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Mar 15

BLACK LEGEND – “You See The Trouble With Me”

Popular60 comments • 4,140 views

#862, 24th June 2000

black legend No black legends were harmed in the making of this single: Barry White, whose 1976 song forms the dislocated spine of “You See The Trouble With Me” and whose vocal sample was meant as its centre, said no, and the job went to a rough soundalike. The track hit number one anyhow, which suggests it’s the idea and structure that’s driving this one, not Barry specifically. “Trouble” is built around a double peak – the sliced up vocal sample and its hints of disco backing, and the bouncy instrumental break that follows on its heels, a transfer across from the White song’s funk guitar.

In case we didn’t get the point, a cheering crowd hollers its approval of both of these – slightly louder on the instrumental break, if anything – which ought to be as annoying as a laugh track but actually helps give “Trouble” a rather sympathetic gloss. The jagged way the vocal is cut – and the wheezy way its sung – takes the rueful bonhomie of White and makes it into something a lot more laboured: this guy sounds out of breath, having to strain for every gasping line: “You! See!… trouble with me… can’t do nothin….”. It’s like he’s making a life-or-death effort just to do the record, and the thumping house breakdown comes as blessed relief.

With the crowd cheering him on, “You See The Trouble With Me” is like listening to music inspired by a weightlifting competition: the awful, grunting, wobbling heave as an athlete pushes beyond their personal best, and then the strut of triumph as they walk the stage afterwards. And of course once I’d started seeing Black Legend like that, rather than just another dance track that had bubbled up from European clubland on good fortune alone, I really got into it.

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Comments

  1. 1
    wichitalineman on 13 Mar 2015 #

    The original melody is entirely absent, presumably for legal reasons, which adds to the surreal weight lifter atmosphere. I’m not even sure if you hear the title sung at all, it sounds more like “See … trouble… wuh… nothin … beh… beh.” And then the crowd noise – I’m happily reminded of Bizarre Inc.

    The result is somewhere between a dub mix, a knackered Barry White club singer, and an avant cut-up. Pretty unique.

  2. 2
    Billy Hicks on 13 Mar 2015 #

    The jagged/wheezy vocal is probably due to the original white label being based on a 1990 live version of the track, which does sound very very similar to the re-recorded commercial release. When I first heard the Black Legend cover I did wonder what the hell the soundalike was doing (“See! Trou-ble with me!!” etc) until hearing the white label made it all make sense.

  3. 3
    Billy Hicks on 13 Mar 2015 #

    Can’t find the original Black Legend mix, but the original original live Ghent performance is at https://www.youtube.com/watch?v=5NPEWp6_z1w , which does make the Black Legend mix sound a lot less original/inventive.

  4. 4
    Izzy on 13 Mar 2015 #

    So the long fade starts here. I had genuinely never heard of this before – neither artist, nor track, nor idea. I think that’s the first time that’s happened to me in all my years on Popular :o(

    What a strange record. I like the pop-as-weightlifting analogy, though I’ve been to the weightlifting and there was a lot more euphoria the way I remember it. The periodic piano house break is indeed welcome – but it leaves me with the vibe more of a man heaving some luggage up to his top-floor apartment, passing neighbours’ parties on every landing, and never getting invited in.

    Anyway, what was the concept? What on earth did the public think it was buying into? I’m bewildered. Having said that, I kind of like it. (5)

  5. 5
    wichitalineman on 13 Mar 2015 #

    Re 2/3: Oh. Boo. It’s still a pretty odd idea, though.

  6. 6
    Tommy Mack on 13 Mar 2015 #

    I’m a sucker for crowd noise on a studio record or even better party background noise like The Tremoloes’ Here Comes My Baby. Rainy Day Women is still rub, obviously.

  7. 7
    mapman132 on 13 Mar 2015 #

    This sounds really disjointed and confused to me. Too much going on to be a coherent song. Sometimes that sort of thing works for me, but here it didn’t when I listened to it twice the other night. Maybe I need to hear it more. 4/10.

