Sep 15

SHAGGY feat. RIKROK – “It Wasn’t Me”

Popular31 comments • 2,047 views

#891, 10th March 2001

shaggywasnt One of the things dancehall does supremely well is project authority. The genre is born in competition – between soundsystems, between MCs. While rappers jealously guard their beats, dancehall MCs submit themselves to judgement over the same riddims as their peers, and one way to stand out is through sheer stentorian dominance. Not every MC takes this route – some are lovers, some jokers, some storytellers – but I’d guess for casual Western listeners the platonic form of dancehall involves a gruff bark riding atop a beat like Zeus on his thundercloud.

This is the image “It Wasn’t Me” has so much fun with. Shaggy’s character – the “true player” – takes the MC’s self-confidence to a level that rewrites reality itself. His helpless partner, Rikrok, struggles to find a detail that will make Shaggy relent, back down, admit there are things you simply can’t brazen out. But Shaggy is as remorseless as he wants his poor protégé to be. “It wasn’t me. It wasn’t me. It wasn’t me.

Aug 15

ATOMIC KITTEN – “Whole Again”

Popular50 comments • 3,273 views

#890, 10th February 2001

atommick kitan For former stars, a swing back to the separation of singer and songwriter made British pop a land of second chances. 90s and 00s number ones are sprinkled with semi-familiar names – Cathy Dennis, Guy Chambers, and now Andy McLuskey, who went further than most. A conceptualist with OMD, and a believer in electronic pop, his involvement with Atomic Kitten merged the two. Under his management, the Kittens would be a tween-friendly girl group but also a pragmatic – cynical, even – application of what he’d learned in two decades in pop.

Aug 15

LIMP BIZKIT – “Rollin’ (Air Raid Vehicle)”

Popular113 comments • 4,936 views

#889, 27th January 2001

Bizkit “Take my advice,” says Fred Durst on “My Generation”, “you don’t want to step into a big pile of shit.” Wise words. But shit comes in many forms. The spoor of Durst, the self-styled chocolate starfish, the anus, is compacted nuggets of resentment, pinched out rabbit-style in single form, delivered with a constipated grunt or haemorrhoidal yelp. Wes Borland, in skullpaint and bodystocking a guitar-FX Eno to Durst’s reverse Ferry, takes a contrasting approach, conjuring torrents of colonic sludge, shitrush splatter effects and bowl-cracking divebombs. In the parade of number ones, between a career-building film star and a girl group’s last-chance classicism, “Rollin’ (Air Raid Vehicle)” is more than a surprise, it’s a dirty protest. Back up, tell me what you’re gonna do now! Grit my teeth, reach for the imodium.

Aug 15

JENNIFER LOPEZ – “Love Don’t Cost A Thing”

Popular38 comments • 2,140 views

#888, 20th January 2001

jlo love Every era of pop has artists who work as a kind of fossil record – they may never put their name behind a great single, but their career is a useful indicator of pop’s shifting baselines and aesthetic whims. A track by them will tell you more about its year than any of its more idiosyncratic, or better, peers. J-Lo, I’d say, is one of these performers. If that seems unfair, it might be because her skills run a lot wider than music. In fact the main thing that sets Jennifer Lopez apart is how versatile she is – she’s shifted between film star, pop star (in Anglo and Latin markets), and TV personality and done solidly well at all of them. You can imagine a number of already-famous women deciding, at 30, that they’d like to get into music. But wanting is easier than doing. For J-Lo to fit so smoothly into millennial pop’s identity parade when her peers were far younger and with fewer built-up associations suggests unusual dexterity.

Jul 15

You Think We Make Dreams In This Town

The Brown Wedge/Post a comment • 120 views

More comics reviews from goodreads.com

fadeout THE FADE OUT Vol 1 (Image Comics. Ed Brubaker/Sean Phillips/Elizabeth Breitweiser)
SATELLITE SAM Vol 2: Satellite Sam And The Kinescope Snuff (Image Comics. Matt Fraction/Howard Chaykin)

One of the nice things about the current rise of Image is the leeway it gives creators to do passion projects, in this case a pair of historical crime thrillers which stand or fall on how indulgently evocative they are of places long-established in other fictions. So The Fade Out is story set in the dream factory of 40s Hollywood, where fine movies are made by people of integrity who spend their time being nice to each other. ONLY JOKING! There’s a dead starlet pretty much on page one and after that it’s four issues of noir bingo, lovingly executed by the purring collaborative engine of Brubaker and Phillips.

