Sunday, 24 September 2017

Every Single UK Number 1 Single (1980-2009) - 1993

Last time we had 1992, which you can find here:

And here, we, go. 1993.

  • No Limit – 2 Unlimited – 5 weeks, February 7th to March 13th

Kicking off the year (after another bloody month of I Will Always Love You, that is) is this dance track by the Dutch Eurodance group 2 Unlimited, creators of the perennial basketball game favourite Get Ready for This. This song is far less known than that number but both numbers have quite a bit in common that give No Limit the same anthemic stadium feel to it. Most notable is the use of sampled audience cheers where you just know the audience is supposed to join in, as well as the cries from the male vocalists (“Let me say yeah!!!”) at certain points to rouse the crowd. The song itself is a pulsating bass driven dance track that’s guaranteed at some points to get you moving at least a bit and is a strong earworm of a number. What brings it down though are the intrusion of the vocalists. The section by Anita Dels’ is full of corny lyrics and mediocre delivery, whilst the rap from Raymond Slijngaard (which was removed from the UK single version – something I only found out midway through listening to the song to my great annoyance) is cringeworthy in how annoying it is. Had these vocals been removed and the song turned into a full instrumental No Limit would have been a great stadium dance number. But it’s still a solid one with its groovy melody and great production (that bass, man!)

  • Oh Carolina – Shaggy – 2 weeks, March 14th to March 27th

Bringing an element of dancehall to the reggae genre, the former Marine Corp Shaggy dropped his first single to the top spot with a cover of a song by Folkes Brothers. I can only hope that the original was a better song as Shaggy’s version of Oh Carolina is a dismal version and a less than promising start to his career. Much of the issues of the song can be laid down at the feet of Mr. Lover Lover himself – he hadn’t developed his smoother and deeper vocals properly yet and Oh Carolina leaves us with an annoyance of a performance, with his voice moving all over the place with some attempts at low vocals, attempts to go high which fail due to his weak vocal range and even some scratchy sounding and almost growling vocals. This further brings down a song that’s already pretty bland with its repetitive sound and rhythm and a feeling that it’s dragging on after about two minutes with a further minute left. Shaggy has some better songs later in his career (a few of which we’ll review later) but as a beginning this is a very damp squib of a start.

  • Young at Heart – The Bluebells – 4 weeks, March 28th to April 24th

Britain’s love of music from adverts strikes again as it gets yet another disbanded group to the top spot of the UK charts for their first time. It’s not Levi’s Jeans though that got Scottish jangle rock band The Bluebells to number one with their cover of a song by Bananarama; this time it was a Volkswagen Golf advert that boosted them to the top for a month. Once again we prove ourselves to be a strange country.

It’s obvious why this song would fit into an advert so well; it’s very upbeat from the get go with its almost country music feel to it, combining the violins, jangly guitars and harmonicas that give Young at Heart a luscious feel to it. Whilst country music isn’t in my personal wheelhouse this song at least has a high spirited and enjoyable feel to it that I can get behind, even if the intro takes a little too long to get going (lead singer Ken McCluskey takes a minute and a half to deliver his first lines). Speaking of McCluskey he has somewhat of a Bob Dylan-esque timbre to his vocals but still manages to remain airy and warm, making him an enjoyable presence on this record; the harmonies that sing the title also fit the song well and add to its enjoyable nature. It definitely suffers from going on too long – as well as the overextended intro it also feels baggy from around the four minute mark when there’s another minute and a half to go. But it’s certainly clear to see how this song got used for commercial purposes as it’s an enjoyably high spirited and gleeful version with succulent instrumentation and vocal work all round.

  • Five Live (EP) – George Michael and Queen with Lisa Stansfield – 3 weeks, April 25th to May 15th

On April 20th 1992 the Freddie Mercury Tribute Concert took place at Wembley Arena, a monumental gathering of artists the world over, including U2, Elton John, Robert Plant, Metallica, Guns N’ Roses, Def Leppard and even Spinal Tap, who joined forces with John Deacon, Roger Taylor and Brian May to lay homage to one of the most epic frontmen of all time. The concert itself is indeed suitably epic and I highly recommend you scout it all out. May himself however said that the best performance of the night came from George Michael, who performed a version of the classic ballad Somebody to Love.

