One thing this week in 1991's debuts peaking outside the ARIA top 100 have in common is that I did not hear any of them at the time. Perhaps these songs are new to you, too? Let's take a look (and listen) together.
Europe's Joey tempest was a prisoner of 80's hair metal-do's.
Top 150 debuts:
Number 121 "Save Up All Your Tears" by Cher
Peak: number 114
Peak date: 4 November 1991
Weeks in top 150: 5 weeks
Weeks on chart: 10 weeks
We last saw pop cockroach Cher in January 1991. This was Cher's third single to peak outside the ARIA top 100 since the chart extended beyond number 100 in January 1989.
"Save Up All Your Tears" was issued as the second single from Cher's twentieth studio album Love Hurts (number 15, September 1991). It followed "Love and Understanding" (number 23, August 1991).
"Save Up All Your Tears", a track written by beige songwriter extraordinaire Diane Warren and Desmond Child, was originally recorded by Bonnie Tyler for her flop 1988 album Hide Your Heart - an album that also contained the original version of Tina Turner's "The Best" (number 4, October 1989). Poor Bonnie could not land hits with these songs herself.
"Save Up All Your Tears" kicked off a long string of flops for Cher on the singles chart in Australia. She did not land another top 40 hit here until late 1998, with the mega-hit "Believe" (number 1, January 1999).
Internationally, Cher's version of "Save Up All Your Tears" peaked at number 30 in Ireland in October 1991, number 37 in the UK in October 1991, number 56 in Germany in December 1991, number 32 in Canada in December 1991, number 37 on the US Billboard Hot 100 in January 1992, and number 18 in Austria in January 1992.
Domestically, "Save Up All Your Tears" performed strongest in New South Wales/Australian Capital Territory, where it reached number 100.
Cher will next join us in 1993.
Number 129 "Prisoners in Paradise" by Europe
Peak: number 129
Peak date: 28 October 1991
Weeks in top 150: 5 weeks
Weeks on chart: 6 weeks
Swedish rock band Europe formed in 1979. They landed their first hit in Australia, and much of the world, with "The Final Countdown" (number 2, April 1987), the title track from their third album The Final Countdown (number 10, April 1987). Europe landed two more top 50 hits in Australia with "Rock the Night" (number 22, June 1987) and "Superstitious" (number 45, September 1988).
"Prisoners in Paradise" was the title track and lead single from Europe's fifth studio album Prisoners in Paradise (number 197, November 1991). Internationally, the single peaked at number 8 in Sweden in October 1991.
Within Australia, "Prisoners in Paradise" was most popular in Western Australia, where it reached number 94.
I hadn't heard this one before; I didn't hear any of Europe's releases at the time after "Superstitious". Listening to "Prisoners in Paradise" for the first time, it doesn't sound that dissimilar to a Meat Loaf track penned by Jim Steinman - at least to my ears. It's not bad, but the image of the band was perhaps a tad too '1980s' for them to have wide appeal in the early 1990s.
American singer Dana Dawson released her first single, "Ready to Follow You", in 1988 at the tender age of 14. Now a 'mature' 17 years of age, "Romantic World" was the lead single from Dana's debut album Paris New-York and Me (released in Australia in January 1992, did not chart). Why the album title hyphenates New York, I don't know.
While "Romantic World" did not register a chart placing in Dana's homeland, the single peaked at number 4 in France in March 1991, number 33 in the Flanders region of Belgium in May 1991, and number 33 in Sweden in May 1991. Dana was 'big in Europe', it seems.
Dana was also much bigger in South Australia/Northern Territory than any other region of Australia, where this single peaked at number 14. In contrast, "Romantic World" peaked no higher than number 120 on any of the other ARIA state charts. Does anyone reading this know why "Romantic World" was so much bigger in Adelaide or Darwin (presumably more Adelaide) than anywhere else in Australia?
Dana would finally have her breakthrough - of sorts - in Australia in 1995 when "3 Is Family" (number 54, December 1995) narrowly missed the top 50.
"Romantic World" peaked 49 places higher on the Australian Music Report singles chart, where it reached number 64, than it did on the ARIA singles chart.
I did not hear "Romantic World" until listening to it to write this post. Musically, the song reminds me a little bit of Jody Watley, which is not a bad thing. It could have been a national hit had it had a more-uniform promotional push across Australia. I quite enjoyed this one.
A second single from Paris New-York and Me, "Tell Me Bonita", was released in Australia in February 1992, but failed to chart.
Sadly, Dana died in 2010 from colorectal cancer, three days after her 36th birthday.
We will see Dana bubble under again in 1996.
Number 146 "Hey Donna" by Rythm Syndicate
Peak: number 110
Peak date: 18 November 1991
Weeks in top 150: 7 weeks
Connecticut band Rythm (no, that's not a typo) Syndicate scored a hit in Australia with their debut single "P.A.S.S.I.O.N." (number 28, September 1991).
"Hey Donna" was released as the second single from the band's debut album Rythm Syndicate. Internationally, "Hey Donna" peaked at number 13 on the US Billboard Hot 100 in November 1991.
"Hey Donna" would be Rythm Syndicate's final single to dent the ARIA top 150. Another single, "Blinded by Love", was released in Australia in April 1992. The band released a second album Sex, Love & Life, in 1992, and added the 'h' back to Rhythm in the band's name.
Number 149 "Big Secret" by Big Secret
Peak: number 141
Peak date: 4 November 1991
Weeks in top 150: 5 weeks
Unfortunately, I could find no trace of this single's existence online, so cannot tell you anything about it, or how it sounds. I assume that the band are Australian. Has anyone reading heard this track?
Next week (4 November): Six top 150 debuts and five bubbling WAY down under entries.
Another week with just one new entry bubbling under the Australian top 100. Let's take a look.
Boys will be... flops.