Jul 15


Popular34 comments • 2,388 views

#887, 13th January 2001

ruidasilva This Cassandra beats her mythical namesake: people demonstrably listened to her, it’s just hard to remember what she sang. You’d have been forgiven for thinking the allocation of dance number ones at this point was working on something like a quota system: a slot needed to be filled, every twenty or so weeks, and some arcane quango had landed the job of deciding exactly which tracks would qualify. So “Dooms Night”, “Sandstorm”, “Kernkraft 400” all narrowly missed the top, and Rui Da Silva gets the nod. But really there’s no mystery as to how “Touch Me” got here – it was a clubland hit, and doomed attempts to clear a Spandau Ballet sample meant it had plenty of time to build demand such that 70,000-ish people nabbed it when it did finally get a wider release. The rest is simply luck, and a gap in the schedules.

Jul 15

Popular ’00

Popular37 comments • 1,651 views

Well, it took longer than I wanted, but we got there in the end: the 42 number ones of 2000, now reviewed and ready for your polling delectation. I give every number one a mark out of ten – here is where you can say what you’d have handed out. High scores this time from me included a 10 for Britney’s “Oops!” and 9s for Spiller and Black Coffee in a strong year. Which was also, by dint of the sheer number of hits, a weak year, with Mariah/Westlife and Five/Queen the double stinkers by my estimation. Over to you.

Which of the Number Ones of 2000 Would You Give 6 Or More To?

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Use the comments for other lists, reminiscences, etc etc.

Jul 15

BOB THE BUILDER – “Can We Fix It?”

Popular24 comments • 2,310 views

#886, 23rd December 2000

bobcanwe Her career catalysed by her inclusion on “Stan”, Dido’s soft-spoken, ruminative pop became a familiar sound in early 00s Britain. On her second album, Life For Rent, she hit on a metaphor that cuts to the country’s quick, and obliquely hints why a stout claymation builder became the best-selling song of this over-stuffed year. “Life For Rent”, the song, takes the difference between renting and owning as its organising metaphor. “If my life is for rent,” Dido sings wistfully, “And I don’t learn to buy, I deserve nothing more than I get, cos nothing I have is truly mine”. Renting is provisionality, fear, the option of people who are just passing through, and whose opinion is too weak to count for much. Buying, on the other hand – now that’s commitment, maturity, the act of an adult.

Left Me Standing Like A Guilty Schoolboy

FT + The Brown Wedge19 comments • 1,536 views

Jackpot Cover “It’s passionately interesting for me that the things that I learned in a small town, in very modest home, are just the things that I believe have won the Election.” – Margaret Thatcher, 4 May 1979

“The biggest horror is that the whole world’s becoming suburban. I find it very worrying.” – Norman Mansbridge


The last thing on anyone at IPC’s mind, when they launched a comic, is that somebody might actually want to keep the thing. Comics were born on the production line, and landfill was their grave, and in that brief span between their urge was not to survive but to reproduce, to impel the reader to buy next week’s issue. So in May 1979 the second issue of Jackpot – “IT’S A WINNER” invited mutilation at front and end. On the cover, a free SQUIRT RING to lure buyers in, mounted with sellotape, which still sticks to my Ebayed copy, covering a gash in the paper like a badly sutured wound. On the back, a coupon to fill in, cut out and hand solemnly over to the newsagent: “PLEASE RESERVE A COPY OF JACKPOT FOR ME EVERY WEEK”.

It’s a loyalty game. There are only so many kids who want to buy comics, and most of those already do. A new title offers a raft of new stories, which may or may not wear better than the ones in the comic you already buy, whose formulae have begun to thin and fray. But with a squirt ring, too – who wouldn’t risk ten pence? Then once you’re snagged, the magazine urges you to the newsagent for next week. You don’t want to miss out.

So it is that the first comic you see in Jackpot No.2 is a three panel, silent strip, admirably clear, instructing you on the use and delight of your squirt ring. Panel 1: a girl shows off her ring to a passing boy. Panel 2: the boy leans in close to admire this fine piece of jewellery. Panel 3: SPLOOSH! A deluge – in the poor sap’s face. HAW HAW!

Jul 15

EMINEM – “Stan”

Popular51 comments • 4,421 views

#885, 16th December 2000

emstan “Stan” is a murder ballad. A song – not the first or last such Eminem recorded – about killing a woman. If this seems a strange way to look at it, it’s because the record takes pains to make its murder incidental. Its victim is nameless. We know Stan’s name. We know his brother, Matthew’s. We know Slim, the persona Stan is writing to, and we know Marshall Mathers, the man who replies. We even know a possible name for the child the murdered woman is carrying. We do not know her name. That isn’t where we’re supposed to be looking. The spotlight in the song is on the relationship between two men, star and fan. It’s how Stan would have wanted it.

Still, the murder is not incidental: it’s the climax of the record. All through the song, beautifully layered under the vocals, are background noises. They accompany Eminem’s conversational, half-spoken rapping and the unassuming, mid-tempo beat: literal scribbles in the margin of the track, encroaching thunder and rain. In the third verse, the rain is broken up by the wet swoosh of a car windscreen wiper, and, on cue, a woman screaming. Her death, and Stan’s, are what this track has been leading up to.