A little over a year after the concert Michael released this EP containing Somebody to Love, a rendition of These Are the Days of Our Lives that was performed alongside Queen and Lisa Stansfield, and three more tracks that had previously been recorded at Wembley in 1991, the same time and place that Don’t Let the Sun Go Down on Me had been recorded. Somebody to Love is definitely the centrepiece of the EP and it’s not hard to see why. Michael had more than proved himself a capable vocalist by this point but he had Mercury’s big shoes to fill. And he does a very good job, managing to soar to the same heights that Freddie did in the original song at nearly every point, with only a few points that he dodges the higher stuff, giving the song the high spirited and airy quality that it really deserved. There are some truly electric moments on this song, especially with Michael’s performance on the climactic last chorus, where he really hits the highest of the high notes (albeit deferring the “love” to the audience). And Queen themselves are great too, with May’s solo being right in the spirit of the original song and Taylor’s drumming adding up anticipation as the song heads into its climax. It’s hard therefore not to see why May saw this rendition as a highlight of the concert.

But that’s not all the EP has to offer. These Are the Days of Our Lives is also a fresh and faithful rendition of the song. Michael once again flies with his vocals and manages to get the same emotions that Mercury did on the original. And he’s got a strong duet partner in the form of Lisa Stansfield – the harmonies on the chorus that the two perform are splendid whilst her work on the second verse also has impressive vocals, especially as the verse ends and her vocals rise to the higher notes. The music meanwhile is similar to the album rendition but still strong, with May’s guitars coming through in full force again on the emotional guitar solo. This is yet another piece of the epic pie that was the Freddie Mercury Tribute Concert, albeit not the greatest piece.

As for the songs for the Wembley Stadium concert they’re no less impressive. The medley that covers Killer by Adamski and Seal and Papa Was a Rollin’ Stone by The Temptations is probably the best track on the EP; it builds an anticipation with the funky bass and guitars running under the brilliant trumpet solos before suddenly exploding with a burst of techno beats and the introduction of the keyboard line from Killer – Michael’s vocals don’t enter until two and a half minutes of this eleven and a half minute mashup and it certainly doesn’t feel that length. His vocals on Killer exceed those previously seen by Seal as he gives the song a decisive roar to it whilst having the gloriously airy feel that his voice is renowned for. The transition into the funky groove of Papa Was a Rollin’ Stone is well done and makes the two songs feel seamlessly blended together. Michael once again delivers a worthy performance, with his vocals delivering a fantastic R&B spirit that still never strays from his original style. The suitably Motown-esque backing vocals on the choruses and the re-emergence of the trumpets and the electric violin makes Papa Was a Rollin’ Stone a winner and the medley shows just how far Michael had come since his Wham! days.

Last but by no means least we have Calling You, a cover of a song by gospel singer Jevetta Steele. Starting off with a slow and haunting sounding piano that sounds like it came from a Jim Steinman produced record, Michael delivers yet again with his voice being full of life as it soars to some of the highest echelons that he’s been to, giving the whole number an emotional feel to it. There is a bit of syrupiness to the number when the other instruments enter in and give the song more of a strange Celtic feel to it but it doesn’t diminish the power that George gives to the performance and the overall emotional feel to the song. This concludes an EP that shows off a brilliant snapshot of how great Michael was at these two concerts, how he was worthy to sing Freddie’s songs and how he could cover other numbers with great panache.

  • All That She Wants – Ace of Base – 3 weeks, May 16th to June 5th

Perhaps the biggest Swedish band since ABBA, Ace of Base broke out big time with this song about a woman wanting many a new man in her life… and I wish they hadn’t given how annoying this song is. Most prominent is the fact that it’s a reggae styled dance song. You perhaps know my antipathy towards reggae in general and this song is no exception even with its attempts to be more dance oriented. It’s still a very lethargic song mainly because of the incredibly boring music; the keyboards plod along with an awfully flat sound, with the saxophone sounding keyboard that pop up before each chorus standing out as being especially annoying. It’s nothing but those dull and flat keyboards all the way through the song which makes All That She Wants a snoozer to listen to. The vocals by Linn Berggen are also pretty grating on the ears as they have a fairly nasal inflection to them and a severe habit of being unable to reach any sort of high notes with any style. This leads to a snoozer of a track that fails remarkably in being danceable and proves that reggae and dance are a very poor fit.

