4
Oct 10

BLACK BOX – “Ride On Time”

Popular90 comments • 8,688 views

#633, 9th September 1989

The controversy around “Ride On Time” now feels like a mixture of typical sharp practise and unusual naivety. Details are murky, but it seems production team Black Box had obtained sample clearance for Loleatta Holloway’s “Love Sensation” from her record label, but they hadn’t asked her about it, they hadn’t credited writer Dan Hartman, and they certainly had no compunction about hiring a model to lip-synch Holloway’s lines.

It’s this deception that became the focus for the trouble. It’s also what dates it to this late-80s frontier moment – when the potential of sampling to make a) terrific pop records and b) lots of money very fast was obvious, but ethics and practises around who gets credited for what hadn’t quite settled down. What rankled wasn’t just Holloway getting ripped off but the sense that Black Box were overclaiming their part in it: nowadays she’d get a “featuring” and Hartman’s writing credit would be in place from the off.

But here’s where the naivety comes in. What’s remarkable now isn’t that original work went uncredited – the ghosts of Robert Johnson, and many others, would have been nodding in recognition – but that Black Box got away with it for a good few weeks before the story broke. If you play “Love Sensation” after “Ride On Time” the sampling is beyond obvious, but back then mainstream listeners (and radio DJs, programmers, etc.) simply didn’t do that kind of thing. Of course any disco DJs would have recognised the lifts at once, and so would their audience, but the public were quite happy to accept that “Katrin” was belting out these (really obviously edited) vocal lines.

None of this mattered much even then – there was no Milli Vanilli style backlash, and Black Box records kept on selling. But the deception underlines the oddness of “Ride On Time”. This is a record which takes almost all its vocals, and its piano line, from an older song. But what Black Box do with them is to chop and shuffle them into a dance track with aspirations to being a completely new song. Even now this is unusual: mostly producers will take a line or two, and centre the new track on them, making the recognition part of the point. “Ride On Time” – from the phonetic title onwards – isn’t doing this: it’s almost at pains to disguise its origins.

Creatively, this is exactly the right move: it means “Ride On Time” is its own record, even when you know “Love Sensation” well (and like it better). The two songs have completely different virtues: on the original Holloway is exploring and expressing a feeling, trying to capture a lover’s qualities. On the Black Box track she’s less a voice than a force, a pure slug of diva power there purely to make the song rush harder. “Ride On Time” is a series of peaks, with the union of “Right on time!” and the piano riff the highest and most thrilling.

Anyway, Holloway isn’t doing all the work. The trappings of Italo house – light, sequenced keyboard lines, bouncy bass, endless hi-hat all working in unison to give that gorgeous piano its lift – seemed to be on a hundred hits that summer, and the vocal hooks made this the biggest. But listening to it now it’s the piano which draws me back in each time – to the point where I almost want Loleatta to get out of the way.

7

Comments

1 2 All
  1. 31
    Alan on 5 Oct 2010 #

    Numero Uno was my 2nd 12″ reckid, and I still have it NOM NOM. I *think* I bought it and Weddoes Bizarro at the same time. I don’t have the Weddoes LP anymore obv as I have CDs and files on a hard disk – not so with Numero Uno, which I must remedy.

  2. 32
    pink champale on 5 Oct 2010 #

    i love this, most of all the sheer grainy physicality of the vocal, there’s a kind of throaty weight to it that makes it feel like it’s digging right into you, not gliding serenely overhead like a mariah or whitney. that and the abstract precision with which this fearsome weapon is deployed. what it reminds me of most is black francis unleashing his hair-raising roar across surfa rosa and doolittle at will, for no reason other than that he can (though i like the little Richard comparison upthread a lot too)

    talking of the pixies, much as i loved it at the time, “ride on time’s” epic run at number one didn’t soundtrack an orgy of pilled-up raving for me, but instead coincided exactly with my comically sudden conversion to indie absolutism. the week they got to number one i bought my first nme, six weeks later i was a grizzled veteran – in a rubbish band, hopelessly infatuated with a girl who wore those stripy tights, the whole set. obviously, black box can’t take much credit/blame for this startling ‘middle class teenager goes a bit alternative’ tale, but they were at least an appropriately momentous backdrop. (and nme endorsed too!)

