Dec 14

EIFFEL 65 – “Blue (Da Ba Dee)”

Popular63 comments • 5,966 views

#836, 25th September 1999

eiffel65 “Blue” is the crest of the late 90s Europop wave – extravagantly successful not just on the continent but worldwide. Including – most startling of all – the US, where it picked up a Grammy, made the Billboard Top 10, and sent the Eiffel 65 album double platinum. You could draw comparisons with another parochial 90s movement that was big business Stateside for a moment or two: “Blue (Da Ba Dee)” is Europop’s “Wonderwall”.

Could the comparison run any further? Pushing it might cast an interesting light on what gets to be called a movement, or a genre – what gets written into history, and what survives as fleeting moments on clip shows. It seems unlikely the BBC will be commissioning retrospectives a few years from now on the 20th anniversary of Aquarium, Europop and The Party Album but considered from a distance the late 90s feels like a time of successive waves of pop fashion – Britpop, post-Spice tweenpop, and then party-friendly Eurodance.

Britpop is remembered most because of the drama, the stories, and the material immediacy of it all – the way the bands were gigging and drinking near you. But as a pop style people bought and loved, the distinction in importance is less clear cut. “Blue” feels like a novelty hit, for sure – but it reached massive success at a time when there was an awful lot of Eurodance about. Once you have half a dozen novelty hits in a similar style happening at a similar time, you have to admit that they probably aren’t novelties. Novelties are joyful nose-thumbs to pop’s current order: “Blue” is a huge success because “Blue”, in 1999, is that order. This is what pop in 1999 is.

Only more so: the thing that stands out about “Blue”, returning to it, is how skull-bashingly committed it is to its peculiar aesthetic. Which is? Ultra-treated vocals – surely the most brutally full-on use of Autotune on any number one, bending words into enticing or repellent robot croons and caws. Stentorian piano melodies – the old ABBA trick of big, romantic keyboards up front. Lyrics that ramble and half-scan, giving the song an improvised, spontaneous feel that helps take some of the edge off the inhuman and maximalist parts. And that mocking, looping, endless, infuriating chorus. But this is not a record that gives half a shit about whether it’s annoying.

The result sounds demented but also – if you’ve paid any attention to what else has been selling this year – the most surefire hit imaginable. “Blue” is the magnificent and awful culmination of what Lou Bega, Aqua, the Vengaboys and the pop-trance contingent have been doing for a while: it couldn’t but be massive. Fortunately it’s also, behind the bluster, an oddly touching little record. Blue was simply a random choice of colour, claimed the band, but you don’t get to invoke blue in pop without the blues coming to mind. And while “Blue (Da Ba Dee)” is in no useful musical sense a blues track, sorrow is timeless, and its sketch of a sad blue world and a small life has a power anyhow. It’s a piece of simple, effective storytelling, like a nursery rhyme or a Mister Men book. And, in my experience, even its most brainstem-aggravating qualities resonate with the circular inward momentum of melancholy: “Blue”’s chorus feels like a thought you just can’t leave well alone.

“Blue”’s specific qualities still leave a broader question – if the Euro-wave was a commercial movement, why it and why then? Particularly dumb luck, perhaps, but it’s also worth remembering people were gearing up for an especially huge party season, with a certain amount of overwrought concern about whether the world would come out of it alright. Forced jollity and global sing-alongs were on the agenda. If it’s a stretch to claim “Blue” and its fellows as artefacts of pre-millennial jitters, it’s also true that the Europop trend turned to vapour soon after the century ended. The need people had for them faded, and Eiffel 65 and their ilk are remembered for the hangover more than the party. Inevitable, but still unfair.



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  1. 31
    lockedintheattic on 3 Dec 2014 #

    I love this. But even at the time I always found it hard to find people to agree with me (and that’s even though I have a lot of pop-loving friends). Which despite my love made me slightly baffled by its success – if people were buying it as a novelty record, surely some people must have enjoyed the novelty enough to buy it (and lots of them, for it to be the year’s second best seller). Which makes me wonder if this is the ultimate guilty pleasure – so obviously naff that even pop fans were embarrassed to admit to liking?