Beyond the top 100:
Position 1 "Don't Say No" by Boys
Highest rank: 1st
Peak date: 25 October 1982
Weeks on below list: 1 week
During 1980 and 1981, Australian band Boys, who originated in Perth, placed three singles in the lower half of the top 100, with "When You're Lonely" (number 52, October 1980) being the highest-peaking of those. The band also placed two albums on the top 100.
"Don't Say No" was the lead single from the second and final Boys album Inside the Cage (number 91, November 1982).
Boys released another single, "Lonely Dreamers", which failed to chart, before the group split.
Next week (1 November): One new entry bubbling under the top 100.
This week in 1991's debuts peaking outside the ARIA top 100 are quite a diverse bunch, with everything from rap to house and adult contemporary represented. Shall we take a look?
Bros: 1991 was a 'trying' time for them on the Australian chart.
Top 150 debuts:
Number 136 "Give Me the Music" by B.G. The Prince of Rap
Peak: number 105
Peak dates: 28 October 1991 and 11 November 1991
Weeks in top 150: 4 weeks
Bernard Greene is not the kind of name you would normally associate with being a rapper, so Bernard chose the stage name B.G. The Prince of Rap. As an employee of the US army, Bernard was stationed in Germany, which is where he achieved the most success during his recording career.
Bernard's debut Australian release, "This Beat Is Hot", reached number 93 on the singles chart in June 1991. "Give Me the Music" was the second Australian release from B.G.'s debut album The Power of Rhythm, which was released locally in October 1991 but missed the ARIA top 150 albums chart.
Internationally, "Give Me the Music" peaked at number 36 in Germany in November 1991.
I hadn't heard this one before. As someone who is not a huge fan of rap, my favourite part of this was the uncredited female vocals on the chorus. I am not convinced that the woman mouthing the words in the music video is the actual singer, though.
"Give Me the Music" would be B.G.'s final single to dent the ARIA top 150.
Number 138 "Sometimes When We Touch" by Chris Lloyds & Laurin James
Chris is an Australian artist, which became obvious when I saw he had recorded a song titled "Born to Win (Brisbane Broncos Theme Song)" as a B-side on a 1992 single of his. Chris is also an actor, and appeared in Neighbours as the boyfriend of Natalie Imbruglia's character, Beth. He has also sang numerous jingles for Australian television commercials.
Oh wow, I just had a fanboy moment after reading on Chris' website that he sang "Carry On Together", the theme song for Henderson Kids and Henderson KidsII. I absolutely love that song, and wish the full version had been released as a single.
After contacting Chris, he kindly informed me that 'Laurin' was actually Australian singer Lori Balmer, who was asked to change her name for this release. Lori was closely involved with the Bee Gees in the early stage of their career, performing alongside them on UK television. Lori also had two minor hits on the Australian chart, with "Don't Throw It All Away" (number 66, July 1976) and "La Booga Rooga" (number 83, November 1979) - the latter was credited to Lori Balmer and Short Notice.
"Sometimes When We Touch" holds a three-way tie for the third-highest tally of weeks spent in the ARIA top 150 for a single peaking outside the top 100 that debuted in 1991.
Number 141 "All I Have" by Beth Nielsen Chapman (1991 chart run)
Peak: number 109
Peak date: 4 November 1991
Weeks in top 150: 19 weeks (7 weeks in 1991, 12 weeks in 1992)
This single later peaked at number 90 on 6 July 1992.
American singer-songwriter Beth Nielsen Chapman released her first album Hearing It First in 1980. It would take a decade for Beth to record the follow-up, on a new label, Beth Nielsen Chapman (number 75, July 1992), which was released in North America in 1990. "All I Have" is lifted from this album, following "Walk My Way", which was issued in Australia in June 1991 but missed the top 150.
Internationally, "All I Have" peaked at number 49 in Canada.
First time around, "All I Have" peaked outside the ARIA top 100, but after re-entering the chart in June 1992, "All I Have" climbed to a higher peak of number 90 in July 1992. The belated chart peak for "All I Have" was predominantly due to its success on the Victoria/Tasmania state chart, where it reached number 27.
Whilst I live in Victoria, and recall seeing this single listed on the state chart top 50 on the flip side of the printed ARIA top 50 charts available in record stores, I don't think I heard "All I Have" at the time. I did, however, look it up on YouTube some years ago, out of curiosity. I like the song, though it sounds more 1980s to me than 1990s (that is not necessarily a bad thing). It could have become a hit in Australia with a more-unified promotional push across the country.
While Beth would not trouble the ARIA top 150 singles chart again, she did land some later success as a songwriter for other artists. Beth co-wrote Faith Hill's "This Kiss" (number 4, March 1999).
Number 149 "Come Inside" by Thompson Twins
Peak: number 149
Peak date: 21 October 1991
Weeks in top 150: 1 week
Weeks on chart: 4 weeks
We last saw English pop band Thompson Twins in February 1990. "Come Inside" was issued as the lead single from the band's eighth, and final, studio album Queer (number 193, November 1991).
Internationally, "Come Inside" peaked at number 56 in the UK in October 1991.
Domestically, "Come Inside" performed strongest in Western Australia, where it reached number 105.
I didn't hear this one at the time. It's decent. The chorus reminds me a little bit of Jesus Jones, musically. I think the trouble for acts like Thompson Twins is that they were too-associated with the 1980s to be considered current or relevant in the 1990s, even though the music was still decent. Many 80s acts suffered this fate.
"Come Inside" was Thompson Twins' final single to be released in Australia. Another Queer single, "The Saint", was issued in Europe and North America, however.
Thompson Twins split up in 1993.
Bubbling WAY down under:
Number 153 "Housecall" by Shabba Ranks featuring Maxi Priest
Peak: number 153
Peak date: 21 October 1991
Weeks on chart: 3 weeks
Shabba Ranks, real name Rexton Rawlston Fernando Gordon (what a mouthful!), is a Jamaican dancehall artist who is perhaps 'best' remembered (by those who were aware of him in the first place...) for making some nasty comments about how homosexuals should be crucified in a 1992 UK TV interview on The Word (from just after 8 minutes in). Charming.
