure that earlier in the thread, you stated that 'Unfinished Sympathy' was one of the greatest songs of all time (I recall seconding that emotion). Does it follow that you'd say the same for 'Diamonds and Pearls'? And does this mean that this is your favourite song by His Purple Majesty? :o

Moving on, and sorry to be so painfully me, but 'The Choice Is Yours' is clearly THE discovery from 1992's linked tracks. :disco: I wish I could provide some 'on-the-New-York-transit-liiine' background but nope - I'd no knowledge of Black Sheep prior to today, and I once again find myself grateful for this overdue education. I've shared this one with friends in my 'real world' orbit already! From the other links, I also really like 'Dream Come True' and 'Everything Changes'. The former is by a name that I definitely recognise but couldn't name a single song by, and the latter is the kind of 'big vocal power pop' that I'm happy to get on board with. Sadly, a name like KATHY TROCCOLI was never one that was ripe for stardom in our world, eh. :( (I'm adamant that it should be pronounced like broccoli.)

Weirdly enough, I have lukewarm to genuine affection for all the number ones on both sides of the pond this month. Come at me! And:
The song is catchy as hell, but the marketing had a lot to do with it too. The cover of the single says "pick me" when you were going to buy a single.

ImTooSexy.jpg
Omg alla, your sharing this has just triggered an old memory that explains why I associate this song with childhood!!! I have a vivid recollection of seeing THOSE LIPS and THAT TITLE on a kid-sized mustard-coloured tee as like, a five-year-old or sth, and deciding that I HAD TO HAVE IT! Unfortunately for me, my prudish, conservative mother (who was 25 at the time so go figure :rolleyes: ) put her foot down. I can't recall if it led to one of the tantrums that I was prone to throwing at that age, but I do recall that some time later, my next-door neighbour - who was the same age as me - came round sporting that SAME BLOODY T-SHIRT, much to my chagrin. Ugh!! Something else to add to the list of reasons to never forgive my parents. (Also why the hell they were printing this single cover on t-shirts designed for children!!!)

Anyway, scanning the new entries, I'd like to shout-out one of hip-hop's finest.



'Know the Ledge' apparently only peaks at #96 which would honestly be an act worthy of prosecution by the ICC unto itself, but then you factor in that second single and title track from the parent album 'Don't Sweat the Technique' doesn't even chart AT ALL and, just... ugh. I will never cease to be gobsmacked by the commercial underperformance of so many of hip-hop's golden age 🐐s.

I'll also note the arrival of these ladies:



Sorry to be so painfully me again, but I don't care much for their biggest hits - 'Creep' excepted because damn - and I don't love their second album unlike many other R&B fans. I do, however, enjoy the 'rough around the edges' playfulness of their early efforts, as well as the more hip-hop-influenced production style. This is a fun debut, and I think my other big fave by them should be coming up very soon.

Finally, I've randomly been playing Mr. Jimmy Ruffin's 'What Becomes of the Brokenhearted' a lot this week, so it's fun to see the song pop up in this thread - albeit in a form that I will politely refrain from commenting upon!
 
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It IS very similar to the debut album so the latter theory is possible. If it is then they certainly did polish it up very nicely. It does feel finished - just more of the same.

The highlight of the album for me is "If It's Over" - but let's face it, it's not a single (it definitely doesn't fit the upbeat-dance-bop-or-power-ballad template that she and so many of her ilk followed in the early 90s) and anyway, the Unplugged version is MUCH better, rendering the Emotions version now pointless. That doesn't help the album's status with me either!

I love everything. You’re So Cold, which could have been remixed as a single, was at one point the first single but it never even made it out.

If It’s Over, Til The End of Time and The Wind I love but none were singles.

Edit: just read up on Wiki. Definitely not leftovers- I had forgotten she’d fallen out with the guy she wrote the first album with, so it’s probably just a case of new people trying to recreate the magic and missing the mark.
 