    I think #29 nails it on the head by pointing out the air of melancholy in the verses that totally set it apart from most Europop songs. The chorus on its own is a pretty standard catchy Europop affair, but I think it works much harder coming straight after those starkly autotuned, mechanical verses with the constant repetition of the word blue. It’s a very effective device.

    A definite 9 from me and I think for me it just edges Britney & Sweet Like Chocolate as my favourite of the year’s number ones.

  2. 32
    Patrick Mexico on 3 Dec 2014 #

    Sounds like the Fall going loco down at Salford disco and writing a shameless (pun fully intended) song for kids – MES: “hey, if it’s good enough for Madonna and Dear Jessie… come back Brix, trust me, I know what I’m doing!”

    About as half as fun as that sounds. So a four-and-a-half.

  3. 33
    chelovek na lune on 3 Dec 2014 #

    #30, #31 to me the euro-dance-pop melancholy thing (certainly present here) was done rather more agreeably in several early Ace of Base singles – their first (was it only?) number 1 (rabbit pie, now?), the gloomy “Wheel of Fortune” and the just awesomely bleak and depressing “Happy Nation”. “Blue” is reminiscent of the kind of eurotack it had been hard to avoid hearing in remotely provincial Romanian nightclubs and bars on the summer of 95 – autotune aside, there is no great evolution of sound from countless records from several years earlier. This really was final curtains for this sort of thing

  4. 34
    Shiny Dave on 3 Dec 2014 #

    Listening again for the first time in years. The earworm brings back memories – though in my case it’s largely of playing this in Year 9 music classes filled with noisy miscreants who had no interest in learning, so they’re not fond memories. (We eventually dabbled in songwriting, which was to be an itch I’d properly start scratching a couple of years later, but already must have caught me if I wanted to do a GCSE in the subject. My school report said I had “a musical talent which [I] ought to pursue,” and later and on my own terms, I did. More on that as we go through the next few years, beginning with an impending Westlife bunny.)

    It sounds like the bastard child of late-80s Italo-house – I can’t think of anything so driven by a single (faux-)piano line in dance music between this and Alison Limerick’s “Where Love Lives” several years earlier – and the 1999 trance sound of overlapping processed keyboards. Though nothing in the latter had a chorus anything like this big and this dumb – when trance went in for proper vocal lines it was usually straight from the mid-90s house diva playbook (quite literally, in the case of an impending bunny!) and the best big dumb trance hook of the year was the staccato keyboard on “The Launch.”

    This was clearly a boom year for throwaway party pop, and the Big Number Change was undoubtedly a big part of it – for all that the millennium was technically a year away, the reason for panic was legitimately a Big Number Change issue. It’s telling that one of the big trance anthems of the era was Binary Finary’s “1998,” which then got reworked as “1999.” (There was a “2000,” and even a “2009,” but the earlier versions and their many remixes get far more play now.) The coding of this music as the soundtrack to the biggest ever NYE was obvious throughout, BInary Finary just made it explicit.

    But with so many options for those NYE DJs, the songs that cut through were the ones with the big dumb choruses. “Blue,” like “Mambo No. 5,” this song cut through with a combination of: a) just such a chorus, b) sounding not quite like anything else.

    Trance carried on post-millennium with eight-plus-minute digital symphonic instrumentals that owed at least as much to progressive rock as anything else I can think of – no wonder “trance and progressive” became an established genre codifier in time – and, as already foreshadowed, variants of its staple keyboard builds would become staples of Popular about a decade down the line. Meanwhile, the Popular representation of the 1999 dance bubble is a bunch of novelties that cut through, and I think this is my least favourite of them.


  5. 35
    Doctor Casino on 3 Dec 2014 #

    This is a good one I think – more going on in the mix and in the sequence of parts than in the Venga hits…. and yes, hints of something more stirring and sad, this sad robot struggling to speak through his blurbley Autotune. For me at the time, it slotted in curiously well alongside much more aggressive “electronica” as would be found on MTV’s Amp compilations. “I have a blue house with a blue window” was similarly vague and suggestive of a seamy strange ravey world as “We have explosive” or “Baby’s got a master plan, a foolproof master plan.” Not the same thing, but close enough.

