| This |
Tot
wks |
| Peak |
| Number One |
| 1 |
9 |
| MY HEART WILL GO ON |
Titanic OST |
| Celine Dion (wk 4) |
|
1 |
| The most expensive movie in the history of the world spawned a number of spin-off industries. One is spot the factual error that the massive $200 million should have avoided. Another is wonder if the film, soundtrack album and lead single can all top their respective charts at the same time; so far, the answer is no, and as the album is now out of the top 3, it may never happen. And yet another is wonder why a poor ballad that isn't as good as much of Celine's work can somehow rise above all contenders and top the chart for a second month. While popular, this song is no great shakes, and sounds like nothing other than a cola commercial. If you're looking for a decent single release from the album, let me recommend "Southampton", a catchy ditty that a) doesn't feature any proper vocals, just Sissel's aaah-ing, b) doesn't have Celine all over it, and c) shouldn't have any of the wooden dialogue from the film slapped over its top.
|
| 2 |
5 |
| STOP! |
Spiceworld |
| Spice Girls |
|
1 |
| And then there were seven. The group who started their career with four number one singles in nine months have now lifted three singles from their second album and sent the lot to the top. This becomes a record to put them a clear second in the runs of Number Ones stakes, behind only 11 in a row for the Beatles. In its way, this single crosses a sixties, Motown atmosphere, with that from a Eurosong entry. Let's not forget, this is from an album that many critics dismissed as a flop.
|
| 3 |
6 |
| FROZEN |
Ray of Light |
| Madonna |
|
1 |
| Finally, the Queen of Pop returns. It's 14 years since she first entered the UK music scene with the catchy bubblegum hit "Holiday". Through the mid-80s the hits flowed in a way we've not seen since - five classic number ones in the space of just two years turned her from a one-time dancer to the biggest pop act on the planet. But since 1989's stupendous Like a Prayer album, and the following year's Immacculate Collection, Madonna's star has been in a slow decline. 1992's Erotica was a poor album by her standards, while 1994's Bedtime Stories, although a masterpiece, fell through the critical floor. Now, after a stopgap collection of ballads, and the birth of child Lourdes, Madonna returns. And she's gone all spiritual on us. A tv rendition of this single looked like a cross between Tori Amos, Kate Bush and a wind tunnel. The song itself is a marvellous sheer ice sheet, immense in its stucture, almost forbidding in its coldness, and a thing of fragile beauty to behold. Or, to summarise, it's great. The best thing she's done since "Like a prayer" the single, and her first chart topper in over seven years. The Righteous Brothers, Diana Ross, the Bee Gees and Cliff Richard are the only acts to have waited longer between list leaders. |
| 4 |
4 |
| IT'S LIKE THAT |
|
| Run DMC -vs- Jason Nevins |
|
2 |
| Back in 1986, rap singles were still very much a novelty. One of the first to make a significant dent on the charts was by two American acts; Run DMC uniting with Aerosmith on the famous "Walk this way". Although the three-piece kept a small cult following, and were the first act to use a Stone Roses track to rap over, they never returned to anything like those levels of fame. Until now, with a record that crosses over all boundaries by the simple dint of having something no-one can quite put their fingers on. It may be the production skills of Jason Nevins, a New York DJ who has turned their 1984 demo into a contemporary smash, or maybe its the intrinsic quality. This has been the best selling single for the past month, but loses marks as very few radio stations have been featuring it. |
| 5 |
7 |
| TRULY MADLY DEEPLY |
Savage Garden |
| Savage Garden |
|
4 |
| After the sizable hit "I want you" last June, it looked as though Savage Garden were going to fall into that worst of all camps, a one-hit wonder that should have broken big. The fourth release from their UK debut album provided the top 10 entry they threatened those months ago. It's a soft, plaintive ballad that's already been massive across the developed world, and ends its travels by becoming a long-lasting hit in the UK. Although the initial timing was poor, this song has continued to prove very popular for nearly two months, and may yet rise higher. |
| February's Single Of The Month |
| 6 |
9 |
| BRIMFUL OF ASHA |
When I was Born for the 7th Time |
| Cornershop |
|
1 |
| Back in 1992, the music press heralded this two-piece as the great hopes of British music. Above everything, they were totally politically correct; of Asian extraction, railing against racism and other forms of disadvantage. Sadly, the pair suffered from a debut album disadvantaged by its being almost unlistenable; after that, the inkies atoned for their mistake by ignoring the group to death. Until Norman Cook came along and remixed a single from their fifth album. It did nothing first time round in Britain, but has already been sizy in the US and continental markets. This track - now almost 50% faster, but with no other significant change - has more hooks than a fishing tournament, and radio has finally been falling over itself to play the track. Buyers also like it a lot. |