  • (I Can’t Help) Falling in Love with You – UB40 – 2 weeks, June 6th to June 19th

Speaking of reggae and tracks that will make you fall asleep, here come UB40 eight years after their last number one hit. Just when I thought I was out, they pull me right back in. Can’t Help Falling in Love doesn’t rank up as one of my favourite numbers by Elvis Presley, though it is pulled along by the power and devotion in The King’s voice. And to be fair with this rendition, which like Presley’s version was also created for a film, this time erotic thriller Sliver (quite a way from Blue Hawaii...), lead singer Ali Campbell does try to go for some emotion. But his attempts to be powerful and emotional fall flatter than a crepe as his vocals are very flat and whiny and nasal, which combined with his annoying accent bog down the song greatly. Also bringing down this rendition is the instrumentation – whilst it starts alright with a sweeping keyboard chord over the opening lyrics it takes a bizarre left turn into the reggae style that the band is known for, which not only feels very out of place in this song but are flat, slow and obnoxious – only the trumpets liven things up ever so slightly. This makes this rendition of (I Can’t Help) Falling in Love with You a chore to get through and is a clear sign that UB40 should have been left behind in the 1980s.

  • Dreams – Gabrielle – 3 weeks, June 20th to July 10th

After scoring the highest entry for a debut single by a female solo artist at the time (coming in at number two) the perpetual wearer of eyepatches and sunglasses Gabrielle rose to the top spot with her first song Dreams. And it’s a solid song to lead off her career, being a warm and emotional R&B song. Gabrielle’s voice is decent on here, having a warm timbre to it and a good degree of power, even if she doesn’t reach too far with her vocals; the best place where she shows off is perhaps the bridge before the final verse. The music’s upbeat enough if not exceptional, relying on the upbeat guitar strums and the violins that give the song a bit of extra spice to it. And the lyrics are enjoyable in the fact that they’re positive in spirit and have a heart-warming message to them concerning the fact that dreams can always come true and having a good amount of them is a good way to go through life. These all add up to make Dreams a solid beginning for Gabrielle’s career.

  • Pray – Take That – 4 weeks, July 11th to August 7th

It’s interesting to see how Take That have managed to be that rare boy band that held up over time. Their successful reunion in 2006 where they went more grown-up with their songwriting had a lot to do with this, of course, but even when the band were splitting up in 1996 people like Elton John were praising them for writing their own material and having a strong work ethic. The boys had previously gotten off to a strong start with 1992’s Take That and Party getting to number 2 and producing quite a few top ten singles, including It Only Takes a Minute, Could It Be Magic and the Gary Barlow penned A Million Love Songs. But it was their next album Everything Changes where… well, everything changed. It rose to number one and produced four chart toppers, cementing Barlow, Mark Owen, Jason Orange, Howard Donald and Robbie Williams as household names.

For the most part it’s pretty easy to see why Take That were so respected for a boy band. Pray demonstrates how surprisingly effective they can be; it starts off with a solid danceable keyboard line and blasts from trumpets but moves well into a somewhat darker tone as it enters a minor key and Gary’s vocals enter. There’s a level of gloominess to his pipes in the verse as he expresses regret over losing the love of his life and thinking back to the days when he had his girl, being sad that he never truly appreciated her love. This all leads to the upbeat chorus with the lyrics that express hope, praying that the narrator’s love will return to him. This leads to a song that’s simultaneously exciting and sombre, one that’s well produced and decently sung by Barlow and the rest of the group. It’s a good example for showing the reasons why Take That were able to become the biggest boyband of the 90s in the UK.

  • Living on My Own – Freddie Mercury – 2 weeks, August 8th to August 21st

Freddie Mercury’s legacy was clearly still alive and kicking even two years following his demise. We saw this earlier in the year with the Five Live EP getting to the top spot and we see it again now with this track, a remix of a song from his first solo album Mr. Bad Guy. The original rendition of Living on My Own was an upbeat and briskly paced disco track, which though a bit dated thanks to the clunky drum machines and plodding synth lines still manages to be effective thanks to, of course, Mercury’s vocals. It had a received a remix already courtesy of producer Julian Raymond (this rendition can be found on both The Freddie Mercury Album and Queen’s Greatest Hits III) which gave it more of a club dance song feel to it and made it a little more action packed and exciting in spite of being a little slower than the original.