    BTW, did the producers behind this always call themselves Black Legend? Hearing about the Barry White sample being nixed, it makes me think of it as one of those generic labels like the ones in sports games when a real-life player doesn’t give clearance, thus resulting in suspiciously similar players with names like “Giants Left Fielder” (or perhaps “Man U Striker” in the UK…).

  8. 8
    JoeWiz on 13 Mar 2015 #

    Hated this. #4 what WAS the concept? I have no memory of this being used on an advert or a TV show etc, where did the groundswell for this pathetic novelty mess come from?
    Was this bought out of any affection for Barry White? His last studio album ‘Staying Power’, released in 1999 reached a heady number 60 in our album charts. Maybe a greatest hits had come out around this time?
    One of the most forgettable number 1’s of 2000. And there’s a vast amount of competition.

  9. 9
    Ricardo on 13 Mar 2015 #

    @#3 – Actually, you can find the original white label mix. It’s just that the record was called “We’ll Be In Trouble” under that original guise. Here it is: https://www.youtube.com/watch?v=GY_xpiDzS_k

    Another thing that wasn’t yet mentioned: the original white label version was, in itself, a mash-up, as its backing beat comes from DHS’s oldskool classic “House of God”. Here it is, as evidence: https://www.youtube.com/watch?v=Kq8SD_cTr9o

  10. 10
    23 Daves on 13 Mar 2015 #

    This barely touched my world at the time and I probably only heard it 3 or 4 times in total. I was at a point in my life where the radio was tuned to XFM and I was busy re-exploring the nooks and crannies of the London gig circuit after spending years away from the capital. Big club tunes often ended up passing me by, whereas before they’d have been inescapable.

    I do quite like this now, though. It’s a very peculiar mishmash of styles and ideas which shouldn’t work, but somehow do gel. Nothing worth getting wildly excited about, but at the right time and in the right place I can now imagine getting on the dancefloor to this one. The brutal, bleeping and warping little instrumental flourishes after the pseudo-White’s vocal add an extra kick and some contrast to what could have been a slightly uninteresting track otherwise.

  11. 11
    Shiny Dave on 13 Mar 2015 #

    #7 The soccer games that didn’t get name clearance at this time – Konami’s International Superstar Soccer series – opted for deliberate, and sometimes hilarious, misspellings. (ISS later evolved into the Pro Evolution Soccer series, which have had officially licensed players for a good few years now, but have numerous unlicensed English team names, producing such hilarious but immersion-breaking gems as “West Midlands Village” for Aston Villa and “Merseyside Red” for Liverpool.)

    Anyway, this song, silly gonzo sampling that Tom quite rightly notices hits on accidental poignancy. We will meet far worse filter disco than this. 6.

  12. 12
    AMZ1981 on 13 Mar 2015 #

    I had the same problem with this track that I had with Madison Avenue a few weeks before, namely that as a very introverted nineteen year old listening to the top 40 religiously every week I wasn’t hearing these songs in their natural environment; the club. Therefore I was baffled and indeed slightly irritated by tracks like this bouncing into the top spot and quickly getting barged out of the way. With hindsight if I had been able to associate this with several good nights on the town I’d probably have felt differently.

    Entering at three the same week (Sonique dropped to two and S Club 7 to four) was Darude’s Sandstorm which ultimately outsold Black Legend and proved more enduring.

  13. 13
    mark g on 13 Mar 2015 #

    Well, I’d give it 7 as I seem to like it more than most here. Its dislocation in dropping into and out of the actual song gives it an odd sort of ambient level background. It could go on for hours, strangely. Not that you’d want it to, necessarily…

  14. 14
    katstevens on 13 Mar 2015 #

    Another 2000 Tenerife disco staple, but one which totally baffled me at the time: I couldn’t pick up on any sort of hook apart from the BOOP-BOOP, BOOP-BOOP and had no idea what it was called or that it had got to #1 (prob bcs was literally in Tenerife when this charted). The title/artist is still unfamiliar enough that I had to google it just now to check it was the same song I was thinking of (the last Popular entry where I can’t hum the tune or picture the artist is ….Jim Diamond??).