That's quite a memory, @old spice! And confirms my theory that the idea behind that logo was in part responsible of the success of the single. I'm too sexy peaked at #8 on airplay in the US, which is not bad for such a novelty song, but it was #1 on sales for SEVEN weeks. Everyone wanted to have those lips.
 
Umm, I thought you were meant to be my fellow Tribe stan round here @funky ? :( Please explain why you'd wish to puncture my already-maimed heart by snubbing them from 1991's top tens. Despite your cruelty, I thank you for introducing me to the Driza Bone, Sounds of Blackness, and K-Klass tunes. And I will readily admit that I LOVE a sexy list - I hope you won't mind if I show you mine given how you've got yours on permanent display up there!

Oh FFS :nononono:

The problem is there is just too many songs, artists and albums to remember so I was using Spotify as a reference - as I'm going back and listening, I'm moving songs into different playlists (backed up by a very un-scientifc excel list) so I can go back and remind myself of what came out when. Albums I haven't been following for the US,just the singles chart, so I was going by the UK and I don't think The Low End Theory charted here on release? I don't have it listed anywhere under 1991 anyway. Also, the singles IIRC don't chart until 1992. So THAT'S MY EXCUSE.

Here's where it gets complicated though - Low End Theory is only my THIRD favourite Tribe album after the debut and Midnight Marauders. Actually I flick between them all depending on my mood, and I can objectively get on board with it being the most accomplished (who am I to argue with the music industry given how acclaimed it is) but that's why it wouldn't replace Prince at the top anyway. I'd probably put it at #3 after Massive Attack. STILL AMAZING.

One last line of query about 1991's lists: I'm fairly sure that earlier in the thread, you stated that 'Unfinished Sympathy' was one of the greatest songs of all time (I recall seconding that emotion). Does it follow that you'd say the same for 'Diamonds and Pearls'? And does this mean that this is your favourite song by His Purple Majesty? :o

And yes, my love for this era of Prince is unparallelled. Personally, I'm not exactly a fair perspective; I prefer 90s Madonna to 80s Madonna, same with Michael Jackson, Janet, Whitney, George Michael... I'm just a 90s guy through and through and you'll see this more and more as we go on. I LOVE all the 80s stuff from them all, don't get me wrong. But the combination of Prince moving into 90s R&B, embracing commercialism again with accessible pop songs, and pure nostalgia, D&P is my favourite Prince album ever. And as for the song - I flit between "D&P", "Sign O The Times" and "Purple Rain" depending on my mood. And he's my favourite artist of all time. So yes, it's right up there!-
 
Also I can't actually BELIEVE I missed the TLC debut, so I shall cover this in DETAIL in the next month :disco:
 
Also I encourage others to share their Top Tens of the year if they have them :disco:
 
Also - I've found the original incarnation of Engine Engine Number 9 :D



Was a country hit in 1965 :david:

Apparently it was turned into famous American nursey rhyme, which is where Black Sheep lifted it. It was more famously used by Fatman Scoop obviously, but referenced many other times.
 
Btw, R*S*F recorded I'm too sexy in both Spanish and Italian; it's one of the most horrifying things I've ever heard. I wonder why they do this, they would never play that version on the radio in those countries, it's painful.
 
MARCH 1992

#1s



US​
UK​
Mar-7Mr Big - To Be With You (2)Shakespear's Sister - Stay (3)
Mar-14Mr Big - To Be With You (3)Shakespear's Sister - Stay (4)
Mar-21Vanessa Williams - Save The Best For Last (1)Shakespear's Sister - Stay (5)
Mar-28Vanessa Williams - Save The Best For Last (2)Shakespear's Sister - Stay (6)

During the 3 weeeks that Mr Big claimed the top spot it was difficult to see what would eventually replace it as Right Said Fred was still doing big business at #2 for its run, refusing to budge. It would prevent Michael Jackson from another #1 or even hitting #2 with "Remember The Time", his second single from Dangerous, having to settle for #3 for a couple of weeks before being leapfrogged by Vanessa Williams who ascends for a 5 week run at the top. He would also be replaced by Eric Clapton's "Tears In Heaven" which climbs to #2 by the end of the month. This was a relative dip for MJ, who had managed at least two opening #1s from his three last world-dominating albums (including five from Bad). In fact "Black Or White" would be his only #1 from this album, and of the seven singles released, only four would go Top 10.

