Weaver's UK Music Charts

Weaver's Charts

October 2000

Disclaimer: These charts are intended as a guide to the most successful records, measured by influence on public taste, in the UK during the period above. There is no representation of sales or airplay data in any market. Unauthorised reproduction in print, electronic, broadcast or other media is not permitted without the consent of the author.
Ps wk TITLE (album)
Act Peak Hon
1 4 BLACK COFFEE (Saints And Sinners)
All Saints 1 x 1 SS
The second single (after February's massive Leo-induced frenzy) could never quite top the brilliance of "Pure Shores," though it pushes all the right buttons. The former release remains the year's biggest hit; the latter tops the listings on sales of barely 50,000, the smallest sale for a #1 single since Hangover Week, the week after new year. The track takes #1 for the month by just 2,700 points, less than 1% of the total.
2 3 BEAUTIFUL DAY (All That You Can't Leave Behind)
U2 1 x 2 Oct
In recent years, the first single off a U2 album has been something of an experimental track, unlike anything else on the disc. "The Fly," the first release from 1991's "Achtung Baby!" was a loud buzzing melody, while "Discotheque," first off 1997's "Pop" had a stomp that never turned up on the rest of the album. The roots of this single are there for all to see on tracks like "Stay (Faraway So Close)" off 1993's "Zooropa," and the more recent "If God Will Send His Angels" and "Last Night On Earth." A rootsy, guitar-based sound, like they've made all along the line. Despite the best efforts to convince otherwise.
3 3 WHO LET THE DOGS OUT (Who Let the Dogs Out?)
Baja Men 2
Who, indeed. A collective from the Bahamas, responsible for a track that one either loves or hates on the first listen. It's been handled around the world by pop impressario Johnathan King, whom one also either loves or loathes after about ten seconds. This was shaping up to be a significant minor hit, peaking just outside the top 10, until a slow week and increased distribution combined to push the track to #2, inches behind U2. The viral qualities ensured it then turned into a massive hit, used by sports fans all over the world.
4 3 SILENCE
Delerium feat Sarah MacLachlan 4 SS
Another of those records that has worked its passage right round the world before becoming a UK hit. I first heard this on the back of its Australian success in the third quarter of 99, and loved it then. Slightly remixed for the UK market, MacLachlan's banshee wail counterpoints a great bass melody. With any decent marketing prowess, this will be the launchpad for the Halifax export, reviving interest in her previous albums.
5 3 KIDS (Sing When You're Winning / Light Years)
Robbie Williams and Kylie Minogue 2
Bosses at Virgin Records, home to both these acts, must have been worried that people would see through the new clothes for their Emperor and Empress of Pap. Both acts have put out cliched re-treads of their previous glories, devoid of original thought. This is just about the worst excess in that direction, an opportunistic wannabe-anthem that can't see a stereotype without exploiting it. The gabbled hook line, the off-kilter guitar, the male-female line interplay. Dull as anything.
6 8 LADY HEAR ME TONIGHT
Modjo 1 x 2
The group is French, and has a silent "d" in its name. The loop is a Chic b-side from 79, and the sound a fairly urgent call over a laid-back groove. It's OK, but it's not really up to much. The record-buying public, showing its usual ability to be led by radio bosses, lap it up in spades.
7 6 I'M OUTTA LOVE (Not That Kind)
Anastacia 5
When R&B met disco down a dark alley one night, this was the result. A little rough round the edges, but a fantastic tune that has already hit it across the continent. A real grower in the UK, Anastacia continued long past her expected sell-by date and turned into a major hit.
8 6 AGAINST ALL ODDS (TAKE A LOOK AT ME NOW)
Mariah Carey and Westlife 1 x 2
Why? Because their careers need the help. Mariah Carey, massive in the US, has never quite graduated to the A-league of star performers such as Madonna or Whitney in the UK. Westlife, meanwhile, have become chart fixtures in the UK, but are yet to properly break in the US. They've not hammered "Flying Without Wings," though, which could explain a lot.