This version of Living on My Own meanwhile is mixed by No More Brothers and it manages to be greatly effective; I’d dare to say it’s my favourite rendition of the track in spite of having a much more radical shift in style than the original, sounding more like a Eurodance feel to it. The intro captures a dark atmosphere to the song, with a light and haunting synthesiser chord playing over Freddie’s vocals. The song kicks in with a strong rendition of the original beat, managing to be enjoyably danceable which is married with the haunting nature that runs through this rendition of Living on My Own in particular. The way Freddie’s vocals are mixed are effective as well, giving him a cool echo, particularly with the “Dee-do-day” refrain in the chorus. And the obvious factor remains; Mercury’s vocals are naturally strong and propel the song even further into excellence. This combines to make a darkly exciting and respectful remix of Living on My Own.

  • Mr. Vain – Culture Beat – 4 weeks, August 22nd to September 18th

Right away something is very prominent with Mr. Vain – listen to the main riff and you’ll notice that they’re practically the exact same as Rhythm Is a Dancer from last year. Once you compare the songs back to back, you’ll notice how very derivative Mr. Vain is. Indeed, Culture Beat themselves have a fair few things in common with Snap!; both are German Eurodance acts who have female vocalists leading the song and a rapper to deliver some mid-song flows. To say that Culture Beat can’t stand up to Snap! is a bit of a sad statement; though the music is thuddingly unoriginal it’s not too bad for the most part, it’s just uninspired. Lead singer Tania Evans doesn’t have much to her vocals, sounding bored and making it quite clear that she’s in this for a cheque pure and simple. Worst of all is that rapper Jay Supreme is the main anchor of this song and he’s not a good presence. He’s better than the rapper from Snap! but that’s not saying much as his flow is only average and his voice is dull and forgettable. This all culminates in a song that’s very weak overall, being unoriginal and quite lethargic at points in spite of its attempts to be a summer dance track that wears its welcome out rather quickly. Rhythm Is a Dancer looks like a true masterpiece next to this.

  • Boom! Shake the Room – DJ Jazzy Jeff & The Fresh Prince – 2 weeks, September 19th to October 2nd

Before he was headlining summer blockbusters and trying to push his untalented children into vanity projects they clearly were unprepared for, Will Smith was The Fresh Prince, teaming up with disc jockey Jeff Townes to make fun and upbeat teenage rap songs, with songs like Parents Just Don’t Understand and Summertime being wildly popular, leading into the mega smash TV show The Fresh Prince of Bel-Air. Boom! Shake the Room came at a time when the duo were planning on going their separate ways – Smith was venturing into full time acting – but it still managed to capture their fun and zany style perfectly. Smith is definitely the main reason for the success of this song as he injects all his energy into the song with his enthusiastically loud style, especially on the chorus, and his fast flow at many a point on the song. The song’s well produced and has a strong hip-hop medley, making Boom! Shake the Room funky and plenty of fun to listen to. It is an incredibly goofy song to be sure – the lyrics are cheesy and don’t make a whole lot of sense, the crowd interactions are rather dumb and the bridge featuring lots of cheering women is very annoying. But that doesn’t stop Boom! Shake the Room being a rousingly enjoyable rap number and evidence of why DJ Jazzy Jeff & The Fresh Prince were so successful in the 1990s.

  • Relight My Fire – Take That and Lulu – 2 weeks, October 3rd to October 16th

Take That return as they strike with a cover version of a little known song by Dan Hartman which they manage to effectively make their own. The main melody of Relight My Fire is deeply infectious and has a wonderful disco vibe to it, with the funky drums, pianos and violin accompaniments all coming together to make a brilliantly crafted dance pop track. Gary Barlow is back on lead vocals and he delivers this song with a surprising amount of power, managing to get the emotion of the lyrics out effectively and gives Relight My Fire the feel-good factor that it truly needs, with the rest of the boys delivering solid back up on the anthemic chorus. And then of course there’s Lulu, singing the part on the original performed by Loletta Holloway and getting her to number 1 after nearly thirty years of trying. She really helps to give the song an extra kick of fire with her voice soaring through the bridge and making the whole atmosphere absolutely electric. As such, Relight My Fire probably is the big turning point for Take That, showing how they were more than just a frothy boy band and instead were something genuinely really great.

  • I’d Do Anything for Love (But I Won’t Do That) – Meat Loaf – 7 weeks, October 17th to December 4th, biggest selling single of the year

Overblown and epic are probably two of the first words to come to mind when discussing the musical oeuvre of Meat Loaf. His bombastic vocal performances and ridiculously long and grandiose songs have certainly given him the reputation for glorious rock and roll cheesiness; the fact that his biggest hits have seen him combined with the God of over-the-top songwriting Jim Steinman certainly adds to this. Such is true with his comeback single; after seven years in the wilderness Meat reteamed with Steinman to create a sequel to his magnum opus Bat Out of Hell. The result, Bat Out of Hell II: Back Into Hell, can be charitably described as the first one on fucking steroids, another LP where the sheer power radiates through every note that’s played, leading to an intensely enjoyable listening experience.