An early indication of how the chart was changing when it came to crossover singles was the Tevin Campbell ballad "Tell Me What You Want To Do"



The third singles from the R&B singer's debut album would be his first Top 10 and would peak at #6. But the song went gold, and it's largely due to its staying power. It began the year at #28 in its 9th week on the chart. Prior to the chart change it seems the trajectory for most songs to peak would be about 8 to 9 weeks, but this song continued on, going 28-17-16-12-10-7-7-6-9-8-14-15-23-32-34 and exiting the Top 40 in its 25th week. These runs would start to become more commonplace in the 90s and many songs would have huge success without hitting the Top 5. As it happened, it managed just one week in the UK chart, at #63.

Moopy Lesbian Legend Amy Grant peaks at #8 with "Good For Me", and as amusing as the story about the video is, maybe there is some truth to the scandal of it all, because this would be her last Top 10 hit ever. She would manage one more hit from this album later in the year.

Seeing as I missed it last month, let's give some props to the debut of TLC with:



This would be the first of 4 singles from their debut album, kicking off an incredible decade for the classic R&B group. This would peak at #6 and the album would enjoy 3 Top Ten singles. The album would go 4x platinum, which would end up being the LEAST successful of their three 90s albums. I have to say that I have NO memory of TLC in 1992. I don't know why, I loved Salt n Pepa and I was enjoying En Vogue and other R&B acts in 1992. I was surprised to see that this actually managed #13 in the UK (the follow up singles flopped however). It wasn't until the mid 90s that the UK - and myself - caught the TLC bug.

Over in the UK, Primal Scream were having their biggest hit to date with "Movin On Up" from their third and signature album Screamadelica:



Boosted by the lead single "Loaded" in 1991 which hit #16 but crossed over in a big way with the younger market as the song built off the Madchester / Second Summer Of Love movement and was a staple in Ibiza and UK clubs. Three follow up singles stalled but this track hit #11 in March, helping the album go 2x Platinum. I'm surprised to see that this song has also surpassed "Loaded" as their enduring hit - doing more than twice the number of streams on Spotify. I love both tracks, but "Loaded" is the one I associate with this era.

The UK was about to hit a period of rave-influenced electronica, and this gorgeous track by Opus III hit #5 (and went to #1 on US Dance)



They didn't do much after this but did release two albums, which I've never really investigated.

Dance music in the UK was definitely going through a transition in 1992, and there was a significant drop off after the phase-out of italo house and would begin to be replaced by a more commercial sound as the labels looked to cash in and help it cross over to a wider audience. But US house was enduring and 1992 saw the emergence of Degrees Of Motion:



This peaked at #31, and even scraped the US chart, but probably isn't the version that most people are familiar with. In fact Degrees Of Motion would have a prolific decade on the back of just 2 songs; this track in particular would be remixed and re-released a further 3 times in 1992, 1994 and 1996, but that to come later. The song is already a cover in itself, from Siedah Garrett, and previously covered by Taylor Dayne. Whichever version you prefer, it's a certified club classic.

Discoveries:

And a GOLDEN BUZZER DISCOVERY for the BOSS! 🥇



This opened big for Bruce Springsteen at #29 as a Double-A with "Better Things", and was the lead single and title track from his tenth album. It would peak at #16 (UK #11) but I have absolutely no memory of it. I was never exposed to, nor bothered with, Bruce for most of my life, and it's really only the revival of the heartland rock sound in recent years that he has gained my attention. I was hoping to get some education doing this but BY GOD, I wasn't expecting him to make this much impact. This is my most listened to song of 2025 so far. Obsessed, and I do encourage other Bruce fans to recommend more tracks of this ilk. This is soulful, rootsy, euphoric rock music and I love it!