Anyway, despite being signed to two different multi-nationals, the two acts have combined for the ultimate in opportunistic releases. A version by Mariah alone did the rounds in Europe, and all the dance mixes are of Mariah's version. Westlife doesn't feature on the remixes on a UK promo. The video was clearly done on a budget of zero, looking like it was shot with a Super-8 camcorder. It's a mile away from Mariah's previous (and very expensive) promotional shots. The upshot was a single that sold six figures in one week, but attracted minimal airplay, and won't turn into a significant hit.
For the record, this is a cover of Phil Collins' 1984 original, from the film "Against All Odds." That was kept from the #1 slot by Lionel Richie's "Hello," and probably deserves its belated chart-topping status. It's the second UK #1 that Mariah Carey has appeared on, following 1994's "Without You." Though all six of Westlife's singles have topped the UK sales chart, this is only the third to top my listing.
9 6 MOST GIRLS (Can't Take Me Home)
Pink 6
A bit of a grower, not the sh(l)ock tactics of her debut, but a more brooding number about the few men who are actually the slightest romantic. Fertile territory, nothing too new, but good nevertheless.
10 1 HOLLER (Forever)
Spice Girls 1 x 1
Single number 10 - promoted as a double-A with sappy "Let Love Lead the Way" - is the tenth number one of their career, leaving them just one behind the Beatles' all-time record. However, if any other act released this, it wouldn't be anything like so big. It's actually a dull mess of lite R&B, without any of the charm that marked the group's earlier work. It seems they're missing Geri more than they think.
11 3 COULD I HAVE THIS KISS FOREVER (Greatest Hits)
Whitney Houston & Enrique Iglesias 9
Her greatest hits album contained four new tracks, of which this is the second. His UK career has stalled somewhat since the breakthrough "Bailamos" in summer last year. The combination is a decent enough track, breaking no new ground, but a pleasant enough listen. Oddly, it took a long time to be accepted by the radio playlisters here.
12 10 MUSIC (Music)
Madonna 1 x 2
It's been a strange year for Madge, giving birth to her second child just a few weeks before this record was released, shacking up with film director Guy Richie in central London. And also completely losing touch with her muse. February's barking cover of "American Pie" remained reasonably close to the original, while not being the original. This tune, however, is all beat and dodgy video, without having any of Madonna's known talent for rhythm, tune, or song structure. Please, let this be a one-off lapse in production; I fear it's the start of the decline of the undisputed Queen Of Pop. Seven weeks at the top of the world chart, three in Canada, four in the US.
13 4 BODY GROOVE
Architechs 6
Crap. Next.
14 6 ZOMBIE NATION
Kernkraft 3000 2
It's a bit of a bizarre one, this. Thundering drums, a keyboard riff that might just owe something to too much buttercup dew, and a simple chant. I'm undecided as to whether this is genius or guff.
15 9 SKY (Hear My Cry)
Sonique 3 SS
With something that is only 60% of the genius of "It Feels So Good," yet still makes more with less than many follow-ups. It's the swooping chorus that does it for me. An airplay favourite, though the record-buying public was less impressed.
16 2 STOMP / TRAGEDY (Buzz)
Steps 3 SS
The single credits inspiration and pays tribute to Nile Rogers, the driving force behind 70s disco band Chic. It's a credit totally in place, as "Stomp" brings to mind classics like "Good Times" and (er) whatever else it was that Chic did, without actually ripping off any particular track. The single is backed with a fantastic 12" mix of "Tragedy," the band's first chart-topper from the beginning of 1999. This package might have to go down as the unluckiest release of the year - #1 on sales, but so weak on airplay that it was overtaken by the Baja Men, and then both were trumped by U2. An increase of just 0.6% would have given Steps the top slot.
17 3 THE WAY I AM (The Marshall Mathers LP)
Eminem 10
Would the real Slim Shady please shut the chuff up? He has no talent.