  3. 33
    Billy Smart on 5 Oct 2010 #

    Re 30: It might have been accidental, but ‘Ride On Time’ is so much better a title than ‘Right On Time’ would have been. It fits with the machine constructed feel of the single, allowing the listener to manipulate and surf upon a force of nature, like a fairground ride.

  4. 34
    Steve Mannion on 5 Oct 2010 #

    I never once saw the joke “Ride On Mime, more like” at the time, just realised. Incidentally Katrin Quinol was the cover star of the first issue of Record Mirror I bought. Still my favourite ever music weekly due to its general support for charting dance acts, pre-NME Great Pop Things and featuring more charts than you could shake a stick at.

  5. 35
    LondonLee on 5 Oct 2010 #

    To this day few things still thrill me more than a great pounding House piano riff and this is one of the best (though not quite as peerless as ‘Where Love Lives’). I wish there was more of it though and the fact that the record mostly just repeats it’s (exhilarating at first) effects over and over again keeps this “only” an 8 for me.

  6. 36
    wichita lineman on 5 Oct 2010 #

    This is superpop – disembowelling Love Sensation, making it five times better, then fronting the record with a model. Wow.

    I loved the generic sleeves of the Daniel Davoli records, at least for Numero Uno and (my fave) Airport ’89 by Wood Allen, which sounded amazing out (it had AEROPLANE NOISES ON IT!). I remember an interview with Davoli in which he was asked to to explain where he’d got the moniker Wood Allen from. He shrugged, and said “I like Woody Allen movies.”

    I wonder if Black Box Recorder ever got confused with Black Box. It always seemed an odd choice of name to me, as if the Luke Haines mob were pretending their more famous namesakes had never existed.

  7. 37
    Tracer Hand on 5 Oct 2010 #

    I have the “Massive Mix” of this on 12-inch, which has the same cover as in Tom’s post. But what about the original, radio version? I may have never actually heard it!

  8. 38
    MikeMCSG on 5 Oct 2010 #

    #34 With you on RM Steve. Sadly at this point it had little more than 18 months to go, for me the saddest victim of the early 90s recession. I lack any real knowledge of the charts after its demise.

  9. 39
    wichita lineman on 5 Oct 2010 #

    Re 34, 38: Snap. In the Morley/Penman era I was a RM/Smash Hits devotee, which I was embarrassed about at the time. I was very sad to see it go; Sounds went the same day.

  10. 40
    Jude on 5 Oct 2010 #

    Superpop is the perfect word for this. Utterly love this – one of my all-time favourites – so it’s a 9 for me. Played at a friend’s wedding the other week, and the floor was bloody mobbed. The unison “WOOOOOAAAA-OHHHs” left many a thirtysomething woman crying for a Strepsil.

    Like many people of my age – born in 1978 – I was utterly obsessed by most chart house music between ’88 and ’89, but had no idea at all how club-oriented it was, being 10 or 11 at the time. Something about the cut-and-paste sampling technique from the house years is so utterly playful and innocent, so incredibly childlike, the way they press everyone’s easy buttons at once. We wore the dungarees and doodled the smiley faces – this musical language was ours, as kids, we had no concept of anyone else being in on it. And I’m sure this contributed to its mainstream success as much as the people necking pills rather than raspberry Panda Pops.

  11. 41
    swanstep on 5 Oct 2010 #

    @MikeMCSG, 38. Y’know, I think that that early ’90s recession is hardly remembered these days, but it was pretty jolly vivid at the time. In the US it definitely set the table, as it were, for grunge there much as ’70s economic problems had seemed to set the table for punk in the UK. I don’t think the underlying econ. problems were as bad then as they were in the ’70s or as they are now but there was an edge to it that was compelling nonetheless (lots of talk about ‘peace dividends at the end of the cold war’ seemed like a cruel joke to those living through the recession).