This month also produced three male R&B discoveries which are all GREAT!





Joe Public are an R&B boyband that had a HUGE hit with this peaking at #4 (UK #43) but the follow ups were minor hits and the follow up album flopped. Chris Walker was primarily a producer but also released solo music, his first album being an R&B hit and most successful, with this single reaching #29 (nothing in UK). Geoffrey Williams was part of the late 80s/90s UK soul movement, and you can hear it in his more jazzy, funky sound. This album alas is not on Spotify - the song went to #70 in the US and #63 in the UK.

Now this next track from Jody Watley I really LOVE!



Pop-house was becoming increasingly popular among R&B acts, and this really lands for me - even though it's quite low key for a dance track. This would be the hit from her third album after the lead single stalled, peaking at #19 (uk #50). It would also be her last significant hit.
 
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MARCH 1992 (continued)



In the UK, we have another GOLDEN BUZZER DISCOVERY 🥇



This was a major lockdown discovery - I can't find anything about Ruth Joy online but OCC tells me that this track went to #67 at the end of February. Thankfully it has since popped up on Spotify on a random compilation album. Another Soul II Soul influenced track, this is a very deep and jazzy production with a soft, sensual vocal. I could listen to this vibe all day long.

Curious if anyone is familiar with this lady...



This went to #39 in the UK, in a bit of a comeback after having some success in the mid 70s. It's a lovely, rousing orchestral folk number, that grew on me with repeated listens. There's an amusing story on Wiki about her spending her career claiming to be of indigenous Canadian heritage, possibly to reinforce her folksy music and thematic songwriting of mysticism and religion. But it turns out she's actually Italian-American :D

:Santos:

Anyway I DIGRESS, the song is good...

Rare find Tracie Spencer releases another nice track this month - a jazzy, pop-soul number:



The last single from her second album, this would reach #48. She'd actually see further success in 1999 with a third album, so looking forward to covering that.

Notable chart entries (US):

March 7

73 — I’M THE ONE YOU NEED –•– Jody Watley
87 — ALL WOMAN –•– Lisa Stansfield
89 — POOR GEORGIE –•– MC Lyte
94 — DO YOU WANT IT RIGHT NOW –•– Degrees Of Motion
97 — ONLY LOVE CAN BREAK YOUR HEART –•– Saint Etienne
98 — YOU’RE ALL THAT MATTERS TO ME –•– Curtis Stigers

March 14

63 — LIVE AND LEARN –•– Joe Public
69 — DO NOT PASS ME BY –•– Hammer
71 — TAKE TIME –•– Chris Walker
73 — THOUGHT I’D DIED AND GONE TO HEAVEN –•– Bryan Adams
76 — ONE –•– U2
93 — SHE’S GOT THAT VIBE –•– R. Kelly
96 — IT’S OVER NOW –•– L.A. Guns

March 21

29 — HUMAN TOUCH / BETTER DAYS –•– Bruce Springsteen
76 — COME AS YOU ARE –•– Nirvana
77 — MY LOVIN’ (YOU’RE NEVER GONNA GET IT) –•– En Vogue
81 — BOHEMIAN RHAPSODY –•– Queen
96 — IT’S NOT A LOVE THING –•– Geoffrey Williams

March 28

85 — NOTHING ELSE MATTERS –•– Metallica
87 — LOVE ME –•– Tracie Spencer
88 — THIS IS THE LAST TIME –•– Laura Enea
90 — MONEY DON’T MATTER 2 NIGHT –•– Prince
100 — KILLER –•– Seal

There's just so much happening in music in this era!