18 3 IN DEMAND (Greatest Hits)
Texas 12
I've never had much time for Texas, having neither the quality of Glasgow contemporaries del Amitri, nor the subtle quirkiness (too subtle for most commentators, alas) of Deacon Blue. Besides, Lisa Bing hates lead singer Sharleen Spiteri, and that's excuse enough for me. But this is an inoffensive enough number, one that wouldn't have been out of place on either of the group's last two, slickly-produced albums. Criticise as Texas-by-numbers if that's your bag; it's not mine.
19 1 SHE BANGS
Ricky Martin 3 SS
Finally, an up-tempo follow-up to last year's "Livin' La Vida Loca," the one that broke Ricky in the US. Since that trans-atlantic topper, he's released the rather good ballads "She's All I Ever Had" (not in the UK) and "Private Emotion" (with Meja,) and the singularly rubbish "Shake Your Bonbon." This is a stomper of a track, with plenty of opportunity to cross over and become a massive hit.
20 13 ROCK DJ (Sing When You're Winning)
Robbie Williams 1 x 1
The second single from his new album, it's a rip-off of the theme to 70s classic "Chorlton And the Wheelies" and Murray Head's "One Night In Bangkok" from the musical Chess. With that, plus Robbie's status as media darling par excellence, and a video too gruesome for television (and not just because Williams is in it) he has a massive hit. Shame the song really is a five-minute album filler, but that can be applied to almost the whole of his album.
21 11 GROOVEJET (FEEL SO GOOD)
Spiller 1 x 1
Spiller is an Italian DJ, who has teamed with Sophie Ellis-Bextor. SE-B was best known as the daughter of former Jigsaw and Blue Peter presenter Janet Ellis, and only slightly known as lead singer with indie band Theaudience. Lending her vocal talents to this track proved the making of her, as it crossed over to sell over 200,000 copies in one week and become the most played record in one week on UK radio ever. The only problem I have is that it's a rather one-dimensional track, there's no depth at all. Still, that many people may not be wrong.
22 6 OVERLOAD
Sugababes 8 SS
This oozes class by the note. The first release by a young female group would usually be promoted heavily through the teen magazines, but this has come out with small ads in almost every publication going. The quiet but ubiquitous campaign would count for nothing if it weren't for the sublimely brilliant track itself, a dash of All Saints in a broth that owes a lot to Imani Coppola's 1998 "Legend Of A Cowgirl." Fantastic.
23 5 COME ON OVER (Christina Aguilera)
Christina Aguilera 14
This is single four, and it's a return to the upbeat stuff. Pretty formulaic by now. Three weeks as the US #1.
24 2 BODY TO BODY (Gotta Tell You)
Samantha Mumba 7
With her first single going top 10 Stateside, the Irish lassie releases the second single here. It's loosely based on David Bowie's 1980 chart-topper "Ashes To Ashes," and is another delightful pop confection.
25 5 GIVE ME JUST ONE NIGHT
98 Degrees 24 NB
Boyband-by-numbers, though with something of an edge.
26 13 DOESN'T REALLY MATTER (The Nutty Professor II OST)
Janet Jackson 5
Janet's first single in almost two years is something of a grower. What starts out as bog-standard US R&B eventually reveals the subtle defining touches of her regular work. File under interesting novelty, two week atop the world chart, three weeks as US #1, and airplay staple for the rest of the year.
27 2 I WISH / BAD MAN
R Kelly 19 SS
The lead single from his new album is an homage to R's deceased mother. Beautiful, reflective stuff. It's backed with the lead single in North America, which is also less angry and more melodic. Eminem, please take note - this is how to do it.