Putting that aside, Shabba made his first appearance on the Australian chart as a featured artist on Scritti Politti's "She's a Woman" (number 82, June 1991).
"Housecall" was a duet he recorded with reggae singer Maxi Priest - whom we saw on his own just last week, for Shabba's album As Raw As Ever. Internationally, "Housecall" peaked at number 31 in the UK in September 1991, and number 37 on the US Billboard Hot 100 in December 1991. When the single was re-released in the UK in 1993, it obtained a much higher peak of number 8, in May 1993.
Within Australia, "Housecall" performed strongest in Victoria/Tasmania, where it reached number 137.
I hadn't heard this song until writing this post. Maxi plays more than a 'featured' artist roll, I think; this is more like a duet, with Maxi singing a good chunk of the song.
American DJ Frankie Knuckles, born Francis Warren Nicholls, Jr., started DJ-ing in the 1970s. Frankie achieved commercial success as a remixer in the late 1980s, when his revision of Rufus and Chaka Khan's "Ain't Nobody" peaked at number 6 in the UK in July 1989.
While Frankie released a couple of singles under his own name during the 1980s, "The Whistle Song" was the first one to achieve major chart success. The single peaked at number 17 in the UK in August 1991, and number 29 in the Netherlands in October 1991. While I don't normally credit any of Billboard's genre-specific subsidiary charts, "The Whistle Song" also topped the US Billboard Dance Club Songs chart in September 1991.
In Australia, Frankie's chart success was more muted, and he never achieved an ARIA top 100 entry in his own right. He did, however, go on to remix songs by numerous big-name artists, including Michael Jackson, Diana Ross, Luther Vandross, and Lisa Stansfield.
On the ARIA state charts, "The Whistle Song" performed strongest in Western Australia, where it reached number 126.
Sadly, Frankie died in 2014, aged 59, due to complications from diabetes.
We will see Frankie bubble under again, collaborating with another artist, in 1995.
Number 168 "Try" by Bros
Peak: number 168
Peak date: 21 October 1991
Weeks on chart: 1 week
Identical twins Matt and Luke Goss burst onto the Australian chart in 1988 with "When Will I Be Famous?" (number 5, May 1988), along with their then third band member Craig Logan (or 'Ken', as he was mockingly referred to in Smash Hits magazine). One thing you may not know is that half of the vocals on the chorus for "When Will I Be Famous?" (the "when will I, will be famous?" and "when will I see my picture in the paper?" lines) are sung by Dee Lewis, a woman who did backing vocals for many British artists during the 1980s, including extensive work with Stock Aitken Waterman. Yet Matt mouths the words in the music video. Hmmm.
The English trio quickly became massive, with a gaggle of screaming teenage girl fans who would even camp outside their houses. My sister was one of them - well, not the camping outside their place part, or even the screaming, but her school diary was adorned with Bros pictures from the Smash Hits magazines I would buy. Hmmm.
Bros' first three singles released in Australia were top 10 hits, and their debut album Push (number 4, August 1988) was certified double platinum in Australia. The album spawned five Australian top 15 hits all up. Oddly, for a band who seemed as massive as Bros, they never landed a number one single in Australia, and could only do that once in their homeland, with the 1988 release (it originally flopped there in 1987) of "I Owe You Nothing" (number 6, August 1988).
Following a successful tour, Craig quit the band in early 1989. He went on to become a songwriter and producer for other artists, including Kim Appleby - whom he dated for several years, before moving into music management. Craig was the head of RCA Records in the UK from 2006 to 2010.
The Goss twins carried on as Bros, releasing their second album The Time (number 34, November 1989) in 1989, which was not nearly as successful as the first. Unlike the hits from the first album, which were credited to The Brothers (who were not actually Bros themselves), the Goss twins had a hand at co-writing the songs on The Time, and perhaps that partly explains their commercial downfall. Nevertheless, The Time spawned two further top 30 hits in Australia.
Following a two year gap, Bros released their third album Changing Faces (number 176, September 1991). The album was launched with a ballad as its lead single, "Are You Mine?" (number 98, August 1991), which became the duo's last ARIA top 100 entry. "Try" was issued as the album's second and final single.
Internationally, "Try" peaked at number 27 in the UK in October 1991, becoming the lowest-peaking Bros single there.
Within Australia, "Try" was the first Bros single to miss the top 100. "Try" was most successful in Western Australia, where it reached number 139.
Having not really listened to "Try" before, I have to say, it's not a great track - made even worse by the religious overtones in the chorus. Um, who exactly wanted a Bros song with "praise to the Lord" in it? I can see why the track was not a commercial success.
Bros split in 1992. Drummer Luke pursued a successful acting career, while singer Matt launched a solo career (to limited/lukewarm success in the UK) in the mid 90s, and has since obtained a residency in Vegas.
Matt and Luke reunited for a concert at the O2 Arena in London in August 2017, to commemorate the 30th anniversary of Bros. Bros: After the Screaming Stops, a documentary of the twins' reunion, including rehearsal footage leading up to the concert, was also filmed.
It is interesting to see the aesthetic differences between Matt and Luke these days. Luke has taken the natural, age-gracefully route, and is now completely bald, while Matt sports a full head of hair and looks a bit... surgically enhanced to my eyes.
While "Try" was the final Bros single to chart in Australia, the compilation album Superhits, which I cannot find existence of online, peaked at number 336 in November 2004. I believe this album may actually be The Best of Bros, and it has been mislabelled on the ARIA database.
Number 169 "True" by Spandau Ballet (1991 release)
Peak: number 169
Peak date: 21 October 1991
Weeks on chart: 1 week
This single originally peaked at number 4 in September 1993, and spent 19 weeks on the top 100.
"True" was originally released in 1983, lifted from the band's third studio album True (number 4, November 1983). Presumably this re-issue happened owing to the success of P.M. Dawn's "Set Adrift on Memory Bliss" (number 7, November 1991), which prominently samples "True" throughout. Spandau Ballet's lead singer Tony Hadley even makes a cameo on the of the "Set Adrift..." music video.