    In the US, and I assume elsewhere, the atmosphere seemed to change abruptly again near the end of 1993 when the first proper web browser, Mosaic, was released (for free baby!) and suddenly a new digital gold rush was on. David Fincher’s ads for AT&T in the US in 1993 really captured that precise new frontier moment. Now with his Facebook movie Fincher’s seems to be having his say about what that new world he helped sell is like once the frontier’s been closed. I wrote a note about this back in July if anyone’s interested.

  12. 42
    George on 6 Oct 2010 #

    An earlier poster’s claim that Italo House came out of nowhere with no kind of existing musical tradition is slightly wide of the mark. Italo Disco – which simmered away through most of the 80’s but encountered it’s salad days during the early to mid part of the decade – was not unknown to use a piano break and one of the scene’s greatest tracks, ”Stop” by B.W.H (1983), featured one which could have been a prototype for the Italo House sound of 89.

    Strangely my abiding memory of this track is of a disgusted Whitney Houston shaking her head and repeating ”it’s wrong…it’s wrong” during a tv interview. The controversy surrounding Holloway’s vocals left a bad taste with some although I’ve always sensed (and I’ll stand corrected on this) that the shitstorm was more intense in the US than the UK.
    Anyway, this is still a thrilling song. The best of the dance related #1s from the latter part of the decade.

  13. 43
    Billy on 6 Oct 2010 #

    The top 10 for week-ending 30th September 1989 is one of my favourite charts of all time.

    1: Black Box – Ride On Time
    2: Richard Marx – Right Here Waiting
    3: Technotronic – Pump Up The Jam
    4: Sydney Youngblood – If Only I Could
    5: Tina Turner – The Best
    6: Erasure – Drama!
    7: Madonna – Cherish
    8: Damien – The Time Warp
    9: The Beautiful South – You Keep It All In
    10: Tears For Fears – Sowing The Seeds Of Love

    Also in that top 40 – the aforementioned ‘Numero Uno’, the very long-titled ‘Hey DJ I Can’t Dance To That Music You’re Playing’, and Depeche Mode’s ‘Personal Jesus’.

    And people wonder why I love 1980s music so much.

  14. 44
    LondonLee on 6 Oct 2010 #

    I remember the early 90s recession well because I was made redundant and was out of work for six months. The design biz got hit very hard, the end of the “designer decade” I guess.

  15. 45
    punctum on 6 Oct 2010 #

    #43: Sadly to me that top ten is the epitome of Dale’s Dullard Discs. This weekend it’s 1967 and 1991, with the super sounds of Frankie Vaughan, Engelbert Humperdinck, Kenny Thomas and Erasure. No wonder he’s leaving.

  16. 46
    wichita lineman on 6 Oct 2010 #

    Re 40: I can see that, even though I was born, err, a few years earlier. I imagine Italo House/Euro techno pushed the same buttons for a 10 year old in 1989 as Glam did for my (childhood) generation. Shamelessly gleeful, no self-conscious soulfulness or knowing cool.

    Re 42: I would LOVE some recommendations on Italo Disco, a genre I was totally unaware of at the time.

    Re 43: A mix of genius and fast-fading eighties pomp, 80s/90s battle lines drawn. Where do people stand on If Only I Could these days? For me it was a gorgeous, late summer-of-love pop house single, with (gosh) vibes, atmospheric piano, and a genuine naivety. But I remember it dividing people back then.

  17. 47
    swanstep on 6 Oct 2010 #

    @wichita. There’s Chrissy Murderbot’s italo mixtape here. I’ve enjoyed listening to it a couple of times this past year. Perhaps I can tempt George,42 to give us his impressions of its selections (there’s little if any House piano on it for example – fun stuff tho’!).

  18. 48
    punctum on 6 Oct 2010 #

    #46: “If Only I Could” – actually I always thought if Rick Astley had worked with St Et it would have sounded something like this. Sydney Youngblood as I recall was an American GI stationed in Germany – much better than other singing squaddies I could mention (but the bunny calls for patience).