28 17 BREATHLESS (In Blue)
Corrs 1 x 3 SS
It took over a year for 1997's "Talk On Corners" to properly break, but the wait was worth it. The album became the best seller of 1998, and remained a firm favourite well into 99. The gap since this album has been filled by re-releases of 95's "Forgiven Not Forgotten" and an acoustic album last autumn. That latter record provided the most recent single, "Radio", a minor hit last December. This, though, is the real deal. The trademark close-knit harmonies, the tight instrumentation, and probably their best track this side of the evergreen "What Can I Do." That it sounds like Belinda Carlisle circa "Runaway Horses" doesn't hurt proceedings. It's proven to be a massive airplay favourite, only gradually descending the listings as the follow-up ("Irresistable", out in early November) loomed.
29 11 LUCKY (Oops I Did It Again)
Britney Spears 4 SS
Completely overshadowed on release by the Spiller / Steppers battle, Spears' sixth single becomes her sixth to go top -- four. It's the second release from her sophomore album, and is the first single that is written in the third person. Is this evidence that Spears' solipsism knows bounds, that she can sing about something other than "me"? We await the next single - due in late November - with interest.
30 12 I TURN TO YOU (Northern Star)
Melanie C 1 x 1
Let's briefly recap on the most successful solo career from a Spice. There was Punk C (the under-rated Going Down, #6 last October). There was Torch Singer C (Northern Star, a #8 last December.) R&B C made #1 last time out, with a little help from Lisa Lopez. Unlike the here-today, gone-tomorrow pop pastiches of Geri Spice, these three tracks will stand the test of time. Single four from the album, though, is a pretty poor excuse. Dancey C is just a step too far.
31 2 WHO THE HELL ARE YOU? (The Polyester Embassy)
Madison Avenue 18
Good question. This is a slightly nastier release than their previous single, and hasn't met with quite such critical approval.
32 15 JUMPIN JUMPIN (The Writing's On The Wall)
Destiny's Child 4
Fourth UK single, third in the US, and it's released just as the group loses its third member in less than a year. The track is an unremarkable piece of R&B that pales into insignificance against the delights of Bills.
33 7 NATURAL (7)
S Club 7 2
Single five samples Faure's Pavanne, as used by the BBC for the World Cup a couple of years ago. It's another piece of intelligent, well-sung pop. It might not be that demanding, but it's really rather good.
34 4 TELL ME (Hot)
Melanie B 12
A thinly-disguised rant after a man who is only after her for her money. Does anyone smell 18-month old hits for TLC or Destiny's Child here? After starting her solo career two years with the grower "I Want You Back," it's clear that that owed more to Missy Elliot than Mel Brown. When will Chisholm and Bunton wake up and realise they're carrying the other two?
35 3 WITH ARMS WIDE OPEN (Human Clay)
Creed 29 NB
Like "Higher", a slow-burning ball of firey rage. One week as the US #1 means it might not be a total miss in the UK, yet it's fabulous.
36 7 ON A NIGHT LIKE THIS (Light Years)
Kylie Minogue 3
The return of the Australian squit continues. It's a cover of an obscure Eurodance track, devoid of any significant talent, and sounding a lot like album filler. If this is the second best track off the album, Kylie really is in trouble. A combination of great promotion and undeniable media hype gave a #2 sales entry, but it couldn't last, her only week in the top ten.
37 4 WONDERFUL (Songs From An American Movie Vol 1: Learning How To Smile)
Everclear 27 SS
A lot to live up to, but an apt title. The raucous backing track plays as counterpoint to an angst-ridden memory trawl through the parental divorce. Splitting up has never been so painful, or so much fun. UK radio hates it, because it requires thought and hard work - the reasons US college radio has fallen over it.
38 1 PINCH ME (Maroon)
Barenaked Ladies 36 SS
The Canadian masters of quirk are back, and though there may be less quirk on this single, it's still a great listen.
39 1 DOOMSNIGHT
Azzuda da Bass 12
Dull dance stuff.
40 5 ABSOLUTELY EVERYBODY
Vanessa Amorosi 18 SS
One of the highlights of the Olympics was the fantastic performance of the UK team, collecting eleven golds. Another highlight was the piss-poor performance of the USA, bagging a mere 25. Yet another was the unofficial theme, this slice of high energy pop working like a siren. She's wonderfully talented, and the complete lack of promotion in the UK hasn't stopped this from becoming a significant hit.