"True" was also re-released to promote the compilation The Best of Spandau Ballet (number 41, January 1992). The band had split in 1990, and eventually reformed in 2009.
The 1991 release of "True" missed the UK top 75, and was the final Spandau Ballet single to chart in Australia. The group, nonetheless, had a couple of compilation albums that later registered on the ARIA albums chart, including Gold: The Best of (number 158, May 2010), The Collection (number 1059, July 2015) and 40 Years: The Greatest Hits (number 839, December 2020). Their 1986 studio album Through the Barricades (number 26, December 1986) also charted again, reaching number 667 in October 2017.
My favourite Spandau Ballet single is "Gold" (number 9, November 1983).
Number 171 "I Just Want to Make Love to You" by CQ and Miss M.
Peak: number 171
Peak date: 21 October 1991
Weeks on chart: 1 week
Here's one I didn't hear until the music video appeared on a VHS compilation I was digitising in 2021.
I have no idea who CQ or Miss M. are, but this track - written by Willie Dixon and first recorded by Muddy Waters in 1954 - appears to have been the pair's only release. They appear to be an Australian duo.
On the state charts, "I Just Want to Make Love to You" performed strongest in New South Wales/Australian Capital Territory, where it reached number 151.
Number 183 "Lifestyles of the Rich and Infamous" by Ice-T
"Lifestyles of the Rich and Infamous" was the second of two singles released from Ice-T's fourth studio album O.G. Original Gangster (number 42, July 1991), following title track "O.G. Original Gangster" (number 71, July 1991).
Interestingly, this single appears to have only charted in Australia. It was most popular on the New South Wales/Australian Capital Territory state chart, where it reached number 157.
"Lifestyles of the Rich and Infamous" was Ice-T's final single to peak outside the top 100 in Australia.
Number 184 "Where Did My Heart Go?" by James Ingram
Peak: number 184
Peak date: 21 October 1991
Weeks on chart: 1 week
American singer-songwriter and producer James Ingram placed four singles on the Australian top 100 between 1983 and 1991, with his duet with Linda Ronstadt, "Somewhere out There" (number 31, April 1987) being the biggest of those. That track was recorded for the movie An American Tail.
"Where Did My Heart Go?" is another track recorded for a movie, this time City Slickers. The track also appears on James' modestly-titled The Best ofJames Ingram: The Power of Great Music (number 158, October 1991) compilation album.
While "Where Did My Heart Go?" did not register on any other sales-based chart that I can ascertain, it did make number 23 on the rather pointless US Billboard Adult Contemporary chart in December 1991.
In Australia, "Where Did My Heart Go?" performed strongest in New South Wales/Australian Capital Territory, where it reached number 162.
This was James' final single to chart in Australia, although he had one further charting album, Always You (number 195, June 1993).
Sadly, James died in 2019, aged 66, from brain cancer.
Of the ten new entries outside the Australian top 100 this week in 1991, I only heard one of them at the time. Perhaps most of them are new to you, too. Shall we take a look?
Alice Cooper's gun was loaded, but it wouldn't fire on the ARIA chart this week in 1991.
Top 150 debuts:
Number 120 "Escape" by Gary Clail On-U Sound System
Peak: number 117
Peak date: 21 October 1991
Weeks in top 150: 5 weeks
Weeks on chart: 6 weeks
English recording artist (describing him as a 'singer' does not seem accurate) Gary Clail worked as a roofer, then landed a gig as an MC, rapping/talking over dub records at gigs for On-U Records. Gary joined forces with On-U Records act Tackhead, before going solo in 1990.
"Human Nature", Gary's first Australian release under the Gary Clail On-U Sound System moniker, crept into the top 40, peaking at number 38 in August 1991. It would become Gary's only ARIA top 100 single. "Human Nature" also featured vocals from another one-hit wonder in Australia, Lana Pellay, who landed a top 20 hit in 1986 with the hi-NRG "Pistol in My Pocket" (number 17, June 1986).
"Escape" was the second single lifted from Gary's second album The Emotional Hooligan (number 95, August 1991). Internationally, "Escape" peaked at number 44 in the UK in June 1991.
On the ARIA state charts, "Escape" performed strongest in South Australia/Northern Territory, where it reached number 73.
I don't recall hearing this one at the time, but discovered it via a VHS compilation I got hold of a decade ago (where the video embedded below is ripped from). Like all of Gary's singles, this is another social commentary song; this time dealing with the subject of (I assume) how prisoners are treated by society once they've completed their sentences.
"The Emotional Hooligan" was issued as the third and final single from The Emotional Hooligan in Australia in January 1992, but did not chart.
A cover version of Crowded House's "Don't Dream It's Over" (number 8, February 1987), this track was recorded for Paul's From Time to Time: The Singles Collection (number 6, June 1992) compilation.
Internationally, Paul's version of "Don't Dream It's Over" peaked at number 67 in the Netherlands in October 1991, number 20 in the UK in November 1991, number 13 in Ireland, number 9 in Germany in November 1991, number 25 in Sweden in November 1991, number 48 in the Flanders region of Belgium in November 1991, number 27 in France in November 1991, and number 6 in Norway.
Within Australia, "Don't Dream It's Over" was most popular in Queensland, where it reached number 95.
Oddly, Paul's rendition of "Don't Dream It's Over" was released as a single in Australia one week before its UK release.
I wasn't aware of this track at the time. With the superior Crowded House version being so well-known in Australia, its release here was kind of pointless; pleasant though it may be.
We shall see Paul again before the year is out, in December 1991.
Number 128 "No More Tears" by Ozzy Osbourne
Peak: number 105
Peak date: 21 October 1991
Weeks in top 150: 6 weeks
English singer-songwriter Ozzy Osbourne, real name John Michael Osbourne, rose to fame as the lead vocalist in 1970s heavy metal band Black Sabbath, though is perhaps best known for biting the head off a bat on stage.