    The popular mishearing I recall was “I’m blue / if I was green, I would die.”

  6. 36
    DanH on 4 Dec 2014 #

    Yep, this was indeed a Stateside hit. To me at the time, it seemed like a ‘oh hi Europe, how you doin? OK, well, see ya later’ type look-in, the reception it got here. I had little use for this, and still do. I never mistook ‘Da Ba Dee’ for anything else, I picked up right away it was babble. I missed out on the fun you guys had in deciphering misheard lyrics…darn :-(

    @16: YES, Midnite Vultures!! That record reminds me vividly of the Millenium parties…even though I did not play it at mine…and said party was pretty tame. But I was spinning that album nonstop at the time, so there ya go.

  7. 37
    swanstep on 4 Dec 2014 #

    @DanH, 36. In case you haven’t seen it, Beck doing ‘Debra’ live at the VH-1 Fashion Awards (early 2000 I’d say): http://youtu.be/auJZvKYh2rA

  8. 38
    StringBeanJohn82 on 4 Dec 2014 #

    As I mentioned in the Boom Boom Boom Boom entry, it felt like this year was a real nadir for pop music in general, with cheap Europopstuff like this at number one for weeks along with the crap we’ve had up to now. I was 16/17 at the time. And while the relativists amongst us might say that all pop is of equal value, and that pop music is just a manifestation of what the kids want, I have to say to anyone older than 35 right now: would you really have been happy this bolllocks soundtracking your life as a young adult? I started going out around this time to the pubs that would serve us, to college parties and stuff and all this was the soundtrack to that. This song was absolutely massive – a few weeks at No. 1 when this was unheard of, played everywhere, all the time, everyone singing it and replacing the words as discussed earlier… just mental.

    I know there are other eras of crap pop, but as an example, the SAW stuff feels like Motown reborn compared to this and the Vengaboys. Remember also that mainstream rock in the charts was dominated by US nu-Metal like Limp Bizkit, Linkin Park and Papa Roach, out of steam Britpop bands, and Travis. Robbie Williams was the best pop star of the era by a mile.

    That said, this did provide me and my mates with some fun, as did the Vengaboys, in aping the funny accents and enunciation and all that, and it’s hard to argue that they’re not catchy. It’s better than BBBB, so [3]

  9. 39
    thefatgit on 5 Dec 2014 #

    @38, yeah I’m one of the over 35’s of which you speak. While looking solely at the #1 singles, possibly only gives a certain perspective, it can help to galvanise one’s thinking of a certain era. There were a helluva lot of differing perspectives bubbling under the surface in 80/81 (when I was 16/17), which the #1 lists of the time didn’t always reflect. A recurring trope on Popular has been “…a good year for music”. It’s not always the #1 singles that indicate what was a good year for music, quite often it’s not even what’s going on in the Top 40, but you’ve already identified Nu-Metal and Robbie hitting a purple patch. I’m not sure what your feelings are on the divergent strands of D&B or emerging UK Garage, or the direction R&B was heading in, but in ’99, I felt these would more than likely have a significant bearing on the music of the new millennium…we’ll get there soon enough.

    Having said all that, even the questionable qualities of this Popular year’s batch of chart-toppers have revealed some interesting perspectives in the comments threads. I think some are frustrated that the marketing techniques employed by the major labels of the time have drowned out the natural dialogue of the charts. Others might be relieved that for once, guys with guitars are not calling the shots, like when Britpop was peaking. There’s other perspectives worth looking into as well. Keep an eye on the end of year lists when we get to the end of 1999.

  10. 40
    DanH on 5 Dec 2014 #

    Thanks for the link, Swanstep! I saw Beck live last summer, and “Debra” was the only track played from the MV era. It was naturally at the end of the show, where he could do an extended spoken word bit, and make love to the audience.