SureShots on yellow, Singles of the Month on red, records Not British hits on green.

Ps	wk	TITLE (album) Act	Peak	Hon
1	4	BLACK COFFEE (Saints And Sinners) All Saints	1 x 1	SS
The second single (after February's massive Leo-induced frenzy) could never quite top the brilliance of "Pure Shores," though it pushes all the right buttons. The former release remains the year's biggest hit; the latter tops the listings on sales of barely 50,000, the smallest sale for a #1 single since Hangover Week, the week after new year. The track takes #1 for the month by just 2,700 points, less than 1% of the total.
2	3	BEAUTIFUL DAY (All That You Can't Leave Behind) U2	1 x 2	Oct
In recent years, the first single off a U2 album has been something of an experimental track, unlike anything else on the disc. "The Fly," the first release from 1991's "Achtung Baby!" was a loud buzzing melody, while "Discotheque," first off 1997's "Pop" had a stomp that never turned up on the rest of the album. The roots of this single are there for all to see on tracks like "Stay (Faraway So Close)" off 1993's "Zooropa," and the more recent "If God Will Send His Angels" and "Last Night On Earth." A rootsy, guitar-based sound, like they've made all along the line. Despite the best efforts to convince otherwise.
3	3	WHO LET THE DOGS OUT (Who Let the Dogs Out?) Baja Men	2
Who, indeed. A collective from the Bahamas, responsible for a track that one either loves or hates on the first listen. It's been handled around the world by pop impressario Johnathan King, whom one also either loves or loathes after about ten seconds. This was shaping up to be a significant minor hit, peaking just outside the top 10, until a slow week and increased distribution combined to push the track to #2, inches behind U2. The viral qualities ensured it then turned into a massive hit, used by sports fans all over the world.
4	3	SILENCE Delerium feat Sarah MacLachlan	4	SS
Another of those records that has worked its passage right round the world before becoming a UK hit. I first heard this on the back of its Australian success in the third quarter of 99, and loved it then. Slightly remixed for the UK market, MacLachlan's banshee wail counterpoints a great bass melody. With any decent marketing prowess, this will be the launchpad for the Halifax export, reviving interest in her previous albums.
5	3	KIDS (Sing When You're Winning / Light Years) Robbie Williams and Kylie Minogue	2
Bosses at Virgin Records, home to both these acts, must have been worried that people would see through the new clothes for their Emperor and Empress of Pap. Both acts have put out cliched re-treads of their previous glories, devoid of original thought. This is just about the worst excess in that direction, an opportunistic wannabe-anthem that can't see a stereotype without exploiting it. The gabbled hook line, the off-kilter guitar, the male-female line interplay. Dull as anything.
6	8	LADY HEAR ME TONIGHT Modjo	1 x 2
The group is French, and has a silent "d" in its name. The loop is a Chic b-side from 79, and the sound a fairly urgent call over a laid-back groove. It's OK, but it's not really up to much. The record-buying public, showing its usual ability to be led by radio bosses, lap it up in spades.
7	6	I'M OUTTA LOVE (Not That Kind) Anastacia	5
When R&B met disco down a dark alley one night, this was the result. A little rough round the edges, but a fantastic tune that has already hit it across the continent. A real grower in the UK, Anastacia continued long past her expected sell-by date and turned into a major hit.