  19. 49
    Tom on 6 Oct 2010 #

    I love “If Only I Could” – one of the great songful/soulful house tracks. Also very keen on “Pump Up The Jam”, and “Drama!” is the best Erasure single.

    “Sowing The Seeds Of Love” seemed like The Enemy at the time but either I’ve got soft or time’s been kind to it: it’s a ridiculous folly but there’s an edge of longing to it which is absent from smugger Beatle Band pastiches (i.e. almost all of them)

  20. 50
    Tom on 6 Oct 2010 #

    Actually, no, having just listened to it again my memory was kind to it: time has been duly harsh. Sorry Roland and Curt!

  21. 51

    21 is right, in a sense this launches everything that was going to happen up to the beginning of the Blair era. And beyond; you mentioned Alison Limerick WLL, but check this out. I don’t remember where the piano sample comes from, but I do know I’ve danced to it.

  22. 52
    Dominic on 6 Oct 2010 #

    “If Only I Could” is not unpleasant. Although the bassline (lifted blatantly from Raze’s “Break 4 Love”) stars alongside the singer as a reason for this moderate praise.

    But “You Keep It All In” is, I think, the only other song in that top 10 I would go out of my way to hear, self-consciously whimsical though it is. A couple of other Ok tracks there (Madonna, Erasure). But Damien! Clear off!

    And I (still) CAN’T STAND “Pump Up The Jam” and am mystified as the uniformly positive response thereto here. (Well, “This Beat Is Technotronic”, and, well, probably all of their other singles were even worse. But that is no excuse)

  23. 53
    Steve Mannion on 6 Oct 2010 #

    I liked Sydney Youngblood’s ‘I’d Rather Go Blind’. ‘If Only I Could’ was played in Assembly by our year tutor in that annoying ‘hey kids isn’t this a great song with a great message’ way stiff teachers would sometimes do. Sydney turned up a few years later in an advert for sunglasses on MTV Europe – trufax.

    Was doing my own little chart every week as can remember ‘Sowing The Seed Of Love’ sitting just behind ‘Numero Uno’ at the top spot. I was impressed by the scale of the transitions within it esp. the “time to eat all your words…” bit. Everyone made a fuss about it sounding like ‘I Am The Walrus’. Well it was a lot better than the other Seeds Of Love singles.

    Italo-Disco made a comeback in the mid-00s (in the wake of and as an extension of Electroclash and the EBM revival) but we don’t seem to have had a proper Italo-House revival yet.

  24. 54
    Tom on 6 Oct 2010 #

    Just listened again to “Pump Up The Jam” and – like an awful lot of late 80s dance tracks – it is FAR SLOWER than I think it is. This is actually another plus for “Ride On Time” – it (still) feels really fast (dunno what the actual bpms are here…)

  25. 55
    glue_factory on 6 Oct 2010 #

    Re: Sowing The Seeds of Love, my favourite Tears For Fears artefact from this time is their attempt at Balearica, “Jonny Panic And The Bible of Dreams”. My copy from Greenwich Music & Video Exchange had a sticker on it describing it as one of the greatest records of all time!

  26. 56
    wichita lineman on 6 Oct 2010 #

    Re 54: The real shocker is Nitro Deluxe’s Let’s Get Brutal/This Brutal House, it’s virtually a ballad.

  27. 57
    Steve Mannion on 6 Oct 2010 #

    Intriguing. Is it anything like the Blow Monkeys’ ‘La Passionara’ I wonder?

  28. 58
    glue_factory on 6 Oct 2010 #

    Re: 57, it’s less obviously Iberian sounding than that and more that shuffling, downtempo beat favoured by Wetherall, Farley, etc at the time. I’m sure it’s on YouTube, but I’m behind my work-firewall and unable to check.

  29. 59
    Steve Mannion on 6 Oct 2010 #

    Track tempos in the digital/upload age aren’t always to be trusted tho, especially if ripped from vinyl where turntable speed/pitch is a factor. At one point I found I had four mp3s of Orbital’s ‘Chime’ and the pitch was different on each one.