    I remember the Barry-a-like being so low in the mix compared to the crowd noise bits that I wasn’t even sure if it was meant to be him, and I didn’t want to ask because that would be legitimising all this non-indie music which I was definitely only dancing to under drunken duress. TBH I was more worried about the lads in the apartment above ours squirting sun cream on to our balcony.

  15. 15
    Tom on 13 Mar 2015 #

    I really turned my nose up at Sandstorm at the time and I was such an idiot – it’s one of the great tracks of the year, so firmly committed to its idea, and better than almost any of the early 00s dance songs that did reach #1.

  16. 16
    lonepilgrim on 13 Mar 2015 #

    I hated this first time around and then second time became hypnotised by the whole car -crash experience. I can’t say I like it but it stands as one of the more bizarre, avant-garde things to hit number 1.

  17. 17
    katstevens on 13 Mar 2015 #

    Sandstorm is a blimmin’ BANGER – three pints down and it’s a surefire 10.

  18. 18
    Izzy on 13 Mar 2015 #

    Yup, Sandstorm would’ve been an unquestionable (10).

    In fact it’s kind of astonishing it didn’t enter at the top instead. A more immediate track you will never hear.

  19. 19
    katstevens on 14 Mar 2015 #

    Also a favourite 2000 summer banger of mine: ‘Time To Burn’ by Storm. Similar in tone to Sandstorm but harsher and faster, and almost identical to ‘Storm’ by Storm but far superior because MORE BURN. IT’S TIME TO BURN.

    (It also has everything I could hope for in a music video)

  20. 20
    mapman132 on 14 Mar 2015 #

    An odd problem I have with pure instrumental tracks like “Sandstorm” is that without a lyric to hook my mind on, it often takes more effort on my part to commit the track to memory. I had heard OF “Sandstorm” but couldn’t recall it until listening just now and immediately getting oh THAT track recognition. I used to have the same problem with Robert Miles’ “Children” for the longest time.

    That being said, it’s relatively rare for a hit instrumental not to be really good once I can remember it. Something about the lack of lyrics to fall back on makes for a higher bar to clear to become a major hit.

  21. 21
    swanstep on 14 Mar 2015 #

    @19, Kat. Since you bring up the vids for these songs, do you find them at all worth listening to at normal volumes without their vids? I’ve mainly known ‘Sandstorm’ from its Run-Lola-Run-ish vid both on MTV-style channels and youtube and think it works great like that. Listening to the track, as it were, naked on Spotify is a very different experience; there’s just not enough going on to hold interest basically (and it becomes clear how much work the vid. was doing, or massive volume I assume).

    YSTTWM is sort-of-intriguing-sounding but fundamentally half-assed. It didn’t chart in NZ and barely did so in Australia, which seems right:
    3 or 4

  22. 22
    thefatgit on 14 Mar 2015 #

    I remember this getting lots of airplay post-Miami Winter Music Conference, only it wasn’t this, but the original bootleg that sampled Barry White. This version is as close as we’re going to get to that. Best not to dwell on the couldhavebeens. Black Legend does what is necessary, with the live audience samples and the heavyweight baritone stand-in, to give a flavour of what The Walrus Of Lurrve might have sounded like. I see this track as a Stars In Their Eyes banger. In a world where disco knock-offs with superstar DJ remixes can drop at any club anywhere, it seems Black Legend was the compromise, that fed the public’s demand for YSTTWM. The track was first heard by me when it was played by Pete Tong on Radio 1. It’s a perfect storm, where there’s a positive reception from the clubheads and a demand from the public at large, coalesce to drive it to #1. I’m guessing the public didn’t care that there was a soundalike. And neither did I. Tonight Matthew, I’m awarding a 7.

  23. 23
    flahr on 14 Mar 2015 #

    I don’t like this one much for a really really unfair reason, which is that “You See The Trouble With Me” is a really fantastic title and the song doesn’t live up to it.