| Sureshot |
| 7 |
5 |
| BIG MISTAKE |
Left of the Middle |
| Natalie Imbruglia |
|
2 |
| Question: How to follow one of the classiest singles of the last part of last year, and one that is still doing the rounds fully five months later. In Natalie's case, it's done by turning into someone who sounds a little like Alanis Morissette, albeit with a little more tune, and a touch less venom. This single points out that going down on one's knees to a former lover is not a good idea, and makes a wonderful sound while doing it. It's not turned into the biggest hit, but it's still a substantial one. |
| Single Of The Month |
| 8 |
6 |
| HOW DO I LIVE |
You Light Up My Life |
| Leann Rimes |
|
7 |
| The 15 year old American country sensation becomes the biggest act best described as country for a very long time. Leann has broken through with an absolutely wonderful record that has already been on British radio lists for a month, and is still growing quickly. It could yet emulate its US success and stay there for over six months. It's a brilliant song. It's worth noting that she was booked to appear on Britain's Lottery Draw show, but couldn't fulfil the booking as rules prevent under-16s being associated with gambling. |
| 9 |
18 |
| ANGELS |
Life Thru a Lens |
| Robbie Williams |
|
3 |
| Alarmingly, it's the fifth single from his debut album, but the first to be much cop. A sweet, touching ballad with a chorus that sounds a lot like a tampon commercial (!), Williams has finally proven that he can write songs as well as his erstwhile Take That colleague, Gary Barlow, and has now outsold every Barlow composition by quite some distance. Rather than fading away in the new year, this song continued to press its claim to a Number One position well into February, a claim helped by his performance with Tom Jones at the Brit awards. This makes interesting listening, as the radio edit features the sound of sleigh bells, and the b-side is a Christmas spoof entitled Walk This Sleigh. It got some spins in December, but felt more than a little out of place in March. |
| 10 |
21 |
| NEVER EVER |
All Saints |
| All Saints |
| 1 |
| The second single off the 4-piece girl band's debut album took nine weeks to climb to the top slot, selling an unprecedented 750,000 copies before getting there. The follow-up, a cover of the Red Hot Chili Peppers' "Under the Bridge" was due for release in mid January, but has now been put back till April 20, as the single still sold well almost five months after first release. Probably the closest thing to a half-British half-Canadian En Vouge, All Saints have a bright future ahead of them. |
| 11 |
6 |
| THE BALLAD OF TOM JONES |
Tin Planet |
| Space |
|
6 |
| A highly bizarre record brings together the talents of Space with those of Cerys Matthews, lead singer with Catatonia. It's a plaintive song about a feuding couple who found some form of solace in the recordings of legendary Welsh singer Tom Jones. Every possible cliche is packed into the lyrics of this sweet song, which does work on two levels. For foreign consumption, it's a wonderful, soaring track, that plays both vocalists to their full extent. For British listeners, it's a humourous take on the mad legends that have grown up around a baritone from the valleys. Brilliant every which way. |
| 12 |
18 |
| TOGETHER AGAIN |
The Velvet Rope |
| Janet Jackson |
|
4 |
| The second single from Janet's fourth studio album, "Together again" is an funk workout remarkable only for its longevity. |
| 13 |
16 |
| HIGH |
Postcards from Heaven |
| Lighthouse Family |
|
2 |
| The second single from their second album, and quite possibly the best thing they've ever done. A swooping, soaring vocal, underpinned by a string arrangement even more lush than usual contribute to a wonderful, magical atmosphere, and has helped keep the single riding high for many weeks. Listening to some old records, I was struck by the comparison between this act and the late 80s Liverpool stars the Christians. Both had soulful harmonies, set over wonderful arrangements. |
| 14 |
10 |
| GETTIN' JIGGY WITH IT |
Big Willy Style |
| Will Smith |
|
6 |
| After the flop of "Jus Crusin" before Christmas, Smith was looking for a more substantial single to follow up last summer's massive "Men In Black". This has given him that hit, albeit a somewhat insipid slab of rap that namechecks his first Top 10 hit, 1991's Summertime. |
| 15 |
6 |
| SHOW ME LOVE |
Robyn Is Here |
| Robyn |
|
10 |
| The Nordic invasion continues, with the perky little singer from Sweden who had a minor hit last summer with "What it takes (to love me)". Now she returns with another dance number that still is best described as perky. |
| Sureshot |
| 16 |
4 |
| SAY WHAT YOU WANT |
White on Blonde |
| Texas feat Method Man |
|
7 |
| Early in 1997, Texas suddenly started having hit singles. The sporadic hit makers - just two Top 20 hits, three years apart - began promoting their fourth album with a smash hit, "Say what you want". Over a year later, and with both single and album nominated for Brit awards, Texas teamed up with Method Man from the Wu-Tang Clan to re-make their single with a heavy rap mixing well with Sharleen Spiteri's familiar vocals, all over a sonorous string section. The result is this track; first performed on the Brits telecast, and now a hit single. |