  30. 60
    Dominic on 6 Oct 2010 #

    It was certainly “one of greatest records of all time, when all those records that are not those put out by Tears for Fears under a pseudonym are excluded”. But that would be a bit too long to fit on a sticker, I suppose.

    Sueno Latino beats Gino Latino hands down, btw ,on the summer of ’89 housey Latino playoff front.

  31. 61
    wichita lineman on 6 Oct 2010 #

    I love Welcome, though. And I’d forgotten La Passionara! I really regret flogging all my 12s from this period.

    Maybe there will be an Italian House revival now the nu-Balearic thing seems to be on its way out (has anyone heard the Aeroplane album? I’ve only heard bad, coffee table things). Maybe there will be an Italian House Christmas record this year: Bin Crosby; Slad; Wizzar. Maybe.

  32. 62
    Tom on 6 Oct 2010 #

    #55 was that the MVE price sticker or an ‘official’ one? We were never above a little editorialising to shift stock. ISTR the description on a bronze phallus created by Psychic TV getting more florid as the price dropped from the initial three grand.

  33. 63
    Dominic on 6 Oct 2010 #

    Now that they’ve been mentioned, and it springs to my mind, one of the two semi-Balearic-ish singles that the Blow Monkeys made with Sylvia Tella round about this time, “Slaves No More”, was really excellent, combining elements of almost-gospel and deep hosue; the other one, “Choice?” wasn’t bad, either, but maybe a bit too jerky and overemphasising the slightly clever-clever-sticking-it-to-Thatch lyrics.

  34. 64
    MikeMCSG on 6 Oct 2010 #

    #49/50 I think there’s a decent song underneath all the bombast in “Sowing” but it does go on a bit. It’s much better than the album it came from which has never had an entire run-through on my turntable since the day I bought it.

  35. 65
    wichita lineman on 6 Oct 2010 #

    Sowing has a minor place in my heart for its prominent bassoon, a very Oliver Postgate sound.

  36. 66
    glue_factory on 6 Oct 2010 #

    Re:62 – it was the MVE price sticker. There must have been a Balearic-fanboy at that branch as a few of the records in that section had fairly florid descriptions.

    Was the Psychic TV knob the one upstairs in Notting Hill Gate? That was always a bit of a conversation piece amongst my friend and I whenever we went up there.

  37. 67
    Steve Mannion on 6 Oct 2010 #

    #63 “overemphasising the slightly clever-clever-sticking-it-to-Thatch lyrics”

    clearly why the good Dr Robert was put on this planet! I quite liked ‘Choice’ but ‘Wait’ with Kym Mazelle was better innit.

  38. 68
    thefatgit on 6 Oct 2010 #

    I tend to rate this higher than “Permp orp the Jiimm” also. Like many at the time. For me, “Ride On Time” is all about how those euphoric moments from Loleatta’s source vocal are stitched together to keep the track fresh and urgent.

    Technotronic play with that “Move Your Body” lift and build the song around it, laying over the almost comical rap jomping and stumping all over the bass heavy rhythm, makes the whole thing clumsily contrived. However, these are baby steps for Northern European dance, while Italo feeds on a well established back catalogue. How the UK accepts and affects these developments will come to define dance music for the next decade.

  39. 69
    punctum on 6 Oct 2010 #

    “Sowing The Seeds Of Love” pros: forms basis of “Midnight In A Perfect World” by DJ Shadow. Cons: wait until TPL gets to its parent album, but they are multiple.

  40. 70
    Tom on 6 Oct 2010 #

    #66 it was yes! I didn’t work there (I was in the Book And Comic Exchange) but I had a look in on a regular basis to see how the magickal cock was getting on.

  41. 71
    MikeMCSG on 6 Oct 2010 #

    # 69 CCA ( http://www.clarkechroniclersalbums.blogspot.com) will get there before you but it sounds like we’ll be singing from the same sheet.