As a solo artist, the only track Ozzy has placed on the ARIA top 100 happens to be the only track of his I will ever enjoy - Was (Not Was)'s "Shake Your Head" (number 47, November 1992), on which Ozzy contributed vocals, along with actress Kim Basinger. This track was originally released in 1983, with only Ozzy's vocals, as quite a different song. A pre-fame Madonna auditioned vocals for that track, but she did not make the final cut.
Ozzy had last been on the Australian chart with the album No Rest for the Wicked (number 57, December 1988). "No More Tears" was the lead single and title track from Ozzy's sixth solo studio album No More Tears (number 49, October 1991).
Overseas, "No More Tears" peaked at number 32 in the UK in October 1991, number 71 on the US Billboard Hot 100 in January 1992, and number 14 in the Netherlands in May 1992.
I wasn't familiar with this song at the time, though caught it on Australian music video TV program rage a few months back.
American rock singer Vincent Damon Furner, better known by his stage name Alice Cooper, had placed 17 singles on the Australian top 100 at this point in 1991, with "You and Me" (number 2, May 1977) being the highest-peaking of those.
After a nearly eight-year absence from the chart, during which Alice overcame alcoholism, Alice returned with a vengeance in 1989 with "Poison" (number 3, October 1989), kicking off the second phase of his career. "Poison" was the first Alice Cooper song I heard, and 10 year-old me hated it at the time - I think it was the combination of heavy (for me) metal and his scary image; but I have since grown to love the track. I started warming to Alice with the follow-up, "Bed of Nails" (number 13, January 1990).
"Love's a Loaded Gun" was the second single lifted from Alice's twelfth studio album Hey Stoopid (number 15, July 1991). It followed the title track, "Hey Stoopid" (number 32, August 1991).
Internationally, "Love's a Loaded Gun" peaked at number 38 in the UK in October 1991.
I didn't hear this one at the time. Ironically, given my earlier comment about not liking "Poison" at the time, I prefer Alice with heavier sounds than this.
"Straight to Your Heart" was the lead single from the second, and final, Bad English album Backlash (number 159, October 1991).
Internationally, "Straight to Your Heart" peaked at number 41 in the Netherlands in October 1991, and number 42 on the US Billboard Hot 100 in October 1991.
On the ARIA state charts, "Straight to Your Heart" was most-successful in Victoria/Tasmania, where it reached number 77.
I don't recall hearing this one at the time. I enjoyed it more than I was expecting to; I don't mind melodic rock. "Straight to Your Heart" sounds way more 80s than 90s, however.
The band released another single locally, "The Time Alone with You", in January 1992, which failed to chart. "Straight to Your Heart" would be the final Bad English single to chart in Australia.
Number 146 "Running Back to You" by Vanessa Williams
Peak: number 102
Peak date: 11 November 1991
Weeks in top 150: 14 weeks (9 weeks in 1991, 5 weeks in 1992)
Weeks on chart: 18 weeks
Here's the one song of this week's 10 new entries I did hear at the time, catching the music video on Coca-Cola Power Cuts, and hearing the song a couple of times on American Top 40.
We last saw American singer Vanessa Williams in July 1989.
"Running Back to You" was the lead single from Vanessa's second studio album The Comfort Zone (number 29, June 1992). The single peaked at number 18 on the US Billboard Hot 100 in October 1991, and number 86 in Canada.
Within Australia, "Running Back to You" performed strongest in New South Wales/Australian Capital Territory, where it reached number 65. The single peaked 33 places higher on the Australian Music Report singles chart, where it reached number 69.
Vanessa would not score her commercial breakthrough in Australia until her next single, the smash hit "Save the Best for Last" (number 1, July 1992). Following the success of that track, "Running Back to You" was re-released in Australia in August 1992, climbing back to number 111 on the national chart the following month. Despite not matching the peak of its 1991 release, "Running Back to You" peaked on three of the ARIA state charts - Victoria/Tasmania, South Australia/Northern Territory and Queensland - following its 1992 re-release.
I can only guess that "Running Back to You" didn't do so well in Australia because it was a bit too American-sounding for Australia's tastes in the early 90s. It's a shame, because the song deserved to do much better. Despite its low peak, "Running Back to You" spent a respectable 18 weeks on the chart all-up, however.
"Running Back to You" would be Vanessa's final single to peak outside the top 100 in Australia, although a later single, "Work to Do" (released November 1992) would make its way onto the Australian Music Report's list of singles receiving significant sales reports beyond the top 100. While there were sometimes large differences between the AMR and ARIA charts, without giving too much away (spoiler alert!), there is a 'blank title' that made the top 150 on the ARIA database in late 1992, and part of me wonders if could have actually been "Work to Do". But we'll never know.
I am not sure why the Australian record company did not release The Comfort Zone track "Just for Tonight" as a single locally. I became familiar with that one via the American Top 40 radio show.
Number 147 "Lifeboat" by Tall Tales and True
Peak: number 129
Peak dates: 18 November 1991, 25 November 1991 and 2 December 1991
Weeks in top 150: 8 weeks
We last saw Sydney band Tall Tales and True in March 1991.
"Lifeboat" was the lead single from the band's second studio album Revenge (number 42, June 1992). I didn't hear this one at the time, but have seen the video a couple of times on rage in recent years. I don't mind the song, and it could have become a hit with mainstream radio support.
While we won't see Tall Tales and True in the 101-150 region of the ARIA singles chart again, the band's third album Tilt peaked at number 140 in March 1995.
Number 150 "5.6.7.8" (1991 Remix) by Shut Up and Dance
Peak: number 142
Peak date: 21 October 1991
Weeks in top 150: 2 weeks
Shut Up and Dance are English duo Philip Johnson and Carlton Hyman. Originally released in 1989, "5.6.7.8" was the pair's debut single, though the original version was quite different to the 1991 remix that charted in Australia. Interestingly, neither release made the UK top 75.