  24. 24
    wichitalineman on 14 Mar 2015 #

    A similarly great title – Linda Flavell’s And The Trouble With Me Is You.

  25. 25
    Edward Still on 14 Mar 2015 #

    Yes it’s cheap but it’s not nasty, and I enjoy it more than most other 2000 number ones to date. A mid 7.

  26. 26
    Phil on 14 Mar 2015 #

    The DHS rip is really obtrusive once you hear it.

    The official version is a surprisingly faithful re-creation of the white label, which itself is very little more than a mashup of two tracks: what makes it work is the selection of those two tracks. Re-created from scratch*, it’s like Pierre Menard in reverse – what’s radical and witty the first time it was done is cheesy and pointless the second time around (and let’s not even mention the video). 8 or even 9 for the original but 5 for this.

    *The Barry White track, at least; I suspect DHS may still be in there.

  27. 27
    katstevens on 14 Mar 2015 #

    #21 Well I listen to a lot of techno as background music anyway (instrumentals while working etc), but that tends to be more mellower/ambient/melancholy stuff. Something really brash and energetic like Storm or Darude (or Vitalic/2 Unlimited!) works better for me on headphones while stomping along somewhere. I don’t have a waterproof mp3 player for swimming but if I did then Sandstorm would definitely be on rotation there too.

  28. 28
    Shiny Dave on 14 Mar 2015 #

    #27 A lot of my use for millennial trance (and the EDM wave of ten years later!) is as music to block out background noise and/or to bounce to. The keyboard builds, or to be more exact the drops, weaken the value for me.

    (As does the tempo being really, really ill-suited to running to – to the point that my first reaction to bunny #1,237 was that it was good to hear a song that both sounded custom-built to run to and actually had the right tempo for it, and it was a shame that it wasn’t actually any good. Come to think of it, #1,236 – by a performer well-known for being a keen runner – fits the bill too, at least musically.)

  29. 29
    Chelovek na lune on 14 Mar 2015 #

    Bizarre Inc is a good spot at #1. (Maybe even going further back to some of the secondary sub-Black Box Italo-house output of summer ’89, also). Although the closing moments verge on end-of-the-pier variety show. Naughty naughty naughty…

    So: Yeah, this is kind of brilliant, and naff, and brilliantly naff. Fun, not earthshattering, but does its job (of burning up the dance floor, raising spirits, creating a happy vibe) adequately. Definition of 6, then.

  30. 30
    Chinny Reckon on 15 Mar 2015 #

    This seems like a rather poorly researched review, comments like “In case we didn’t get the point, a cheering crowd hollers its approval of both of these – slightly louder on the instrumental break, if anything – which ought to be as annoying as a laugh track but actually helps give “Trouble” a rather sympathetic gloss” suggest the blogger isn’t aware that the crowd noise is due to the original sample on the white label (and indeed, the initial Italian promotional copies on Time Records http://www.discogs.com/Black-Legend-Well-Be-In-Trouble/release/155699) being from a live version. The sampled crowd noise may in fact have been left intact on the re-recorded version or it may have been replayed, I’m not sure.

  31. 31
    Chinny Reckon on 15 Mar 2015 #

    @22 # – “This version is as close as we’re going to get to that”.

    Plenty of copies of the version with the original sample for sale on Discogs at reasonable prices if you want one. http://www.discogs.com/Black-Legend-Well-Be-In-Trouble/release/155699

  32. 32
    punctum on 16 Mar 2015 #

    One of the more disturbing of number ones to have originated as a bootleg, and perhaps only accidentally so; Black Legend were from Italy and the track first did the rounds of the club as a straight mash-up of a live Barry White performance (“1975 – we brought you an album with a song”) and a self-generated hardcore House undertow. The original “You See The Trouble With Me” was White’s second biggest British hit, peaking at #2 in April 1976 behind, unforgivably, “Save Your Kisses For Me.” However, the producers couldn’t get clearance from White’s people to use the original for commercial release so had to re-record the vocal with one Elroy “Spoonface” Powell (who was British).