  42. 72
    vinylscot on 6 Oct 2010 #

    I’m glad to see a few people who just didn’t get this. Count me among them – it wasn’t meant for me anyway, but I found it intensely annoying, and the fact that it has never really gone away is a source of some irritation to me.

    (Not just being a BOF – quite a few of the other tracks pitched here did tickle my fancy – certainly the two Silver Bullet tracks were excellent)

  43. 73
    Matt DC on 6 Oct 2010 #

    I loved this at the time, real “what the hell is this?” moment for my young self, and it feels like an absolute belter. A 9 for me, at least.

  44. 74
    Rory on 6 Oct 2010 #

    This was an obvious landmark at the time, and points towards music I later came to love (like the Utah Saints), but I never owned it and still don’t feel the urge to today, which limits it to a 7 for me. The fuss about the sampling passed me by, thankfully.

    Number 2 in Australia, for one week out of 27 in the charts. Number 2 in NZ, too.

  45. 75
    Sarah D on 9 Oct 2010 #

    Massive ten from me. Because the last time I heard this – in a taxi coming home from a gig last year – it was definitely the most exciting sound in the world.

  46. 76
    Passionara on 22 Feb 2011 #

    La Passionara (Tapas Rappers Mix)

  47. 77
    wichita lineman on 22 Mar 2011 #

    Sad to report Loleatta Holloway has died of heart failure age 64. I wonder exactly how many uncredited hits she had? This, Marky Mark’s Good Vibrations… the 49’ers’ Touch Me?

  48. 78
    lex on 23 Mar 2011 #

    I had no idea of the story behind this song until I read this interview with Loleatta Holloway yesterday – http://www.djhistory.com/interviews/loleatta-holloway – had no idea how much it affected her, and tbh it leaves a really sour taste in the mouth w/r/t “Ride On Time” that will probably stick with me. What cunts Black Box were.

    Does it annoy you that your voice still gets sampled today or do you feel proud?

    You know, at one time, with the Black Box situation, I thought I was gonna lose my mind. Seriously. I almost had a nervous breakdown. I couldn’t talk about it without cryin’. I’d spent so long tryin’ to be an entertainer and then here’s this big record in London of all places, one of the biggest records, and I’m not even getting’ a credit for it? It was like, ‘How dare they?’ Someone’s just taken something from you, right in front of your face… For years it destroyed me, it made me a person I don’t like and I’m not a bad person. But in life you get what you got comin’. You know the other day Marky Mark was on the Tv talkin’ about that record and he never even mentioned my name. I’m so used to people like this that it doesn’t even phase me anymore. I remember a time that would’ve hurt me. I’ve come a long way!

    You can watch stuff like that without throwing the TV out the window!

    That’s over now!

  49. 79
    swanstep on 23 Mar 2011 #

    @Lex. Thanks for that link. Yikes, it’s a bit miserable isn’t it? Unfortunately, the contracts most performers were on back in the day (perhaps especially women singers and girl groups) were brutal: Holloway probably never saw a dime from Love Sensation sales originally and probably wouldn’t have been owed anything from any sample clearance fees either.

    I guess this period – call it the Black Box/C&C Music factory period – had special layers of ugliness associated with it because there was this active pretense that various skinny model-types had these big voices that were of course Martha Wash in the studio or Holloway sampled (I knew the Martha Wash story at the time but not Holloway’s – :{). It does sound like Holloway was deeply freaked out by not being mentioned/acknowledged even more than by the financial side of things.

  50. 80
    lex on 23 Mar 2011 #

    This is partly why I really like to see the “featuring”s that have proliferated over the past decade or so, both in and out of the charts. It’s become commonplace to credit performers now.

  51. 81
    swanstep on 24 Mar 2011 #

    @80, Lex. Yes, absolutely agree that that’s a great improvement.

  52. 82
    Steve Mannion on 24 Mar 2011 #

    Guest vocalist credits were so common throughout the 90s (from Quartz ft. Dina Carroll to Brother Brown ft. Frank’ee, Twenty4Seven ft. Captain Hollywood to Artful Dodger ft. Craig David) to the extent where I’ve not noticed an increase as such, although these examples are all different in that the vocals aren’t ripped from another very different song.