Standing tall right at the front of the pack is lead single I’d Do Anything for Love (But I Won’t Do That), a song so crazy in its ambitions that it comes close to being the longest song to topping the UK charts (in an edited version, no less) and the fact that its music video was directed by Michael Bay was basically a formality – who else is more worthy of directing the video of a song that starts off with thirty seconds of motorcycle thunder? This is a song that radiates sheer explosive energy all the way through and rarely lets up, whether you’re listening to the five minute radio edit, seven minute music video edit or the full twelve minute monolith (obviously I listened to that version for this review, why would you suspect otherwise?). The piano riffs are superbly enjoyable, especially with the guitars squealing over the top, whilst Meat delivers a superbly emotional performance with the lyrics, which are ridiculously cheesy but work so well with the song and the performance. You can tell that he’s absolutely impassioned with his words to his lover from his performance and he would run right into hell and back for love. The whole song is just full of so many “Fuck yeah!” moments, from when the song kicks into high gear after the first verse to the choirs blasting in to that glorious shout of “Sex and drums and rock and roll!” with that glorious pun making the whole thing much more exciting. Meanwhile guest vocalist Lorraine Crosby enters in at around nine minutes to give the song a Paradise by the Dashboard Light vibe and though it’s not as effective as that song it’s still an enjoyable bit of duetting, especially as Meat’s earnestness reaches peak levels with his chants of “I can do that!” after Crosby’s requests of him. This all culminates in a true grand epic of a song, a testament to the skills of both Jim Steinman and Meat Loaf and a number that never feels short despite running at a gargantuan twelve minutes. It’s pure bombastic bliss and a true bit of musical theatre.

Oh, and hack music journalists trying to be comedians? Stop trying to be clever by claiming that the “that” referred to by the song is ambiguous. It isn’t. It follows up things said immediately from the lyrics, including the duet. For instance, in the first verse; “But I’ll never forget the way you feel right now, oh no, no way”. Put away your lame and outdated jokes and actually try to be journalists for once in your life. And Meat Loaf? Don’t bait them, dude.

  • Babe – Take That – 1 week, December 12th to December 18th

For the first and only time in this whole retrospective I’ll be going out of order with the songs I review. There was a song that came before Babe, staying at number 1 for a week before Take That knocked it off. But that song managed to mount a comeback and returned to the top spot just in time to seize the title of Christmas number one single (the first time a song’s gone back to the top in the period I’ve been covering and the first time this feat happened since the 1960s). Given the song’s… interesting nature, it seemed like a gross anti-climax to make Babe the final song I talked about this year, and since the subsequent single was the last number one of 1993 I felt I could justify talking about it afterwards. This won’t happen again, I promise you.

For now we have to talk about Babe, what seems to be a concerted effort by Take That to be taken more seriously. It’s the slowest of their hits I’ve covered so far and gets into the serious style quickly with the gloomy keyboards and melancholy atmosphere helped along by the almost Knopfler-esque guitars. Mark Owen takes the lead this time round and he’s not as good as Gary, having a slightly syrupy quality to his timbre. But he is able to deliver a good amount of emotion to the song about two lovers that finally meet up after a long period of time, with a good sense that they’re coming back together for good. Babe is a song that is a little cheesy with its ambitions but really does stand out in a lot of places, especially near the end where the drums start to pound and electric guitars come through. It shows off just how Take That were really rather skilled indeed and could write some good emotional numbers; impressive given the stereotype of boy bands to be shallow and lazy. I wouldn’t have minded this song becoming Christmas number one – certainly it’s much better than the monstrosity that beat Babe out to the top spot…

  • Mr. Blobby Mr. Blobby – 1 week, December 5th to December 11th/2 weeks, December 19th to January 1st 1994

I don’t know why this was allowed to happen. Not just the song reaching the number one spot in the UK for three weeks total, the entire concept and subsequent popularity of the character of Mr. Blobby. I don’t usually blame media for dumbing down people but for this I have to make an exception. What was in the water of Britain (that was subsequently used to make tea, of course) that allowed such a monstrosity of a creation to rise into absolute superstardom to the point where he was granted tonnes of merchandise, spin-off VHS tapes and even an attempted theme park? Say it with me now; Britain, what the fuck were you thinking? (Answer – they weren’t).