Shut Up and Dance would prominently sample another recent-ish hit in 1992, this time Marc Cohn's "Walking in Memphis" (number 11, August 1991), on "Raving I'm Raving", which peaked at number 2 in the UK in May 1992. Except they forgot to obtain clearance to use the sample, and the single was subsequently withdrawn from sale, dropping to number 15 in its second week before falling out of the chart. "Raving I'm Raving" was the first Shut Up and Dance track I heard, on the UK Chart Attack radio show, which I listened to religiously after discovering it in April 1992... until it was cancelled in my state (Victoria) in January 1993.
Another Shut Up and Dance track (my favourite) I was exposed to via UK Chart Attack was "The Art of Moving Butts", which is well worth checking out if you like early 90s dance music and have not heard it before.
"5.6.7.8" would be the only Shut Up and Dance single to trouble the ARIA top 150.
"The Gift of Love" was the third, and - in Australia - final, single from Bette's seventh studio album Some People's Lives (number 7, April 1991). It followed "From a Distance" (number 8, January 1991) and "Night and Day" (number 84, April 1991).
Internationally, "The Gift of Love" peaked at number 40 in Canada in October 1991.
On the ARIA state charts, "The Gift of Love" performed strongest in New South Wales/Australian Capital Territory, where it reached number 155.
I hadn't heard this one before. It's OK, but doesn't stand out. It sounds somewhat Beatles-esque to me in parts, and also reminds me of Susanna Hoffs' "Unconditional Love" (number 100, May 1991).
"Just a Little Bit Longer" was the fourth and final single from Maxi's fourth studio album Bonafide (number 25, September 1990). The single was also released to promote his Best of Me (number 122, January 1992) compilation album - unusually, they did not record a new track instead.
"Just a Little Bit Longer" peaked at number 62 in the UK in October 1991.
Within Australia, "Just a Little Bit Longer" was most popular in New South Wales/Australian Capital Territory, where it reached number 156.
I hadn't heard this one before; I like it.
Maxi shall next join us again as a featured artist next week!
Next week (21 October): Four top 150 debuts and seven (!) bubbling WAY down under entries.
Bubbling under the Australian top 100 singles chart this week in 1982, we have two acts who you might assume performed better on the Australian charts, and another act who I'd never heard of before. Shall we take a look?
Sheena Easton's machinery only operated spasmodically on the Australian chart.
Beyond the top 100:
Position 7 "Perpetual Motion" by Billy Miller & The Great Blokes
Highest rank: 7th
Peak date: 11 October 1982
Weeks on below list: 1 week
Billy Miller & The Great Blokes were, of course - with that band name, an Australian band. This is their only release listed on discogs.com, and they never troubled the Australian top 100. As seen in the embedded clip below, "Perpetual Motion" was performed on the iconic Australian music TV program Countdown - not that it helped this song to chart.
While I probably saw this performance on a repeat of Countdown aired during rage retro month, I have no recollection of it. The song is alright, if not great, and I could see it having become a top 40 hit if it had received adequate radio support.
Billy Miller had previously been the lead singer of the Australian band The Ferrets, who landed two Australian top 40 hits during the 1970s, with "Don't Fall in Love" reaching number 2 in September 1977. The Ferrets split in 1979.
Position 8 "Machinery" by Sheena Easton
Highest rank: 3rd
Peak date: 18 October 1982
Weeks on below list: 3 weeks
Scottish singer Sheena Easton landed a number one single in Australia with her first chart entry, "9 to 5 (Morning Train)", in April 1981.
As often seemed to be the case with artists in the early 1980s - particularly female ones - one minute you could be on top of the charts, and 6 to 18 months later, you could be flopping big time... only to then bounce back (usually temporarily) a couple of years later! Sheena Easton's chart career in Australia followed this up-and-down trajectory.
While Sheena landed another top 10 hit locally with her Bond-theme "For Your Eyes Only" (number 6, February 1982), nothing from her second album You Could Have Been with Me charted in Australia. "Machinery" was lifted from Sheena's third studio album Madness, Money & Music, which missed the top 100 locally.
Internationally, "Machinery" peaked at number 38 in the UK in August 1982, number 29 in Ireland in August 1982, number 48 in the Netherlands in September 1982, number 15 in Sweden in September 1982, number 18 in Austria in September 1982, number 57 on the US Billboard Hot 100 in September 1982, number 28 in the Flanders region of Belgium in October 1982, and number 6 in Norway.
Sheena would next bubble under on the Australian chart in 1989, dueting with Prince, and on her own in 1991.
Position 10 "Let Me Tickle Your Fancy" by Jermaine Jackson
Highest rank: 3rd
Peak date: 25 October 1982
Weeks on below list: 2 weeks
As a solo artist, separate from The Jackson 5 and The Jacksons, Jermaine Jackson only achieved moderate success, with his highest-charting single "Let's Get Serious" (number 24, September 1980) denting the top 30.
"Let Me Tickle Your Fancy" was the lead single and title track from Jermaine's ninth studio album Let Me Tickle Your Fancy, which did not chart in Australia.
Internationally, "Let Me Tickle Your Fancy" peaked at number 18 on the US Billboard Hot 100 in September 1982.
I have previously written about Jermaine bubbling under in 1989.
Next week (18 October): One new entry bubbling under the top 100.
This week in 1991's debuts outside the ARIA top 100 are skewed towards those peaking outside the top 150, unusually. Let's take a look at them.
Chantoozies: and then there were three.
Top 150 debuts:
Number 148 "Real Real Real" by Jesus Jones
Peak: number 117
Peak date: 11 November 1991
Weeks in top 150: 8 weeks
Weeks on chart: 9 weeks
English band Jesus Jones formed in 1988. While their debut album Liquidizer (number 118, April 1990) yielded no charting singles in Australia, it gave them their first charting release locally.
"Real Real Real" was the first single lifted from the second Jesus Jones album Doubt (number 23, June 1991). Originally released in Australia in April 1990, the single spent a solitary week at number 160 on the ARIA singles chart the following month.