    The result is something of a Frankenstein’s monster of a record; “Spoonface” does his gruff best to reproduce White’s growls and entreaties but sounds distressed, can’t quite reach the extremes, and set against the fairly uncompromising rhythm pattern seems to take sweet soul down the darkest and least welcoming of alleyways; it does take the form of a waking nightmare with showbiz applause and orchestral flourishes ricocheting against the bullet-welcoming beats and not really that far away from how Shut Up And Dance might have tackled the song; even if it lacks the latter’s tricky depth, the altered-by-necessity end product far exceeds the original mix in terms of sheer strangeness.

  33. 33
    weej on 16 Mar 2015 #

    ‘House Of God’ is one of those tracks that only achieves its full potential in a mix, and I present as evidence of this Miss Kittin’s ‘Electroclash’ mix from the Muzik magazine cover CD in 2002 (it starts getting mixed in at about 20 minutes in if you want to cut to the chase.) I simply have to leave this here as it’s still my favourite DJ mix of all time, even though I wasn’t that into electroclash (and most of it is house music anyway – I think the name was an editorial choice) and I still listen to it every couple of months.

    As for Black Legend, 8 for the original mix, 6 for this one, just because it’s House Of God at #1.

  34. 34
    Rory on 16 Mar 2015 #

    All new to me, so I listened to the actual number one first; a bit one-note, and I lost interest before its 3:15 was up. A 4, I think, or maybe 5. Then listened to the white label, and it suddenly makes more sense; there’s more development, and just more Barry-ness; no disrespect to Elroy ‘Spoonface’ Powell, who does a perfectly decent job on the remake, but White is a hard act to follow. I’d go to 6 for that one.

    #30: “The blogger”? He’s right here, you know… in any case, it seems clear enough to me from the review that Tom knows the basic background to the track. But it’s reasonable to critique the crowd noises as a deliberate choice, not just as an accidental artifact of the source recording. For one thing, why was the white label sampled from a live version and not a studio version? For its particular effect, presumably. And why add crowd noises to the chart version, when you’re remaking everything in it anyway? Again, for the effect.

  35. 35
    wichitalineman on 16 Mar 2015 #

    Crowd noise, air horns and revving engines almost never fail to improve a record. A mix of House Of God and the 1976 studio version of YSTWM would have been less weird and way less exciting.

  36. 36
    James BC on 16 Mar 2015 #

    Some of this song’s success must be down to the Fun Lovin’ Criminals, who had made Barry White sort of kitschily cool with their song Love Unlimited a year or two earlier. Or at least put him back in people’s minds.

    I recognised the BOOP-BOOP sound from Mad’house’s dancey Madonna covers from a couple of years later. I wondered whether they were the same people, but apparently (says Wikipedia) it’s because they got the idea from a Black Legend/Madonna mashup, so it’s a homage not a recycling.

    Mad’house were a lot better than this, since the songs were Madonna songs after all. Funny that there haven’t been more covers of Madonna.

  37. 37
    Billy Hicks on 17 Mar 2015 #

    The amount of chart songs circa 2002-2003 that are based on unofficial mashups is ridiculously huge, and makes me wonder if there’s a list online of all of them somewhere. That and slowed-down pop-trance covers of happy hardcore hits were two major trends for a while.

  38. 38
    Billy Hicks on 17 Mar 2015 #

    For the record I never liked Mad’House’s ‘Like A Prayer’ – it genuinely sounds like a mess and just makes you want to hear the (ten out of ten) original. Now 52 used a remix that was much much better, as it did its own thing rather than clumsily plonk the now twelve-year-old House of God beat over the Madonna soundalike.

    Original: https://www.youtube.com/watch?v=V4vSbVWm6F8

    Almighty/Now 52 mix: https://www.youtube.com/watch?v=N8ty6CAIFFQ

  39. 39
    Andrew on 17 Mar 2015 #

    Mad’House’s Like a Prayer was enjoyably trashy, harmless Euro fun. I remember hearing it a fair bit on holiday in France the summer of 2002.

