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    Today in 1994, M-Beat fall two to 10 with Incredible, as do Boyz II Men to 9 with I'll Make Love To You. Wet Wet Wet slump 4 to 8 with Love Is All Around, while East 17 are new at 7 with Steam. Lisa Loeb and Nine Stories soar six to 6 with Stay (I Missed You) as does Cindy Lauper to 5 with Hey Now (Girls Just Want To Have Fun). Luther Vandross and Mariah Carey slip one to 4 with Endless Love, while Bon Jovi jump three spots to 3 with Always. Corona are unchanged at 2 with the Rhythm of the Night, while Whigfield remains at 1 with Saturday Night.

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        I usually look back at the 90s quite fondly but that chart confirms that there were some pretty deep troughs between the peaks.

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          Almost exactly the comment I was about to make.

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            I once started a thread stating that 1994 was the worst year for pop music. This has not weakened my case.

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              Stay (I Miss You) is a wonderful song, and Rhythm of the Night still sounds great today.1

              I'm a massive sucker for Always by Bon Jovi as well.

              The rest is dreadful though.

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                Well M-Beat ft. General Levy is pretty good, so is Whigfield. Corona is OK. That's a decent return in my book. The complete absence of pasty indie bores is nice too, considering it's 1994.

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                  When Whigfield is deemed one of the best songs in a vintage Top 10 - and I’d agree, it probably ‘is’ - then you suspect that things weren’t especially in a good way at that time.

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                    In 1971, Shirley Bassey climbs 3 to 10 with For All We Know, while Hot Chocolate slip one to 9 with I Believe In Love. James Taylor is up the minimum to 8 with You've Got A Friend, while The Supremes tumble two to 7 with Nathan Jones. Marmalade jump one to 6 with Cousin Norman, as do CCS to 5 with Tap Turns On The Water. Middle Of The Road follow their trend for onomatopaeic titles, unchanged at 4 with Tweedle Dee, Tweedle Dum, while Nancy Sinatra and Lee Hazelwood drop one to 3 with Did You Ever. Rod Stewart ascends one to 2 with Maggie May/Reason To Believe, while the Tams are still at 1 with Hey Girl Don't Bother Me.

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                        Something of a hotch-potch, but a healthy mix of styles there. Some decent stuff just outside 'the ten' as well: Curved Air were at #11 with the great Back Street Luv, while Carole King, Buffy St Marie, The Pioneers and the Four Tops all had records in and around the Top 20.

                        Some sources cite Reason to Believe as the main track of Rod Stewart's single, but I think we all know which song was propelling it to number one.

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                            In 2009, Mini Viva is down one to 10 with I Left My Heart In Tokyo, as is Dizzee Rascal to 9 with Holiday. Madonna slumps five to 8 with Celebration, while Pixie Lott drops the minimum to 7 with Boys and Girls. The Black Eyed Peas climb one to 6 with I've Got A Feeling, while Jay Z, Rihanna and Kanye West slip one to 5 with Run This Town. Shakira jumps one to 4 with She Wolf, while Jay Z and Alicia Keys climb a whopping 12 places to 3 with Empire State Of Mind. David Guetta stays at 2 with Sexy Chick, while Taio Cruz remains at 1 with Break Your Heart.

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                                Our resident NYC erm, residents may well disagree, but that Jay Z and Alicia Keys song along with Odyssey's Native New Yorker absolutely sound how I always imagine New York sounding.

                                Admittedly, I've not been since 1986.

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                                  Grandmaster's The Message does that for me.

                                  Given that I've not visited the Big Apple since 1982, I guess that'd make sense too.

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                                    Gerard Kenny is the correct answer, of course.

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                                      Apart from the Jay Z/Alicia Keys collab, and the Black Eyed Peas track that still gets played fucking everywhere, I wouldn't have the slightest clue about the other songs in this chart.

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                                        In 1986, Peter Cetera tumbles four to 10 with The Glory of Love, while Paul Simon jumps a whopping 17 places to 9 with You Can Call Me Al. Run DMC and Aerosmith are unchanged at 8 with Walk This Way, while Cutting Crew slip two to 7 with I Just Died In Your Arms. Jermaine Stewart asserts We Don't Have To Take Our Clothes Off, dropping four places to 6, while Eurythmics climb two to 5 with Thorn In My Side. Cameo are down the minimum to 4 with Word Up, while Madonna's new at 3 with True Blue. Five Star are up two to 2 with Rain Or Shine, while the future Reverend, Richard Coles, and the Communards, are unchanged at 1 with Don't Leave Me This Way.

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                                            Five Star the only one I needed a prompt for there but Run DMC, Jermaine Stewart and Cameo leave the field tailed off behind them.

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                                              I was really shocked when I heard the original of 'Walk This Way', it's so weedy. Run DMC did a great job there.

                                              Eurythmics were on occasion capable of genuinely intriguing electropop, but this one is very dull rockpop. Odd group.

                                              My mum was very disappointed that the lyric she thought was "we can dance and boogie all night, and have some cherry pie" turned out to be "cherry wine".

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                                                Hmm, 'cherry wine' sounds pretty grim, tbh. Not sure that was going to get Jermaine too much of a good time, clothes on or off. ('God rest his soul', and all that.)

                                                Originally posted by Benjm View Post
                                                Five Star the only one I needed a prompt for there but Run DMC, Jermaine Stewart and Cameo leave the field tailed off behind them.
                                                Pretty sure that Rain or Shine was the hit that afforded Stedman at least a couple of those cars that he had to sell at a loss a year or so later.

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                                                  Didn't they all have a fleet of flashy motors, even though at least one of them didn't have a driving license? Made the Goss brothers seem fiscally prudent.

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                                                    Think so. That Stedman guy seems to have gone briefly into renting out limos, so I guess he took something from the experience. (His life since seems to have taken a darker turn, with a conviction for public indecency and death threats from his own father/former manager...)

                                                    Marc Bolan and Noel Gallagher are a couple of other music names that had/have expensive/vintage motors without being able to drive. Guess it's an investment thing.

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