8	6	AGAINST ALL ODDS (TAKE A LOOK AT ME NOW) Mariah Carey and Westlife	1 x 2
Why? Because their careers need the help. Mariah Carey, massive in the US, has never quite graduated to the A-league of star performers such as Madonna or Whitney in the UK. Westlife, meanwhile, have become chart fixtures in the UK, but are yet to properly break in the US. They've not hammered "Flying Without Wings," though, which could explain a lot. Anyway, despite being signed to two different multi-nationals, the two acts have combined for the ultimate in opportunistic releases. A version by Mariah alone did the rounds in Europe, and all the dance mixes are of Mariah's version. Westlife doesn't feature on the remixes on a UK promo. The video was clearly done on a budget of zero, looking like it was shot with a Super-8 camcorder. It's a mile away from Mariah's previous (and very expensive) promotional shots. The upshot was a single that sold six figures in one week, but attracted minimal airplay, and won't turn into a significant hit. For the record, this is a cover of Phil Collins' 1984 original, from the film "Against All Odds." That was kept from the #1 slot by Lionel Richie's "Hello," and probably deserves its belated chart-topping status. It's the second UK #1 that Mariah Carey has appeared on, following 1994's "Without You." Though all six of Westlife's singles have topped the UK sales chart, this is only the third to top my listing.
9	6	MOST GIRLS (Can't Take Me Home) Pink	6
A bit of a grower, not the sh(l)ock tactics of her debut, but a more brooding number about the few men who are actually the slightest romantic. Fertile territory, nothing too new, but good nevertheless.
10	1	HOLLER (Forever) Spice Girls	1 x 1
Single number 10 - promoted as a double-A with sappy "Let Love Lead the Way" - is the tenth number one of their career, leaving them just one behind the Beatles' all-time record. However, if any other act released this, it wouldn't be anything like so big. It's actually a dull mess of lite R&B, without any of the charm that marked the group's earlier work. It seems they're missing Geri more than they think.
11	3	COULD I HAVE THIS KISS FOREVER (Greatest Hits) Whitney Houston & Enrique Iglesias	9
Her greatest hits album contained four new tracks, of which this is the second. His UK career has stalled somewhat since the breakthrough "Bailamos" in summer last year. The combination is a decent enough track, breaking no new ground, but a pleasant enough listen. Oddly, it took a long time to be accepted by the radio playlisters here.
12	10	MUSIC (Music) Madonna	1 x 2
It's been a strange year for Madge, giving birth to her second child just a few weeks before this record was released, shacking up with film director Guy Richie in central London. And also completely losing touch with her muse. February's barking cover of "American Pie" remained reasonably close to the original, while not being the original. This tune, however, is all beat and dodgy video, without having any of Madonna's known talent for rhythm, tune, or song structure. Please, let this be a one-off lapse in production; I fear it's the start of the decline of the undisputed Queen Of Pop. Seven weeks at the top of the world chart, three in Canada, four in the US.
13	4	BODY GROOVE Architechs	6
Crap. Next.
14	6	ZOMBIE NATION Kernkraft 3000	2
It's a bit of a bizarre one, this. Thundering drums, a keyboard riff that might just owe something to too much buttercup dew, and a simple chant. I'm undecided as to whether this is genius or guff.
15	9	SKY (Hear My Cry) Sonique	3	SS
With something that is only 60% of the genius of "It Feels So Good," yet still makes more with less than many follow-ups. It's the swooping chorus that does it for me. An airplay favourite, though the record-buying public was less impressed.
16	2	STOMP / TRAGEDY (Buzz) Steps	3	SS
The single credits inspiration and pays tribute to Nile Rogers, the driving force behind 70s disco band Chic. It's a credit totally in place, as "Stomp" brings to mind classics like "Good Times" and (er) whatever else it was that Chic did, without actually ripping off any particular track. The single is backed with a fantastic 12" mix of "Tragedy," the band's first chart-topper from the beginning of 1999. This package might have to go down as the unluckiest release of the year - #1 on sales, but so weak on airplay that it was overtaken by the Baja Men, and then both were trumped by U2. An increase of just 0.6% would have given Steps the top slot.
17	3	THE WAY I AM (The Marshall Mathers LP) Eminem	10
Would the real Slim Shady please shut the chuff up? He has no talent.