| 17 |
5 |
| WHEN THE LIGHTS GO OUT |
|
| Five |
|
8 |
| Second single from the immensely over-hyped boy band. Someone's buying it, and Crimestoppers would like to hear from you if you know someone who has... |
| 18 |
4 |
| HERE'S WHERE THE STORY ENDS |
Always |
| Tintinout |
|
6 |
| Back in 1990, a Scottish three piece called the Sundays released an album, Reading, Writing and Arithmetic. The critics acclaimed it as a masterpiece, but very few copies were ever sold and no hit singles came from it. Now, one of the country's leading remixers take the song, re-record it in their own style, and have a big hit with it. In fairness, Tintinout has been on the verge of a massive hit for the past two years, during which time they've put out a number of neo-ambient tracks, but commercial success has eluded them till now. |
| 19 |
7 |
| YOU'RE STILL THE ONE |
Come On Over |
| Shaina Twain |
|
11 |
| This sudden influx of country singers hitting big in that most painfully hip of charts, the British. Lest we forget, there is just one country station in the UK, broadcasting on a poor AM frequency in London. But this track crossed straight onto mainstream radio, where she's viewed more as a pretty (and married) lady with a good voice. And a great track, without vocal gymnastics. There's Shania, there's Leann, and there's Daniel O'Donnell. Who next? |
| 20 |
9 |
|
2 |
| Just when we thought it was safe to go back to the music store, the most popular Danes since Claire came back. If anything, this is even more insanely catchy than "Barbie Girl" - it's bright, breezy, cheery, happy and has a delicious chorus. Unlike their previous record, I do actually like this track. Must be the added gherkins. |
| 21 |
5 |
| ANGEL STREET |
Fresco |
| M People |
|
5 |
| Saints preserve us. Single four from their fourth album, and vocalist Heather Small still hasn't learned to sing properly. This continues their run of disappointingly small hits. |
| Sureshot |
| 22 |
4 |
|
12 |
| This is one of those records that people either love or hate, with no middle ground. It's storming Europop, with a simple chorus making total power pop. Personally, I like it, even though it could so easily have been some Mediterranean country's Eurovision entry. |
| 23 |
25 |
| TORN |
Left of the Middle |
| Natalie Imbruglia |
|
1 |
| The debut single from the former Australian soap star held the top slot for the first half of November. A hard-edged ballad, "Torn" came in for some stick in January when tabloid newspapers "revealed" that a very similar arrangement of the song had already been recorded by a Norwegian act. Personally, I don't find that at all interesting, as the record is already something of a classic, and came within 20,000 of being the second record in the rock era to sell a million without hitting the top of the weekly sales chart. |
| 24 |
9 |
| YOU MAKE ME WANNA... |
My Way |
| Usher |
|
2 |
| A sizy hit for the American teen sensation, known as much for his televisual strip-tease as his music. This is the sort of visual gimmick that a good single wouldn't need. |
| 25 |
2 |
| LET ME ENTERTAIN YOU |
Life Thru a Lens |
| Robbie Williams |
|
10 |
| Even before "Angels" has run its course, Robbie lifts a sixth single from his debut album. This is one of the hardest rocking tracks on the work, and hasn't turned into any massive hit. |
| 26 |
6 |
| BE ALONE NO MORE |
|
| Another Level |
|
17 |
| It's a four piece, young, British R&B act. None of these qualities is likely to endear a single to me, although this one does have a little potential. Fans of this genre are falling over themselves to give it plaudits. |
| Sureshot |
| 27 |
2 |
|
3 |
| Hit single number four for the Belgian techno DJ, and language number four as well. Following on from the French Encore Une Fois, the Portugese Ecuador and the English Stay comes a slab of Italian Belgian house. Like their chocolates, this is a rich mixture, totally appropriate for a warm spring day just after the clocks go forward, and not for a British Easter. If things go to plan, Sash! could have his second #3 record, following the #2 peaks of his first two tracks. |
| 28 |
3 |
| NO NO NO |
Destiny's Child |
| Destiny's Child |
|
18 |
| There's not much to say about this week's highest entry. It's a lump of R&B that goes nowhere, it's by a Texan four piece, making their chart debut, and Wycleff Jean of the Fugees appears on some mixes of the track. |
| 29 |
5 |
| ALL I HAVE TO GIVE |
Backstreet's Back! |
| Backstreet Boys |
|
5 |
| The third single from their second British release is a catchy enough number, with a rather wonderful bridge. The chorus somewhat lets the song down, however, and leaving it little more than a chunk of interesting if unfilling pop. I've heard worse, but it's not as good as their last two singles. |
| 30 |
3 |
| AND THE BEAT GOES ON |
|
| All Seeing I |
|
16 |