Lisa Stansfield continues her US success with another hit. Peaking at #56, it would however be her 3rd R&B #1, unheard of for a white artist, let alone a British one. It hit #20 in the UK where the album would eventually go 2x platinum, and went gold in the US.

Rap legend and pioneer MC Lyte gets her first Hot 100 hit with "Georgie Porgie", peaking at #83 and was a big crossover for her, going R&B #11 and Rap #1.

Saint Etienne win this month's "a success in the US?" award...

U2 come through with their third single from Achtung Baby and solidifies the enduring success of that album. This would be their 5th Top Ten single peaking at #10 (UK #7) but would over time emerge as one of their signature songs. It has been covered countless times, possibly most famously by Mary J Blige, but there is a gorgeous cover coming up in the mid 90s by a UK singer that I will hopefully cover...

"She's Got That Vibe" is an interesting release as this is a rare instance where an American R&B artist has moderate success in the US but is massively overshadowed by its success in the UK. This was R Kelly's first hit, peaking at #59 and #7 on R&B. But in the UK this was a huge hit, peaking at #3, and unlike TLC (as I mentiond earlier) and other R&B acts of the time, R Kelly IS someone I remember from this far back, as this song was everywhere. He wouldn't have another hit in the UK for a couple of years however, while his US fame grew.

"Come As You Are" must have been a highly anticipated follow up for Nirvana. This peaks at #32 in the US and #9 in the UK. Interestinly, the song has since been certified 5x platinum in the US, which must be quite rare for a song that never made the Top 30.

Speaking of highly anticipated, En Vogue return with their lead single from their 2nd album.



Immediately proving their early success was not a blip, this ticked every box as an R&B club anthem and radio hit. It went Top Ten in many markets, including #2 in the US and #4 in the UK. Their wiki doesn't list any other chart success but I have to imagine this did very well on R&B ( @alla ). En Vogue would also develop a reputation at just missing the top spot in America - 3 of their singles would hit #2 and would all come very close but to no avail. I'll cover their near miss with this record in a couple of months.

"Bohemian Rhapsody" by Queen was re-released in the UK after Freddie Mercury's death in late 1991 and became a mega hit (again). It would also be re-released in the US, but moreso due to a coincidentally-timed and mightily-impactful inclusion in the Wayne's World soundtrack. After peaking at #9 in 1975 (despite being a #1 hit almost everywhere else) it does better this time around, peaking at #2.

Metallica continue the global takeover of their 5th album with a third single and one of their most enduring songs, "Nothing Else Matters". This would peak at #34 (UK #6).

I included that little known Laura Enea song as it's another rare freestyle track that some might like.

Prince would continue his success from the Diamonds & Pearls album with a 4th single and the great ballad "Money Don't Matter 2Night", reaching #23 (UK #19). I've often wondered why "Insatiable" wasn't the official 4th single / token ballad from this album, but it did have a limited run in 1991 and perhaps too similar to some of his signature 80s ballads. "Money.." is also a bit more radio friendly. It's an incredible run of singles and there was still one more to come (in the UK at least).

And finally, Seal makes a fleeting visit to the chart with his solo version of the Adamski classic "Killer" that kickstarted his career. His debut album was a drawn out process with singles being released over more than 2 years. "Crazy" reached #7 and he had five hit singles in the UK from the album, but this was the only other 'hit' in the US and it managed one week at #100. Seal didn't need to worry though, the US would embrace him much more in a few years.
 
^ Ruth Joy was the vocalist on Krush’s big late 80s hit House Arrest but the transition to solo star didn’t happen for her.
 
Oh I can hear it now you’ve said it!

I unearthed a couple of other songs that were minor hits but haven’t listened to them yet…
 
My lovin' was #1 r&b for 2 weeks in no time. I remember an article about how it was played in every r&b radio station that was monitored but one, that played AC r&b songs and was reluctant to play a non ballad :square:
 

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