    Loleatta Holloway was actually credited on Marky Mark’s single at the time, but curiously not on Lenny Fontana & DJ Shorty’s ‘Chocolate Sensation’ from late 99/early 2000 which also sampled the ‘Love Sensation’ acapella extensively. Strange inconsistency.

  53. 83
    Ed on 22 Jan 2012 #

    @54 et al: Newt Gingrich’s DJ has apparently been rocking the crowd with ‘Pump Up The Jam’ at his victory party in South Carolina : bit.ly/xYQuB4

    A spokesman for Mr Gingrich said that if he secured the Republican presidential nomination, he planned to celebrate with a “Back to 89 Rave” featuring a DJ set from Coldcut and a live PA by Inner City.

  54. 84
    Lifes a Riot with Sully vs. Sully on 16 Dec 2012 #

    Iconic, jawdropping, mesmerising.. slightly let down by the whiff of copy and paste. But it deserves a big fat 8 – very evocative of that glorious hot summer, in which the world’s youth danced towards a bright new dawn and stood up to inhumane oppression.

    I would know. I was 4, and a dog pissed on our picnic blanket in Stroud.

  55. 85
    Patrick Mexico on 23 Jun 2013 #

    I was the above poster :D, before I decided I didn’t like Billy Bragg that much, and hot on the heels of Wild at Heart*’s Bobbie Peru, voila! I became Patrick Mexico! (Actually, the name comes from the Births, Marriages and Deaths column in spoof Middle England newspaper the Framley Examiner.)

    As for Ride on Time, agree with most that it is pure pop perfection, an absolute belter, though extenuating circumstances of eighties nouveau-riche cruelty make it get a 9 rather than a 10. Was delighted to hear it in the club on American Psycho but now reading these sad tales it seems to fit Bateman and his contemporaries TOO well..

    * Strangely, never quite got as excited about this as I do with almost everything else by David Lynch. Yes, even Inland Empire. And going to rent Fire Walk With Me, though Twin Peaks without Sherilyn Fenn/Audrey Horne is like Brazil without the Amazon. Amazingly, I’ll discuss her – aesthetically at least – much later on Popular, though she has every right to sue those who took her name in vain!!

  56. 86
    redhairkid on 26 Jan 2014 #

    The reason I awarded this a 1 is because there is no 0 listed. Don’t like this song at all, not my sort of music.

  57. 87
    hectorthebat on 6 Mar 2015 #

    Critic watch:

    1,001 Songs You Must Hear Before You Die, and 10,001 You Must Download (2010) 1002
    Bruce Pollock (USA) – The 7,500 Most Important Songs of 1944-2000 (2005)
    Michaelangelo Matos (USA) – Top 100 Singles of the 1980s (2001) 101
    Gary Mulholland (UK) – This Is Uncool: The 500 Best Singles Since Punk Rock (2002)
    Giannis Petridis (Greece) – 2004 of the Best Songs of the Century (2003)
    Face (UK) – Singles of the Year 12
    New Musical Express (UK) – Singles of the Year 40
    Record Mirror (UK) – Singles of the Year 9

  58. 88
    benson_79 on 29 Oct 2020 #

    This Guardian piece confirms that they weren’t trying to be clever with the title, they just didn’t know what on earth was actually being sung:

    https://www.theguardian.com/music/2020/jun/16/how-we-made-black-box-ride-on-time

  59. 89
    Sheila McGovern on 25 Apr 2021 #

    Still love this one. Just hooks me in and remains a thrilling listening experience in my opinion. 9/10.

  60. 90
    Gareth Parker on 29 Apr 2021 #

    Retains a freshness, excitement and vitality to this very day imho. A dead cert 10 for me.

1 2 All

Add your comment

(Register to guarantee your comments don't get marked as spam.)


If this was number 1 when you were born paste [stork-boy] or [stork-girl] into the start of your comment :)

Required

Required (Your email address will not be published)

Top of page