18	3	IN DEMAND (Greatest Hits) Texas	12
I've never had much time for Texas, having neither the quality of Glasgow contemporaries del Amitri, nor the subtle quirkiness (too subtle for most commentators, alas) of Deacon Blue. Besides, Lisa Bing hates lead singer Sharleen Spiteri, and that's excuse enough for me. But this is an inoffensive enough number, one that wouldn't have been out of place on either of the group's last two, slickly-produced albums. Criticise as Texas-by-numbers if that's your bag; it's not mine.
19	1	SHE BANGS Ricky Martin	3	SS
Finally, an up-tempo follow-up to last year's "Livin' La Vida Loca," the one that broke Ricky in the US. Since that trans-atlantic topper, he's released the rather good ballads "She's All I Ever Had" (not in the UK) and "Private Emotion" (with Meja,) and the singularly rubbish "Shake Your Bonbon." This is a stomper of a track, with plenty of opportunity to cross over and become a massive hit.
20	13	ROCK DJ (Sing When You're Winning) Robbie Williams	1 x 1
The second single from his new album, it's a rip-off of the theme to 70s classic "Chorlton And the Wheelies" and Murray Head's "One Night In Bangkok" from the musical Chess. With that, plus Robbie's status as media darling par excellence, and a video too gruesome for television (and not just because Williams is in it) he has a massive hit. Shame the song really is a five-minute album filler, but that can be applied to almost the whole of his album.
21	11	GROOVEJET (FEEL SO GOOD) Spiller	1 x 1
Spiller is an Italian DJ, who has teamed with Sophie Ellis-Bextor. SE-B was best known as the daughter of former Jigsaw and Blue Peter presenter Janet Ellis, and only slightly known as lead singer with indie band Theaudience. Lending her vocal talents to this track proved the making of her, as it crossed over to sell over 200,000 copies in one week and become the most played record in one week on UK radio ever. The only problem I have is that it's a rather one-dimensional track, there's no depth at all. Still, that many people may not be wrong.
22	6	OVERLOAD Sugababes	8	SS
This oozes class by the note. The first release by a young female group would usually be promoted heavily through the teen magazines, but this has come out with small ads in almost every publication going. The quiet but ubiquitous campaign would count for nothing if it weren't for the sublimely brilliant track itself, a dash of All Saints in a broth that owes a lot to Imani Coppola's 1998 "Legend Of A Cowgirl." Fantastic.
23	5	COME ON OVER (Christina Aguilera) Christina Aguilera	14
This is single four, and it's a return to the upbeat stuff. Pretty formulaic by now. Three weeks as the US #1.
24	2	BODY TO BODY (Gotta Tell You) Samantha Mumba	7
With her first single going top 10 Stateside, the Irish lassie releases the second single here. It's loosely based on David Bowie's 1980 chart-topper "Ashes To Ashes," and is another delightful pop confection.
25	5	GIVE ME JUST ONE NIGHT 98 Degrees	24	NB
Boyband-by-numbers, though with something of an edge.
26	13	DOESN'T REALLY MATTER (The Nutty Professor II OST) Janet Jackson	5
Janet's first single in almost two years is something of a grower. What starts out as bog-standard US R&B eventually reveals the subtle defining touches of her regular work. File under interesting novelty, two week atop the world chart, three weeks as US #1, and airplay staple for the rest of the year.
27	2	I WISH / BAD MAN R Kelly	19	SS
The lead single from his new album is an homage to R's deceased mother. Beautiful, reflective stuff. It's backed with the lead single in North America, which is also less angry and more melodic. Eminem, please take note - this is how to do it.
28	17	BREATHLESS (In Blue) Corrs	1 x 3	SS
It took over a year for 1997's "Talk On Corners" to properly break, but the wait was worth it. The album became the best seller of 1998, and remained a firm favourite well into 99. The gap since this album has been filled by re-releases of 95's "Forgiven Not Forgotten" and an acoustic album last autumn. That latter record provided the most recent single, "Radio", a minor hit last December. This, though, is the real deal. The trademark close-knit harmonies, the tight instrumentation, and probably their best track this side of the evergreen "What Can I Do." That it sounds like Belinda Carlisle circa "Runaway Horses" doesn't hurt proceedings. It's proven to be a massive airplay favourite, only gradually descending the listings as the follow-up ("Irresistable", out in early November) loomed.
