Sardonicus reviews a bunch of old 45s (1 Viewer)

OMG you’ve SPOILED my lead on the Dannii love-in that is about to ensue in my 90s thread because I think Success is the LIVING TITS

Also one of the first singles I bought myself. My best mate at school was in love with her.
 
OMG you’ve SPOILED my lead on the Dannii love-in that is about to ensue in my 90s thread because I think Success is the LIVING TITS

Also one of the first singles I bought myself. My best mate at school was in love with her.
Soz Funks :( There's a few early 90s singles before it's back to 80s stuff (I assume. I don't know what's in this pile myself after the first few). So hopefully not too many spoilers.

She also had a pop culture moment from BEYOND THE GRAVE in 2020, when ITV included her as a guess on The Masked Singer despite her dying five years earlier :D
What an amazing REVEAL though if it had turned out she'd faked THE WHOLE THING to do the show
 
Amy Grant - Baby Baby (No Getting Over You Mix) b/w Lead Me On (1991)

UK chart peak - Number 2

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Look, @Joseph, it's your FAVOURITE SINGER! :basil:

"Baby Baby" in its original US mix, to be fair to Joe, doesn't sound QUITE RIGHT. It's just a little bit too ORDINARY POP SONG (although that didn't stop it racing to Number 1 ACROSS THE POND). This European remix was produced by someone called Daniel Abraham (nope, me neither) & gives the song just what it needs - an extra bit of OOMPH on the instrumentation & a teeny extra edge - well as much EDGE as can be given to an artist as WHITE BREAD as Amy Grant :D

This more FUN FOR EUROPE mix took off quickly on the radio & it soared up the UK charts, only been kept off the top by Color Me Badd, of all people. This would have been a better Number 1 than them with their awful MULTI COLOURED SUITS & dated LOVERBOY SCHTICK but never mind. The joyous SPARKLE & SHEEN of "Baby Baby" makes for a perfect little pop tune IMO. It's a song that gives me those NOSTALGIC 1991 FEELS more than any other, & it was going to be a hit for whoever sang it, even for someone as unmarketable in the UK as DEVOUT CHRISTIAN Amy Grant. Amy has stated that she actually wrote this song about her newborn daughter rather than a boyfriend & it fits perfectly for either interpretation. I remember I loved the video too & thought she seemed like a FUN GAL.

B side "Lead Me On" is the title track from her 1988 album & reveals that Amy's always been more about LURVE TO GOD & such rather than HAVING FUN. I did actually quite enjoy its uplifting AOR style & I can see why she became so popular on Christian radio (to this day she's the artist I associate the closest with the genre). In fact I feel quite inspired to WORSHIP THE LORD & tell homosexuals they are EVIL SINNERS after listening to it. Although according to the much missed Alla, there was some sort of mysterious LEZZA DRAMA around Amy in 1992, so maybe it's about her wanting to LICK OUT one of her God-fearing chums. Alla, if you're reading this, please come back & REVEAL ALL! Put the EVIL EUROVISION forums on ignore, your contributions are very much missed :(

Follow up "Every Heartbeat" was another US chart topper & was catchy enough to seem all set for another top 10 hit here but for reasons I never fathomed (a lack of promotion is my best guess) it stalled at #25 over here, & Amy's only other significant UK hit was a cover of "Big Yellow Taxi" in 1995 (I know I'll probably be HUNG, DRAWN & QUARTERED by Joni Mitchell fans for this but I vastly prefer the Amy version). After this album she appears to have gone back to her Christian music roots & presumably remains as popular as ever in that area.
 
To be fair, she’s a perfect fine (if boring) singer. I just always found her REALLY annoying and this song just gets under my skin. She also had some nerve playing “devout Christian” when she was having an emotional affair with Vince when they were both married to other people at the time lol

Maybe I need to listen to the UK mix because the one we got here has an odd sound throughout that just does my head in.
 
Going back days now, but I never knew Touch Me was a cover :o

And now I'm spinning through the Fonda Rae back catalogue and finding all sorts of fabulousness!
 
What's this UK remix of "Baby Baby" business? There's only one version on Spotify, that's the album version, and that's the version I know!
 
What's this UK remix of "Baby Baby" business? There's only one version on Spotify, that's the album version, and that's the version I know!


This was the version that became a hit in the UK. The American mix is different.
 
Oh they're very similar. Bit of a meaty drum beat on the UK mix. I think I've probably heard both of them separately for years and not realised they were different.