Jesus Jones first came to the attention of most of the Australian record-buying public with the second single from Doubt, "Right Here, Right Now", which peaked at number 35 in July 1991, almost six months after its release. That release was the only Jesus Jones single to dent the ARIA top 50.
Following the third Doubt single "International Bright Young Thing" (number 79, July 1991), "Real Real Real" was re-issued in Australia, climbing to a new peak of number 117.
Internationally, "Real Real Real" peaked at number 19 in the UK in May 1990, where it became the band's first single to dent the top 40 there. It also reached number 37 in New Zealand in October 1991, number 26 in Canada in October 1991, number 4 on the US Billboard Hot 100 in November 1991, and number 59 in the Netherlands in December 1991.
Interestingly, "Real Real Real" was one of only two Jesus Jones singles to register on the US Billboard Hot 100 ("Right Here, Right Now" being the other one), and they both peaked within the top 5.
Domestically, "Real Real Real" was most successful in Victoria/Tasmania, where it reached number 89.
I have a vague recollection of catching the music video for "Real Real Real" on Coca-Cola Power Cuts in 1991.
Number 149 "(Hammer Hammer) They Put Me in the Mix" by MC Hammer
Peak: number 149
Peak date: 7 October 1991
Weeks in top 150: 1 week
We last saw American rapper MC Hammer in July 1991.
"(Hammer Hammer) They Put Me in the Mix" originally appeared on MC Hammer's 1988 debut album Let's Get It Started, minus the "(Hammer Hammer)" parentheses, and in a different mix to the 1991 single version, containing only sparse vocal samples. I assume the track was remixed and issued as a single in Europe and Australasia in 1991 to generate interest in Hammer's debut album, following the success of his second one Please Hammer Don't Hurt 'Em (number 5, August 1990) - not that the strategy worked.
"(Hammer Hammer) They Put Me in the Mix" peaked at number 20 in the UK in July 1991, and number 11 in Ireland during the same month.
"(Hammer Hammer)..." was the second MC Hammer single in a row to peak at number 149 in Australia, indicating the fame and popularity he had generated in 1990 and early 1991 was quickly fading. The downward trajectory would continue, with Hammer's (now dropping the MC) next single, "2 Legit 2 Quit" (number 43, January 1992), and album, Too Legit to Quit (number 84, February 1992), underperforming. Hammer's career momentum was momentarily restored with "Addams Groove" (number 12, February 1992), but that became his last ARIA top 100 entry.
I recall seeing the cassette single for "(Hammer Hammer) They Put Me in the Mix" in the shops, but did not hear it at the time. It's not a great song.
"(Hammer Hammer) They Put Me in the Mix" fared much better on the Australian Music Report singles chart, where it reached number 99.
Hammer will join us again in 1994.
Bubbling WAY down under:
Number 156 "One Shot" by Tin Machine
Peak: number 155
Peak date: 14 October 1991
Weeks on chart: 7 weeks
British-American group Tin Machine, fronted by David Bowie, formed in 1988. They landed one top 100 single in Australia, with "Under the God" (number 97, July 1989).
"One Shot" was the lead single in Australia from the second, and final, Tin Machine album Tin Machine II (number 139, October 1991). This one missed the top 75 in the UK, and I cannot find evidence of it charting elsewhere (no, the US Billboard Mainstreams Rock Tracks chart does not count).
Within Australia, "One Shot" performed strongest in Queensland, where it reached number 128.
I hadn't heard this one before. While I can appreciate David Bowie's talent and importance in pop music history, I generally don't care that much for his music, bar the occasional track. This isn't one of them.
Another Tin Machine single, "You Belong in Rock N' Roll", was issued in Australia in February 1992, but failed to chart.
Australian pop group Chantoozies formed in 1986 to play cover versions at the 25th birthday party of band member Tottie Goldsmith's - niece of Olivia Newton-John, no less. The band's name was a play on the French word for female singer chanteuse, which is pronounced more like "shoh-tooz" than Chantoozie.
The original line-up for Chantoozies contained four female singers, all of whom had done TV acting work (notably, Ally Fowler, who had landed major roles in the soap operas Sons and Daughters and Neighbours), alongside four men who played the instruments. Among the guys was David Reyne, James Reyne's brother, on drums.
Chantoozies' first two singles were cover versions, "Witch Queen" (number 4, April 1987) and "He's Gonna Step on You Again" (number 36, July 1987). The success of the second single was probably hampered by The Party Boys releasing a cover version of the same track around the same time, which went to number 1 in Australia in July 1987. I remember seeing Chantoozies perform "He's Gonna Step on You Again" on Hey Hey It's Saturday and wondering why they were doing a version of The Party Boys' song, which was currently a hit.
After nearly a year's hiatus, Chantoozies returned with an original track, "Wanna Be Up" (number 6, July 1988), written by two of the band's members - Eve von Bibra and Brett Goldsmith. While it didn't peak quite as high as "Witch Queen", "Wanna Be Up" hovered within and around the top 10 for over two months, and spent more than 20 weeks in the top 50. It is probably Chantoozies' best-remembered hit, and became a staple on the Summer Bay Diner jukebox on Home and Away, to boot. A memorable scene - for me, anyway - was when Ailsa played "Wanna Be Up" on her cassette deck while Bobby's ghost was coming out of the fridge, during the midst of a mental breakdown in 1995 - some seven years after the song's release.
Chantoozies' debut album Chantoozies (number 8, September 1988) achieved similar success to "Wanna Be Up", going platinum. It seemed like the band no longer needed to rely on recording cover versions for hits.
Tottie left the band before the first single from their second album, "Come Back to Me" (number 72, November 1989), was released. Despite being added to the Summer Bay jukebox, "Come Back to Me" did not take off on the charts, and must have resulted in some panic. The male members of Chantoozies split from the band before the belated release of their next single, "Walk On" (number 96, November 1990), which fared even worse on the charts.