  11. 41
    Billy Hicks on 5 Dec 2014 #

    As a ten year old, the charts felt like something for children. Bands would appear on Saturday morning television, you had CD:UK placed immediately after SM:TV Live, and while you had the obvious kid-friendly acts – Steps, S Club, Vengaboys etc – you also had the likes of Britney Spears and Lolly dressing up as children when they were much older. I was aware of so-called ‘adult’ music from the likes of Travis, but while I’d hear them on the radio they’d never be number 1 hits so just seemed like something put in the charts so grown-ups would buy it – the top of the charts seemed very much exclusively the kid zone. Five years earlier I’d heard a couple of Oasis songs and been immediately put off by the loud, uncomfortable noise and not being able to understand what Liam Gallagher was talking about – but now you’ve got some funny looking people singing ‘Ooh Eee Ooh Ah Ah Ting Tang Walla Walla Bing Bang’, or ‘Boom Boom Boom I Want You In My Room’, and – yep – ‘I’m Blue, Da Ba Dee Da Ba Di’ and things made much more sense. In 2000 and 2001 we’ll see the likes of Eminem, 2-step garage and nu-metal, all of which horrified me somewhat in comparison and I stubbornly kept on listening to the Europop until it all fizzled out a few years into the decade, by which time I was a teenager and after a brief flirtation with rock, by the time I was 16 I had moved into underground trance and hard house for the rest of the mid-noughties.

    I disagree that it’s a ‘nadir’, it’s just a very particular phase of pop when the charts were very much geared to a specific age group as, at this point, we were the ones buying the CDs. But eventually a gap in both the older and urban markets would lead to the indie and R&B dominated noughties.

  12. 42
    Tommy Mack on 5 Dec 2014 #

    Re: 38, 39, 41. It seemed like a nadir at the time but not so much because of the Europop stuff which, although, at 18, I considered myself too old and sophisticated for it, I quite enjoyed on the radio, in shitty clubs etc. It was more the other stuff that John mentions: a pincer attack of dreary ballading from Westlife and Ronan on the pop flank, Travis, Embrace et al on the indie side, dance was doing interesting things but, quite moody, abstract things, certainly not ‘fun’. I didn’t mind some of the nu-metal stuff but a) deffo not Fun Music and b) I don’t remember nu-nu-metal (as opposed to earlier stuff like Korn and Coal Chamber) really breaking until the next year, after the millenium. I remember complaining about the lack of decent music around and my dad explaining John Peel’s ‘fallow period’ theory. I didn’t have much interest in the charts at this time, I was more playing catch up with hip hop, drum&bass and big beat that I’d missed during my lame mid-nineties Britpop purist phase and also picking up the sort of ‘top 100 albums’ canonical stuff (Forever Changes, Pet Sounds, Harvest, sort of thing) that was becoming very cheap as various industry wonks predicted the demise of the CD.

  13. 43
    Cumbrian on 5 Dec 2014 #

    I remember the back end of 1999 as a bit of a fallow period too – I was at university and was listening to the radio a lot whilst doing work in the evenings and was non-plussed. On the one hand, it was pretty good for saving money, I wasn’t spending my student loan on CDs for instance, but it wasn’t especially exciting. The post-Britpop stuff was dreary, the nu-metal stuff didn’t appeal much beyond a crunching riff here or there, garage and R&B seemed to be the most vital stuff around but I got distracted by the fact that I had a fast internet connection for the first time ever and got into the mashup scene (BoomSelection downloads started piling up and I started illicitly transferring them to CD’s using the university’s CD writer) which kicked in the doors for me on “proper” pop music for the first time after being mostly an indie kid/rock kid for my formative years. Looking back, the only album I plunked money down for in late 1999 was There’s Nothing Left To Lose by Foo Fighters – which I’d argue is still their high water mark (well, that or The Color And The Shape).

    Blue sort of washed over me. I still don’t really know what to say about it. It’s undeniably catchy (irritating?) and I can see the melancholic aspects of it – but I’m definitely not sold. I don’t think it’s hateful though.