Although the bridge has just come on the UK version, which sounds WEIRD. I don't remember that.
 
CeCe Peniston - We Got A Love Thang (Silky 7" b/w LP Version) (1992)

UK chart peak - Number 6

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CeCe's surname containing the word 'penis' raised a CHORTLE or 2 at the SARD HOUSE in late 1991, followed by :disco: when signature hit "Finally" was heard for the first time & then CONFUSION when it could only struggle to #29 in the charts, when to my DISCERNING 8 year old self, it was a SUREFIRE SMASH.

It did reach top 5 in the USA, but it was this follow up that broke CeCe over here in January 1992 before a reissued "Finally" became the HUGE HIT it was always intended to be, with only Shakespears Sister keeping it off the number 1 slot in April. To this day it gets a reasonable amount of airplay as well as OUT & ABOUT. "We Got A Love Thang" has been almost forgotten about in comparison, partly because it hits many of the same VIBES & partly because Steve 'Silk' Hurley's edit places it very firmly in the early 90s, whereas "Finally" seems to have transcended its era & sounds more TIMELESS.

The 2 mixes here are pretty similar, but Silk brings the housey piano more to the forefront, trims the running time back a little for the radio & generally it just sounds a TAD more SPRUCED UP. If the likes of Cathy Dennis is your thing I'm sure you'd be all over it just as I was, this sort of pop/house female fronted crossover was at its peak in early 1992 (fellow dance diva Kym Sims of "Too Blind To See It" fame is on backing vocals here) & all of it was RIGHT UP MY STREET.

The only thing that did make me CHUCKLE was CeCe's vocals. She's got a pretty powerful voice, but as she leads into the chorus she lapses into wailing diva GOBBLEDEGOOK - I've never had THE FOGGIEST what she's singing :D & there's a few weird vocal inflections in the chorus too. I also wasn't sure if the outro was a synthesiser or her doing more vocal ULULATIONS & I suspect the LATTER :D If CeCe Peniston had charted a few more big hits, it's the sort of thing I can imagine being RIPE for a parody by French & Saunders.

Unfortunately after just missing number 1 with "Finally" she could only land one further top 10 hit with the equally :disco: "Keep On Walkin" & DIMINISHING RETURNS set in quite quickly after that. I've no memory of the few other top 40 hits she charted in the UK afterwards, but I suspect that unlike her 1991 PEER, Crystal Waters, her sound didn't move on & she got left behind. I believe she's still musically active, but the only thing I remember about her in recent years was when Monica (of Brandy & Monica) fame claimed that CeCe had been a RIGHT COW to her as a YOUNG WHIPPERSNAPPER & got Ms Peniston to publicly apologise for the upset caused.
 
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Yeah we had a joke in school that “Cece’s PENIS weighed a TON” :D

I always assumed she was an old singer because she looks 40 in the Finally video when she’s only 5 years older than me.

She’s made some excellent music over the years and still works to this day releasing things solo or as joint efforts with producers/remixers.

One of my FAVE tracks is He Loves Me 2 especially the Vasquez Remix
 
The second CeCe album went a bit more soully, but they remixed the hell out of the singles as per. I’m In The Mood was good and I quite like Keep Giving Me Your Love, but the rest was filler. I owned the third album, but never listened to it and it’s long since been flogged.
 
Oh they're very similar. Bit of a meaty drum beat on the UK mix. I think I've probably heard both of them separately for years and not realised they were different.

Although the bridge has just come on the UK version, which sounds WEIRD. I don't remember that.
The version on the UK single never had that bit in I'm sure
 
Ce Ce Peniston is someone else I discovered during lockdown. I'm hoping my US run-through will reveal a bit more because she was over and done quite quickly in the UK.

edit - when I say discovered, obviously I mean beyond "Finally"
 
Paula Abdul - Vibeology (Original Version b/w Hurley's House 7") (1992)

UK chart peak - Number 19

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YOU GOT THAT VIBEOLOGY THAT V.I.B.E.OLOGY YOU GOT THAT SEXUALITY HORNY HORNS :disco: :disco::disco:

"Vibeology" has been DEFAMED since its release as the single that ended Paula Abdul's previously STELLAR career as a chart force, firstly due to it missing the US Top 10 after a string of number 1 singles & secondly due to an infamous live performance from POOR PAULA (never the strongest of vocalists) at the MTV Awards when she sounded horribly out of breath as she BIT OFF MORE THAN SHE COULD CHEW by trying to keep up with the song's frantic pace with an equally challenging dance routine. I think it was only the backlash against the likes of MILLI VANILLI that forced Paula to attempt the whole thing live & it reinforced public perception of her as a POOR singer.