    The album, Absolutely Mad, is (unsurprisingly) slightly harder work. All of the songs are Madonna covers but two (one of which is a blatant ‘homage’ to Music). An interesting curio as a Madonna fan but listening to the whole thing is a total endurance test, even if you allow each track just 60 seconds before skipping to the next. Buse’s eager, rather expressionless voice is fairly short on charms and wears you down quite quickly.

    The majority of it is fairly rote house and trance, but for La Isla Bonita in the style of Ace of Base (quite smart) and Papa Don’t Preach in the style of Wamdue Project (not so much).

  40. 40
    swanstep on 17 Mar 2015 #

    One of my all-time favorite bands, The Meat Purveyors has a great bluegrass/alt-country Madonna-medley called ‘The Madonna Trilogy’. It’s not on youtube but it is on spotify. Highly recommended.

  41. 41
    Kinitawowi on 18 Mar 2015 #

    The crowd noise things end up reminding me mostly of the not-quite-bunnied-but-inexplicably-TPL-embargoed Scooter, who just annoyed me intensely.

    YSTTWM has just recently found its way into the mix we end up listening to at work (I think they usually tune one of the DABs into Kisstory, or something), and it’s just reminding me of how much I don’t need to listen to it any more. Mashup of a song, mashup of a video, a whole load of eh.

    4.

  42. 42
    Billy Hicks on 18 Mar 2015 #

    Scooter were briefly my *life* as a teenager, supporting a bunnied act (though for the wrong song) at my first ever live music gig in March 2008. They ripped a lot off from other acts but they have some astonishing tracks – Hyper Hyper is mid-90s happy hardcore heaven, and The Logical Song is a huge noughties classic.

  43. 43
    James BC on 18 Mar 2015 #

    Scooter’s crowd noise is one of their many homages to the KLF.

  44. 44
    katstevens on 18 Mar 2015 #

    #42 omg Billy was that the Clubland Live tour? We went and it was AMAZING. Especially the surprise appearance of Samantha Mumba.

  45. 45
    Izzy on 18 Mar 2015 #

    One thing I realise I like on records, but have never thought about before, is the noise of voices too-many-to-be-backing-vocals, too-small-to-be-a-crowd, but too-ramshackle-to-be-a-chorus.

    Hey Ya (incredibly not bunnied) is the sort of thing I have in mind – Hey Now fellas! Yee-aoh? – and Black Legend is of that type. But there must be other pop examples? Otherwise I’m thinking more of shouty stuff like The Clash at their most joyous.

  46. 46
    Andrew Farrell on 18 Mar 2015 #

    The lack of bunnied Scooter (so far!) is a shame – I’d suggest that you could mentally append “Scooter would have done this better” to most of the 6-and-lower entries and you’d match Tom’s views more often than not.

    #45 – The-Dream was addicted to “male crowd yelling YEAH” to an extent that actually creeped me out – though that was arguably used as an effect rather than any suggestion people were miked up for any given record.

  47. 47
    swanstep on 18 Mar 2015 #

    @Izzy, 45. Betty Davis’s immortal funk side, ‘If I’m In luck I Just Might Get Picked Up’ has what you’re looking for: https://youtu.be/b2B0FBdzGis.

  48. 48
    Izzy on 18 Mar 2015 #

    Ooh yeah – I haven’t heard much of her, but the first time I did she blew me away. Such a strutting sound.

    I did once mention her to someone else who said she’s great in every way … except that she can’t sing. I can kind of see what he meant now, but that’s still a fine record.

  49. 49
    Mark M on 18 Mar 2015 #

    Re47/48: Tying us back into 2000, as I remember it, its resemblance to the songs of Betty Davis was Peel’s explanation for why he was so into Kelis’ Kaleidoscope.