| Another sample-laden dance hit charts, although with enough of a hook to endear it to most listeners. Personally, I find the vocals just too whiny to endure. |
| 31 |
21 |
| AIN'T THAT JUST |
|
| Lutricia McNeil |
|
5 |
| An unremarkable funk / r&b / soul single that provides the UK debut for a female singer. This radio-friendly track - somewhat over-exposed since release last November - has one hit wonder stamped over it. Enjoy it while it lasts, something that's turning more than a little ludicrous now. |
| 32 |
7 |
|
30 |
| Just when you thought it was safe to turn the radio back on again, this lot leap back out with the dull fourth single from their woefully over-rated album. This, however, becomes the first record to be a significant hit without being released as a chart qualifying single. The only format on which it could be bought was a 5000-edition 12 inch single containing five tracks. That's too many for the singles chart, though it did make the budget albums listing. It also becomes the first song to achieve major hit status without ever making a singles chart sale; a phenomenon that is very common in the US. |
| 33 |
5 |
| TREAT INFAMY |
|
| Rest Assured |
|
14 |
| In the beginning, there was "The Last Time". It was a 1965 #1 hit for the Rolling Stones. Producer Andrew "Moog" Oldham made an orchestral arrangement of the track. Fast forward to 1997, and a desperate northern band, the Verve, are looking out for a catchy hook to sling their careers onto. By chance, they find Oldham's recording, and construct a fifth-rate song around it. That song, "Bittersweet symphony", somehow propels them to megastardom, and me to sleep. Now up pops an anonymous DJ, who obtains clearance from Oldham to use the same sample on a dance record. It's one of three using the riff in the clubs, and the first to chart. It's also the only one of all the records mentioned in this paragraph to advance the frontiers of popular music in any way. It merges ambient house with ubercool indie and subdued but firm rapping. Wonderful!
|
| 34 |
3 |
| KISS THE RAIN |
Growing Pains |
| Billie Meyers |
|
9 |
| A ballad about a woman ditching an unfaithful lover is a strong airplay tip. This one proves no exception, gaining its position without a single release. Billie comes from Coventry, but her record company put it about that she was from the more upmarket area of Solihull. The Solihull Times heard this rumour, called Billie, heard she was from Coventry, and told her to go away, they weren't interested. They're like that in Solihull... |
| 35 |
3 |
| REMEMBER YOU'RE A WOMBLE |
The Greatest Wombles Album...Ever! |
| Wombles |
|
21 |
| The animated series of the Wombles, a group of small creatures who go to work tidying Wimbledon Common in South London, has recently returned to tv screens. Coming 25 years after the show's debut, there's now a sizable chunk of people - myself included - who know the programme but not the band. For when the series was first shown, composer Mike Batt and some of his friends dressed up as Wombles and had a number of massive hits. The biggest, "The Wombling Song", hung around the Top 40 for almost five months. This was the follow-up, an anthemic number littered with references to the furry friends. Look out for the Greatest Hits album over Easter. The bubble lasted two years last time out; this time, I suspect it'll all be over by Christmas. |
| 36 |
3 |
| YOUR LOVE GETS SWEETER |
Maverick A Strike |
| Finlay Quaye |
|
21 |
| Well, it's a short arrangement of a traditional song. It doesn't really win many friends, although it is somewhat more upbeat and jaunty than many of his other efforts. |
| 37 |
9 |
| MULDER AND SCULLY |
International Velvet |
| Catatonia |
|
9 |
| The third single from the Welsh band's breakthrough second album, this angst-ridden song about unrequited love has finally given them the hit they were threatening for much of the last year. And, no, it's not a geeky reference to any tawdry American show. |
| 38 |
3 |
| EVERLASTING LOVE |
|
| Casualty cast |
|
21 |
| Casualty is a BBC drama loosely based in the casualty ward of a city hospital. The 11th run of the show, the prototype for ER, ended in early March with the crew performing the Love Affair's classic song for no adequatly explored reason. For some totally unknown reason, the song was not only released as a single, but collected enough sales to launch it squarely into this listing. While it only peaks around the average for covers of this title - only Andy Gibb in 1977 returned the song to the top 10 - it becomes the third cover version to chart in the past 5 years, following versions by Worlds Apart (93) and Gloria Estefan (95). |
| 39 |
2 |
| ALL THAT MATTERS |
Woman in me |
| Louise |
|
14 |
| Like formula Jackson, comes formula Nurding. Like most of the pair's releases, this has no verse, no chorus and no hook. Nothing to sell either single or album, from which this is the third and probably final single. |
| 40 |
2 |
| MY FATHER'S EYES |
Pilgrim |
| Eric Clapton |
|
33 |
| The Codfather of rock returns with his first studio album of the decade. This first single is a tribute to the parent he never knew, and prompted a Canadian station to find that the father had passed away a few years ago. |