It's sad because "Vibeology" is, by any definition, an absolutely MAGNIFICENT BANGER. With hindsight though, I can see why it didn't take off as it's absolutely HATSTAND compared to the rest of her stuff :D:disco: It's a HECTIC dance tune with Paula doing weird Betty Boop-esque SHRIEKS, a distorted voice in the chorus repeating the title (is that a THERAMIN in the mix I can hear?), BONKERS horn sections & a RELENTLESS housey beat. Imagine Cathy Dennis having a NERVOUS BREAKDOWN set to record & that about sums it up :D

Paula Abdul's chart career in the UK is as spotty as you can GET - "Rush Rush" was top 10, "The Promise Of A New Day" then missed the top 40, then "Vibeology" scraped into the top 20, & it was a similar HIT OR MISS pattern with the first album. My best guess is the songs that hit were the ones she had time to promote here, plus something like "Vibeology" was bound to catch on more here with its FUN FOR EUROPE vibe. It deserved to be a HUGE HIT, but it seemed to leave some of the record buying public PERPLEXED or BEMUSED rather than HOOKED. Well more fool them, because I still loved every second of it & count it amongst her GREATEST MOMENTS.

Steve 'Silk' Hurley pops up again for a remix on the B side, & although it's also a BANGER in this version, with its CeCe Peniston-esque pop-house style & chants of "GO PAULA" throughout, it's not quite as good as the PEERLESS original because he's given it a more chilled aura & I'm constantly waiting for it to burst out into the LUNACY of the original.

Paula Abdul was a huge PHENOMENON up until 1992 before she took a long break before re-emerging in 1995 with the fab "My Love Is For Real" but the moment had PASSED & both single & album (her last to date) didn't take off. Paula has claimed this break was due to injuries from a MYSTERIOUS PLANE CRASH that there's no actual evidence of, I think the more likely explanation might be she was fighting an addiction to painkillers taken for numerous injuries caused by her many years of dancing. Her stint as a judge on "American Idol" brought her back into the public eye, but she had a remarkably BRIEF run for an artist with 6 chart toppers - still, almost all the singles were amazing & "Vibeology" is in the TOP DRAWER for sure.
 
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It has LONG BEEN RIGHTLY SAID around these parts that VIBEOLOGY is one of the GREATEST SINGLES OF ALL TIME.
 
"Vibeology" has been DEFAMED since its release as the single that ended Paula Abdul's previously STELLAR career as a chart force, firstly due to it missing the US Top 10 after a string of number 1 singles & secondly due to an infamous live performance from POOR PAULA (never the strongest of vocalists) at the MTV Awards when she sounded horribly out of breath as she BIT OFF MORE THAN SHE COULD CHEW by trying to keep up with the song's frantic pace with an equally challenging dance routine. I think it was only the backlash against the likes of MILLI VANILLI that forced Paula to attempt the whole thing live & it reinforced public perception of her as a POOR singer.

This is almost true. A woman called Yvette Marine claimed she ghost vocalled the Forever Your Girl album (and particularly Opposites Attract) and that she deserved royalties, a case which was launched in the wake of the Milli Vanilli scandal. It got thrown out in the end- quite possibly because, had they decided to use another singer, they probably would have picked someone with a MUCH BETTER VOICE than that which was present on Paula's recordings :basil:

Vibeology was the attempt to show she could cut it live, but, as you said, combining an entirely inexperienced and already fairly thin voice live with a challenging dance routine in the days before autotune did not give the outcome she'd hoped for, to say the least. :( :D
 
Vibeology was also SUCH a weird single choice, but the album wasn't really full of options to be fair.

The disastrous MTV Awards performance even delayed the single in the US, who put out Blowin' Kisses In The Wind instead as damage control.
 
It has LONG BEEN RIGHTLY SAID around these parts that VIBEOLOGY is one of the GREATEST SINGLES OF ALL TIME.
Not to mention the equally :disco: HE'S A COLD HEARTED SNAKE, LOOK INTO HIS EYES, HE'S BEEN TELLING LIES

DESPICABLE that it missed the top 40 here, lack of promotion or not.
 
Not to mention the equally :disco: HE'S A COLD HEARTED SNAKE, LOOK INTO HIS EYES, HE'S BEEN TELLING LIES

DESPICABLE that it missed the top 40 here, lack of promotion or not.