  14. 44
    Tom on 5 Dec 2014 #

    Yeah, I think Tommy broadly has it right. The Europop isn’t a problem, any more than the occasional intrusions of bizarro novelties were in the 70s – it’s just the background against which the Europop is meant to sit as contrast was full of holes: Britpop long since run aground into Travis-ness, the post-Spice crew between albums (all back next year, for better or worse), effing Westlife, R&B and hip-hop on creative highs but not yet commercial ones. UK garage aside (and it’s a big aside), these were leanish times.

    That said, when I looked at the 90s, I thought I was going to have a real issue getting motivated to do the tail-end of it, and actually I’ve had a lot of fun writing the entries and finding angles. It turned out to be 93-95 that saw Popular’s posting arteries clog up, instead.

  15. 45
    flahr on 5 Dec 2014 #

    This is Actually Pretty Good up until 1:20 – the rap intro works well as a scene-setting, the chorus works, and the melody is fairly rad – it’s no Children By Robert Miles but it’s of a similar vein and I like it. Unfortunately the verses proper (“I have a blue house…” etc) are shockingly poor – not so much because of the lyrics (“I have a girlfriend… AND SHE IS SO BLUE!”) but because the music in the background basically gives up for them; the second rap break, because it’s no longer an intro, is also a bit disappointing and this could have been so much better.

    My general philosophy is that an ascending order of quality runs:
    4. Bad things that are nearly good
    3. Bad things
    2. Good things
    1. Good things that are nearly bad

    but while “Blue” fits the description of bracket 4 I feel a bit more inclined towards kindness, because it is a pretty rad melody and there is some inspiration there; let’s say 4/5, leaning towards a 5 because I feel like I never give things 5. [5]

  16. 46
    Mark M on 6 Dec 2014 #

    Re42, 44 etc: Tom says, ‘R&B and hip-hop on creative highs but not yet commercial ones’ – which maybe true in terms of number ones, but as I know he as much as anyone knows, the golden age of modern R&B (and I really think it was) was in full effect and firmly in the top 10 by this time. No Scrubs was a UK No.3 (and No.1 in various other countries), more significantly maybe in the era of fanbase hits, hung around for months. TLC’s younger main competition, then a four piece who would reach bunnyable status as a trio, had just released their second album, very much with the new skittering beats and multiple tempos of the moment – it would spawn four UK top ten hits.
    And much more amazing stuff was on its way in the year to come…

  17. 47
    funky sukrat 3 on 6 Dec 2014 #

    cosine mark m^^^

    i was stopped cold round this time by a fragment of a song playing on a TV advert, probably the only time this* has ever happened to me (the kind of serendipity that US rockcrit elders — marsh, marcus et al — always have to stop their cars and pull over to the kerb for) (except even rockcrit eleders probably don’t watch TV as they drive): the advert was for FUNKY DIVAS 3 and the song was bills bills bills** by destiny’s child (also on the comp: TLC, Missy Elliott, Aaliyah)

    so yes, this new aesthetic was clearly up and rolling (it’s funky divas THREE) but despite being literally astonishing (to me anyway) was also somehow still off the general discursive radar i think

    *i mean being stopped cold by a song on TV advert, not being stopped cold by a song in general (i too am a rockcrit elder sortakinda)
    **https://www.youtube.com/watch?v=NiF6-0UTqtc –> UK no.6 i think

  18. 48
    Mark M on 6 Dec 2014 #

    Re47: ‘The general discursive radar’ is something always hard to judge, of course – it’s always tempting to believe that what ‘we’ are talking about is either what everyone else is talking about (‘we are the mainstream’) or what no one else is talking about (‘we are the vanguard’/’we are the excluded’). So all I know that among people I knew and discussed this stuff with, the feeling was very much that this was the big news.

    Missy, for instance, was on the cover of the June 1999 issue of The Face, which – for context – also featured The Matrix, Leeds United’s Alan Smith (‘the new Michael Owen’) and – curiously – veteran Scouse guitar band Shack.

    TLC’s Fanmail got 8/10 in the NME and 4/5 in Q (according to Wikipedia), although more grudging reviews in the US.