  50. 50
    Billy Hicks on 19 Mar 2015 #

    44: It was! As an extremely overexciteable teenager it was quite the experience, the highlight was definitely hearing Kelly Llorenna perform ‘Set You Free’ live at the start.

    Ministry of Sound immediately then held their own copycat version called Dance Nation Live, with a 2008 bunny headliner I’ll probably be the only one giving any sort of praise whatsoever to when Popular reaches there, and, brilliantly, Sash! as sub-headliner who’d just got back in the charts with an Encore Une Fois remix. ‘Ecuador’ being performed live was all kinds of wow.

  51. 51
    Alan on 19 Mar 2015 #

    (Auto post cos ‘scooter’ mentioned) I still regret not going to that Clubland Live :-(

  52. 52
    StringBeanJohn82 on 19 Mar 2015 #

    45: I agree with you entirely, now you mention it. Perhaps the best example in recenter years is the wonderful ‘Float On’ by Modest Mouse. I think I like the idea – sometimes – that when it comes down to it, pop music is more often than not a bunch of young blokes pissing around in a studio, living the dream.

  53. 53
    swanstep on 19 Mar 2015 #

    Another great classic example of the sonic enchantment we’re all appreciating here is Archie Bell and the Drells’ Tighten Up, surely one of the greatest US #1s that never charted in the UK. On the more recent front, I’d say Pharrell always seems to inject some of the vibe we’re all liking here into his records…bunny city to discuss any of that in detail of course.

  54. 54
    Izzy on 19 Mar 2015 #

    Those are great, thanks! And ‘when it comes down to it, pop music is more often than not a bunch of young blokes pissing around in a studio, living the dream’ is totally the vibe, as well as all kinds of beautiful.

  55. 55
    katstevens on 21 Mar 2015 #

    Chatting w/ schoolchum Kirst this evening we recalled a banger than neither of us could name without extensive googling: Get Get Down by Paul Johnson (“down down down down DOWN DOWN DOWN DOWN”) which was a good 6 months old by Tenerife o’clock but which we were fond of for other reasons. I’ve added it to my Ibiza Classix Spotify playlist.

  56. 56
    Auntie Beryl on 21 Mar 2015 #

    Paul Johnson’s Get Get Down contains one of the finest half-arsed “whoo”s in pop history, another being on I Believe I Can Fly.

  57. 57
    Rory on 21 Mar 2015 #

    There needs to be a band called Half-Arsed Whoo. (Also, found my next sock-puppet!) (Also, sounds like Matt Smith’s last series.)

  58. 58
    ciaran on 10 May 2015 #

    It’s a shame that Sandstorm didn’t get to the top. Even though its a record you would imagine being worshipped by young obsessed car heads who go round racing each other its a clear 9. I’m even as big a fan of the more or less identical follow ‘Feel The Beat’ but that didn’t have the universal appeal of Sandstorm so hasn’t been as well remembered.

    I’m nowhere near as sure about Black Legend. I always assumed it as ol Walrus of Love himself because I didnt hear it that often – maybe 2 or 3 times- and it’s at a time when a Number 1 could be forgotten in a fortnight so it didnt stay around all that often.

    That said it’s a little bit more enjoyable to listen to than I would have imagined. A good bit more memorable than the original its based on. Nowhere near my favourite disco smash of 2000 but not Millennium Prayer hateable either. 5

  59. 59
    Adam on 19 Oct 2018 #

    Just found this website and stayed up till the small hours reading the brilliant reviews. This one in particular made me helpless with laughter at the description of this wheezing, struggling singer! Like everyone else, I found there’s “something” indescribably appealing about this shoddy remix, that on paper should be awful but somehow works. I like that banging, metallic, bass sound.

  60. 60
    Lee Saunders on 20 Oct 2018 #

    I’d like to echo earlier comments that this is one of the more avant number ones. The BOOM BOOM BOOM BOOM is positively weird considering its the only real hook on a number one single. The audience sounds and the vocal bits make it sound even stranger.

    I’m giving this an 8 for what its worth. Always been very fond of it.

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