I refer my learned friend to this thread:

 
Wet Wet Wet - Goodnight Girl b/w Ambrose Wykes (1992)

UK chart peak - Number 1

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:KieranPartingGift: :basil:

OH DEAR. And it was all going so well with several bangers in a row.

I'll be fair here to the Wets - I do really like their 1987 debut single, "Wishing I Was Lucky", a belting tune full of dramatic keyboard stabs that's also a diatribe against unemployment & the policies of Thatcher (they'd seen the decline of the shipping industry firsthand being from Clydebank & ALL). Unfortunately, a lot of the stuff that followed up was sub-Simply Red white soul GUFF. I remember reading somewhere that Marti Pellow's voice was a soulful BELCH & I've always considered that an ENTIRELY ACCURATE description ("Angel Eyes" is a particular OFFENDER). Also his smug perma-grin always made me think he was a RIGHT TWAT who needed a good SMACK IN THE CHOPS. Looking down the long list of singles that followed the debut, only "Put The Light On", "Shed A Tear" & "Lip Service" struck me as being particularly BEARABLE. Those of us that lived through "Love Is All Around" & its LUDICROUS 15 week stint at number 1 in the summer of 1994 probably still feel a SHIVER OF REVULSION when we hear its OPENING CHORDS.

Before THAT SONG though, the Wets had a 4 week stay atop the HIT PARADE in January 1992 with this self penned acoustic ballad. It's a bit DRIPPY & ALL, but catchy enough that you can see why it became a hit. I blame Extreme for it, with hindsight - I've never been a fan of "More Than Words" but it reaching Number 2 in summer 1991 clearly left the public wanting SIMILAR & this song came the closest. It's also a measure of how STAGNANT the charts were in 1992 that it managed 4 weeks on top - I can understand a top 10 placing, but musical tastes had become very FRAGMENTED (rave, grunge, etc), songs that TRANSCENDED GENRES were fewer, & songs that reached the top stayed there. I also distinctly remember purchasing it not because I had any REAL LOVE for it, but I had enough cash left for one more single & this was number 1 & there wasn’t much else (after CeCe & Paula) that CAUGHT THE EYE.

B side "Ambrose Wykes" is also an ACOUSTIC NUMBER, but considerably better - spare, haunting & sounds like it should be the theme to an early 90s detective show or something. It's one of the best things the band ever did & although clearly NOT a single, I can't believe they wasted it on a flip side, it definitely should have made the cut for the album. This is also the only single I can recall that has a HIDDEN TRACK - a LIVE IN THE STUDIO version of "Put The Light On" plays afterwards, so FAIR PLAY LADS for providing VALUE FOR MONEY. It's one of their best singles but was a complete flop - it had only peaked at #56 before this single was released. The first verse was also ripped off WHOLESALE by fellow Scot & "Fame Academy" winner David Sneddon on his 2002 number 1, "Stop Living The Lie", FACT FANS.

The success of this single after several prior flops was the first example of how RESISTANT Wet Wet Wet were to the DUMPER. Singles began missing the top 20 again in late 1993, before THAT SONG saw them rise from the ashes again. They parlayed that massive success into numerous top 10 singles & a hit album, but as recent viewings of old TOTP reruns from 1997 have recently shown, their next & final album showed a tired band out of ideas & going through the motions. Marti developed a bad SKAG HABIT (I can't really blame him after performing THAT SONG 533375456 times), & the group imploded when drummer Tommy Cunningham left after the band decided to no longer give him a cut of the royalties from songwriting due to his MINIMAL contribution to the process. The public perceived this as a greedy & out of touch band screwing over their mate & forgetting their roots - a long way removed from singing about LIFE ON THE DOLE - & this time there was no CHART RESURRECTION for the Wets. I also noted that their guitarist has never been considered a full member of the band, which is also an ODD STATE OF AFFAIRS.

They reformed later & even hit the top 10 again with a song I've no memory of & continue to tour, although Marti left in 2017 to concentrate on his SOLO ENDEAVOURS (:basil:) & former Liberty X member Kevin Simm, of all people, took over from him. I briefly wondered what the likes of "Goodnight Girl" sounded like with him singing before realising life was TOO SHORT to PUT MYSELF THROUGH IT.
 
I LOVE the first Wet Wet Wet album! I’m a sucker for some blue eyed soul.

But everything after that was PURE TAT.
 
I can't STICK PAULA ABDUL but even I recognise the MAGNIFICENCE of VIBEOLOGY

I'M IN A FUNKY WAY
 
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