    The other question – which I think was discussed when we were talking about Usher – is to what extent this clearly felt like a new era. I mean, there had been good R&B stuff throughout the ’90s. So did this feel different, either in terms of the sonic daring (I’d argue yes) and in terms of the wider cultural impact (that would be clearer in time)?

  19. 49
    funky sukrat 3 on 6 Dec 2014 #

    true, and in my case it was mainly ME that was not keeping with knowing how to operate said radar: between leaving the wire (early 1994) and discovering ilx (late 1999 i think), i wasn’t following current music AT ALL

    there’s something abt the robo-precision of microrhythm in bills bills bills that really did sound new — other ppl on DIVA 3 are whitney and mjblige and toni braxton and even poor old m people, and this was a sound i was of course familiar with

  20. 50
    Mark M on 6 Dec 2014 #

    Re49: ‘there’s something abt the robo-precision of microrhythm in bills bills bills that really did sound new’ – exactly.

    On the subject of Whitney, remember though this was nu-Whit – with the very new school It’s Not Right But It’s OK, and the Wyclef masterminded My Love Is Your Love (both top 3 hits, too). There’s a comment piece about that in that issue of The Face, too.

  21. 51
    Mark M on 6 Dec 2014 #

    Re49/50 etc: So, for instance, the opening little hook on It’s Not Right, which is the only music for the first verse, and sounds to me (though I’m sure it isn’t) like a comb or maybe a Harry Partch lightbulb marimba. The song goes on for a minute too long and everything has been chucked in by the end, so it’s easy to forget how minimal it is at the start.

  22. 52
    funky sukrat 3 on 6 Dec 2014 #

    p sure it’s a kalimba aka mbira aka thumb piano: https://www.youtube.com/watch?v=5Se4nqUgIL0

    (or a very good synthesiser replication)

    (the thumb piano is sometimes also called the marimba, confusingly enough) (this being the marimba i assume patrch’s is named for)

  23. 53
    Tom on 6 Dec 2014 #

    I’d forgotten Bunnied Bey Band were having such big hits in the UK – I thought the commercial breakthrough was next year and TLC were pretty much an outlier – so yes, indeed, nu-R&B was up and running here.

    My sense of what goes where is very scrambled around this time, though – I was mostly talking about music to Americans, I was getting MP3s of all this stuff from people uploading them in the US – there seemed to be a feeling (more in 2000-2001) that a week without a new R&B single doing something you’d never heard before was a poor week. It’s the closest I’ve come as a listener to what the fabled context of abundance of the high 60s in Britain must have been like, I think. A lot of them weren’t getting released here – but then you’d get something like Kelis’ “Caught Out There” which was a smash here and a moderate performer there. But I found it very hard to keep up with what had come out when and where.

  24. 54
    Mark M on 6 Dec 2014 #

    Re53: Yes, it was confusing. A lot of stuff did come out with that movie-world lag, but I guess I was used to that. Through the ’90s I was buying hip-hop on import (when it came out here, I’d still blag review copies of the UK release from the record companies, of course). In the context of this discussion, I was trying to figure out when I heard ODB’s Nigga Please, which was my first awareness of The Neptunes. It says 1999 on the record, so I’m pretty sure I heard it then, but the single, Got Your Money (ft Kelis) wasn’t a hit until summer 2000.

    Possibly worth mentioning that John Peel absolutely loved that first Kelis album, played loads of tracks off it for weeks I seem to remember (because to him it sounded like the ’70s, funnily enough). Don’t think Skateboard P is generally lumped in with the many Peel discoveries.

  25. 55
    swanstep on 7 Dec 2014 #

    Slightly more old-school, but Q-Tip’s ‘Vivrant Thing’ and ‘Breath and Stop’ were huge in clubs where I was at Xmas 1999. Beyond that though, my own sense at the time was that my home base of college radio rock was in good shape: Sigur Ros’s Agaetis Bjryun (rumored on campus as the album to get you laid! not sure that the band would have appreciated that), The Beta Band’s 3 E.P.s, and Flaming Lips’s Soft Bulletin (in addition to Beck and Magnetic Fields stuff previously mentioned) were exciting records on deserved permanent rotation (and still are really), and dominated lots of critics lists IIRC. And, at least in Seattle and Portland, alt-country/bluegrass was big with the cool kids, and, e.g., Freakwater’s album End Time w/ killer single Good For Nothing was also essential listening.