For those of you fortunate to not be aware of this menace, Mr. Blobby was a character created for the Saturday night family show Noel’s House Party for a segment known as Gotcha. He was a fat pink… something, covered with yellow polka dots, who also had a permanent smile, jiggling eyes and the ability to only say “Blobby blobby blobby” in a horrific mechanical voice. His whole shtick revolved around interacting with guests on the show where he’d bumble around, knock over things and overall act like an absolute nuisance only for it to be revealed that Noel Edmonds himself was in the suit. So right away we have a character designed for the sole purpose of being annoying, a troll before the term entered the public lexicon; that right there must make Mr. Blobby utterly unappealing to any adults watching. So he’s for the kids, right? Wrong – with his never changing facial expression, giant berth and electronic voice the character is sheer nightmare fuel for young children. This leads me to wonder just who the character was meant to be for – which ought to have been the first sign that making a song dedicated to this character was going to be a terrible idea.

And yet, here we are, a song dedicated to the spawn of demons. In some ways it’s tempting to call Mr. Blobby a stealthy parody of the music industry or something of that ilk; dada, avant garde even. This almost makes sense; Mr. Blobby was intentionally designed to be a very annoying character so what else would the purpose of an entire song by him entail? After all, Doctorin’ the Tardis demonstrated room for trying to troll audiences all the way in 1988. This almost puts some method to the madness of Mr. Blobby, but none of it can redeem what is an absolutely wretched piece of music, one of the worst ever put to CD and cassette.

Right away you can tell that Mr. Blobby will be beyond saving; the song literally begins with the main melody being farted out. Not only is it a banal and stupid ear worm of a melody but it’s accentuated by the entry of our star in suitably terrifying form, as he, and I can’t believe I’m putting this word into the English language, blobbies his way through the opening of the song. And yeah, he scarcely shuts the fuck up throughout this utter trainwreck of a song; that awful electronic voice will be emblazoned onto your skull by the end of it all. Worst of all is the nightmarish portion following the second verse; an ominous keyboard line followed by an explosion (in the video it’s the keyboard breaking under his fat fingers) and the hellish cry of “Blobby blobby blobby!” that will haunt your nightmares for weeks to come. It’s not only the Blobby one who makes this a slog to get through either; the number’s overloaded with bad children’s choirs (which bring to mind There’s No One Quite Like Grandma), the female singers which seem to be going for a deliberately over serious vibe as a joke (well I’m not bloody well laughing, chaps) and more of that awful farting, including one right at the end of one final insult on the shit sundae, that makes this song downright unbearable to get through.

This is a song that genuinely makes me fume with anger, and that’s not an easy task to accomplish. It’s a lazy and cynical cash-in on a character that should have never risen to success in the first place and is a clear sign of the United Kingdom totally losing the plot with their pop culture successes. How a character too annoying for adults and too frightening for children became such a phenomenon to the degree where he got not only this song but a Christmas based follow-up named Christmas in Blobbyland released two years later (which is even worse than this and makes me feel genuinely uncomfortable listening to it but thankfully came in at a dismal number 36) is beyond me. No wonder that this song and the character has been roundly mocked in years following his popularity; he stands tall as one of the worst British television characters of all time and this single is, quite fittingly, one of the worst, if not the absolute worst, to top the charts ever.

But hey, at least Mr. Blobby doesn’t seem too fazed by the fact that he’s become a punching bag to the United Kingdom. When asked about all the negative criticism he’s got over the years, his sole comment was “Blobby blobby blobby”.

FINAL THOUGHTS - This was a crazy old year but not in a necessarily bad way. There was a nice quantity of good songs this year, which is quite nice to see. We saw a boy band that didn’t suck for a change, some strong tributes to a fallen legend of rock music and the return of the kings of bombast which led to plenty of really fun moments with the songs at the top of the UK charts this year. As for the bad – the vast majority of the bad songs straddled on the meh, being weak and overall forgettable, a little annoying at times but probably won’t touch the bottom of the barrel. Of course the grand exception is a song that may go down as being the worst song to ever top charts, a moment that becomes more and more inexcusable the more I think of it. But ultimately it didn’t drag down the fact that 1993 was for all intents and purposes a solid year on the singles chart.

  • BEST SONGI’d Do Anything for Love (But I Won’t Do That)
  • WORST SONGMr. Blobby

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