29	11	LUCKY (Oops I Did It Again) Britney Spears	4	SS
Completely overshadowed on release by the Spiller / Steppers battle, Spears' sixth single becomes her sixth to go top -- four. It's the second release from her sophomore album, and is the first single that is written in the third person. Is this evidence that Spears' solipsism knows bounds, that she can sing about something other than "me"? We await the next single - due in late November - with interest.
30	12	I TURN TO YOU (Northern Star) Melanie C	1 x 1
Let's briefly recap on the most successful solo career from a Spice. There was Punk C (the under-rated Going Down, #6 last October). There was Torch Singer C (Northern Star, a #8 last December.) R&B C made #1 last time out, with a little help from Lisa Lopez. Unlike the here-today, gone-tomorrow pop pastiches of Geri Spice, these three tracks will stand the test of time. Single four from the album, though, is a pretty poor excuse. Dancey C is just a step too far.
31	2	WHO THE HELL ARE YOU? (The Polyester Embassy) Madison Avenue	18
Good question. This is a slightly nastier release than their previous single, and hasn't met with quite such critical approval.
32	15	JUMPIN JUMPIN (The Writing's On The Wall) Destiny's Child	4
Fourth UK single, third in the US, and it's released just as the group loses its third member in less than a year. The track is an unremarkable piece of R&B that pales into insignificance against the delights of Bills.
33	7	NATURAL (7) S Club 7	2
Single five samples Faure's Pavanne, as used by the BBC for the World Cup a couple of years ago. It's another piece of intelligent, well-sung pop. It might not be that demanding, but it's really rather good.
34	4	TELL ME (Hot) Melanie B	12
A thinly-disguised rant after a man who is only after her for her money. Does anyone smell 18-month old hits for TLC or Destiny's Child here? After starting her solo career two years with the grower "I Want You Back," it's clear that that owed more to Missy Elliot than Mel Brown. When will Chisholm and Bunton wake up and realise they're carrying the other two?
35	3	WITH ARMS WIDE OPEN (Human Clay) Creed	29	NB
Like "Higher", a slow-burning ball of firey rage. One week as the US #1 means it might not be a total miss in the UK, yet it's fabulous.
36	7	ON A NIGHT LIKE THIS (Light Years) Kylie Minogue	3
The return of the Australian squit continues. It's a cover of an obscure Eurodance track, devoid of any significant talent, and sounding a lot like album filler. If this is the second best track off the album, Kylie really is in trouble. A combination of great promotion and undeniable media hype gave a #2 sales entry, but it couldn't last, her only week in the top ten.
37	4	WONDERFUL (Songs From An American Movie Vol 1: Learning How To Smile) Everclear	27	SS
A lot to live up to, but an apt title. The raucous backing track plays as counterpoint to an angst-ridden memory trawl through the parental divorce. Splitting up has never been so painful, or so much fun. UK radio hates it, because it requires thought and hard work - the reasons US college radio has fallen over it.
38	1	PINCH ME (Maroon) Barenaked Ladies	36	SS
The Canadian masters of quirk are back, and though there may be less quirk on this single, it's still a great listen.
39	1	DOOMSNIGHT Azzuda da Bass	12
Dull dance stuff.
40	5	ABSOLUTELY EVERYBODY Vanessa Amorosi	18	SS
One of the highlights of the Olympics was the fantastic performance of the UK team, collecting eleven golds. Another highlight was the piss-poor performance of the USA, bagging a mere 25. Yet another was the unofficial theme, this slice of high energy pop working like a siren. She's wonderfully talented, and the complete lack of promotion in the UK hasn't stopped this from becoming a significant hit.

breakers...

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00-10-31