Following these commercial disappointments, the pared-down trio remaining in Chantoozies resorted to what worked for them once - release a cover version. Their version of Stephen Stills' "Love the One You're With" (number 21, May 1991) gave Chantoozies another hit - though it would become their last. Australian sketch comedy TV program Fast Forward parodied Chantoozies' version of this song as "Sing a 60's Hit" - even though, technically, the original was released in 1970.
The second Chantoozies album Gild the Lily (number 71, April 1991) was released and stalled in the lower half of the ARIA top 100.
Chantoozies then released this cover of The Jackson 5's "I'll Be There", which did not appear on Gild the Lily. I don't recall hearing this one at the time, or even being aware of its release. The single sank without a trace on the chart, but found its greatest success in Queensland, where it reached number 141.
"I'll Be There" would be Chantoozies' final release until 2014, when they released a cover version of Promises' "Baby It's You", which did not chart. Tottie had rejoined the group by this point.
Number 170 "Wintercoat" by Paul Kelly and The Messengers
Peak: number 170
Peak date: 7 October 1991
Weeks on chart: 2 weeks
We last saw Paul Kelly and The Messengers in June 1991, and here they are with their fourth consecutive single, and third (of three) release from Comedy (number 12, May 1991) to peak outside the ARIA top 100.
On the state charts, "Wintercoat" performed strongest in Queensland, where it peaked at number 142.
I don't recall hearing this one before. Something about the piano in the verses reminds me of Madness's "Lovestruck" (number 127, September 1999); though that track came later, and it is presumably just a coincidence.
Number 190 "The Dream Is Still Alive" by Wilson Phillips
Peak: number 190
Peak date: 7 October 1991
Weeks on chart: 1 week
Squeaky clean American female vocal trio Wilson Phillips last joined us in April 1991. "The Dream Is Still Alive" was the fifth and final single lifted from their debut album Wilson Phillips (number 7, July 1990). It was also the third consecutive single from the band to peak outside the ARIA top 100.
Internationally, "The Dream Is Still Alive" peaked at number 12 on the US Billboard Hot 100 in August 1991, and at number 11 in Canada during the same month.
On the ARIA state charts, "The Dream Is Still Alive" was most successful in New South Wales/Australian Capital Territory, where it reached number 162.
I don't recall hearing this one before; I must have tuned out of American Top 40 when this was charting. Carnie Wilson gets lead vocal duties on this one, which is a point of difference from the group's previous singles.
Wilson Phillips will pay us another visit in 1992.
Number 200 "Only Love Can Break Your Heart" by Saint Etienne
Peak: number 155
Peak date: 21 October 1991
Weeks on chart: 8 weeks
English band Saint Etienne formed in 1990. Originally, the band was conceived as a project to feature different vocalists. They decided, however, to stick with singer Sarah Cracknell after recording "Nothing Can Stop Us" (released in Australia in August 1991, did not chart) - a track later covered by Kylie Minogue - for their debut album Foxbase Alpha (number 783, February 2017). We saw Cola Boy, an act tangentially related to Saint Etienne, in September 1991.
"Only Love Can Break Your Heart", a song originally recorded by Neil Young in 1970, featured vocals by Moira Lambert, and was Saint Etienne's first release. Moira refused to appear in the music video, however, and so the original video for the song featured Lucy Gillie from the band Golden lip-syncing the song's lyrics.
The single initially stalled at number 95 in the UK in July 1990, before climbing to number 39 in September 1991 when re-released. "Only Love Can Break Your Heart" also peaked at number 97 on the US Billboard Hot 100 in March 1992. The second issue of the single was promoted with a new music video, embedded below, showing Sarah Cracknell miming to Moira's vocals.
Domestically, "Only Love Can Break Your Heart" performed strongest on the Western Australia state chart, where it reached number 116.
I first became aware of Saint Etienne when seeing the lyrics to "I Was Born on Christmas Day" published in a UK edition of Smash Hits I picked up at the airport in Hong Kong to read on the plane, on a flight home in January 1994. I didn't hear any of their music, however, until catching the music video for "The Bad Photographer", which we'll see in 1998, on rage as a new release. In other words, the band received virtually zero promotion in Australia, and sadly never landed a hit here.
We won't see Saint Etienne again until 1998, but, before then, two of their albums troubled the lower region of the ARIA albums chart: So Tough (number 175, April 1993) and Tiger Bay (number 178, August 1994).
Two of my favourite Saint Etienne singles that I won't get to write about are "Who Do You Think You Are" (released in 1993) and "I've Got Your Music" (released in 2012) - I recommend checking these out if you've not heard them before.
Number 202 "Dream Girl" by Definition of Sound
Peak: number 178
Peak date: 21 October 1991
Weeks on chart: 2 weeks
London-based duo Kevin Clark and Don Weekes first recorded together as Top Billin in 1988, before changing their name to Definition of Sound in 1990. Their debut Australian single, "Wear Your Love Like Heaven" (number 77, June 1991), dented the ARIA top 100, as did the follow-up, "Now Is Tomorrow" (number 85, September 1991).
"Dream Girl" was the third track released from the first Definition of Sound album Love and Life (number 97, August 1991) in Australia. The single missed the top 75 in the UK and did not chart anywhere else.
At the time of writing, "Dream Girl"'s debut position is the earliest ARIA singles chart position I have below number 200.
On the ARIA state charts, "Dream Girl" peaked highest in Victoria/Tasmania, where it reached number 148.
I heard most of the Definition of Sound singles at the time, but not this one. The band would not break through in Australia until 1996, when "Pass the Vibes" (number 36, March 1996) crept into the lower region of the top 40.
We shall see Definition of Sound bubble under on numerous occasions over the coming years, with the next one being in 1992.
Next week (14 October): Eight top 150 debuts and two bubbling WAY down under entries. Also, keep your eyes peeled for my 1982 posts returning after a hiatus on Tuesday next week (11 October).