  26. 56
    Shiny Dave on 7 Dec 2014 #

    Perhaps in retrospect, 1999 was the year where the Britpop/Spice Girls/boyband era broke down – Britpop mired in melancholy, the Spices split and gearing up for solo careers of varying quality, the boyband mantle largely passed to Westlife’s “pan-generation romantic coalition.”

    No surprise then, that the innovations in largely-black American music once again shaped the UK charts as a void emerged – wouldn’t be the first time – but Europop was in position A to fill this very particular point in time. The millennium year would bring new-millennium US music – too often with old-millennium attitudes to gender relations, though one of the first examples of the sound we’ll see on Popular is arguably the defining counterexample – but for now, it’s mostly bubbling under, its big chart leap still to come.

    (#53: Maybe Caught Out There was bigger here because its shouty “I HATE YOU SO MUCH RIGHT NOW!” chorus earned it novelty-record status in a year that was awfully friendly to novelties and earworm choruses?)

  27. 57
    iconoclast on 7 Dec 2014 #

    @56 (first paragraph): from a pop-cultural point of view, this probably reflects more than two years of post-Diana Blairism in some way.

  28. 58
    pink champale on 8 Dec 2014 #

    #47 Yes, Bills, Bills, Bills was my epiphany about all this nu-R&B that I never knew was happening too. And astonishing as much of that stuff is, i still think BBB seems like a step beyond even the very best of the rest, an evolution in human achivement as much as just music. In fact it feels like the sort of music that should be playing in the room at the end of 2001 A Space Odyssey – with BBB’s harsicord standing in for 2001’s Louis XVI furniture

  29. 59
    ciaran on 15 Dec 2014 #

    I was one of very few in my school that had any time for this and though I wouldn’t say history has proven that it’s a work of genius it hasn’t aged badly for what was a novelty record.

    It loses a bit of appeal in the dodgy video and doing a bit of a Lou Bega with the follow up (You could also argue it sets the tone for another monstrous Mainlaind Europe Number One 2 popular years on) but it’s still something I am still slightly fond of now. Even Kayne West might have picked up a thing or two. 6

  30. 60
    lonepilgrim on 23 Dec 2014 #

    There’s a great piece spinning off from this songs use in ‘Iron Man 3’ at the One Week One Band Tumblr here:

  31. 61
    Gareth Parker on 29 Apr 2021 #

    I have to say I just find this irritating. Sorry but it’s a 2 from me.

  32. 62
    TheGerkuman on 19 Oct 2021 #

    Would I get in trouble of referring to this as the Mouldy Old Dough of the 90’s? That is, that they both share that same ‘I don’t care if you think we’re awful’ attitude.

    That being said, Eiffel 65 just can’t be as lovable as Lt. Pigeon, because it’s not banking on nostalgia. Dabba dee, dabba die.

  33. 63
    Mr Tinkertrain on 20 Jun 2022 #

    Much like Mambo #5, from the same summer, this is nonsense but a song I have a lot of time for. I’m also mildly fond of their follow-up Move Your Body despite (because of?) it being pretty much exactly the same but less played.

    “I’m blue / if I was green I would die” and “I’m blue / in Aberdeen I would die” were the main variants on the chorus I heard up in Scotland.

    Interesting discussion about the child-friendly nature of the pop charts at this point. I was 14 when these came out so I was just about young enough to still enjoy them unironically – if I’d been a couple of years older I’d probably have felt rather differently. But as someone who preferred rock/indie music, I do remember thinking that there was a dearth of decent stuff in that genre at this time and that got worse in 2000 when the pop world began to ‘mature’ into a more RnB-oriented direction which I didn’t care for.

    That changed a bit more for me when nu-metal and pop-punk started to become bigger, but that’s a comment for a 2001 entry.

    Anyway, Eiffel 65 can have a 7.

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