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Apr 14

CORNERSHOP – “Brimful Of Asha (Norman Cook Remix)”

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#785, 28th February 1998

asha In the mid 90s, if you were looking for alternatives to Britpop’s domination of the media you’d find fertile pickings – so fertile, in fact, that it turned into a whole line of attack. Take Britpop’s nostalgic, ironised relationship with the country’s pop past, and contrast it with trip-hop, or drum’n’bass, and their rapid innovation and pace of change. To make the argument even more enticing, Britpop stars were mostly white, while black and Asian British musicians played huge roles in the scenes held up against them. Nostalgic white past versus thrilling multi-cultural futurism: it was an almost irresistible frame.

But it was also too simplistic. One of the things the analysis left out – because Britpop left it out – was the heritage of immigrant communities within Britain – which ran back well beyond the cultural memory of Swinging London. Nostalgia could be a poison, but it could also lead to splendid, resonant music, so why impose conceptual limits on who gets to make that music? Black and Asian Britons had a 60s and a 70s here too. Fight the past with the future, by all means, but other pasts, and other nostalgias, were available, and could be just as vital. “Brimful Of Asha” proved it.

Cornershop came out of an angry, forgotten moment just before Britpop hit. They were Riot Grrrl fellow travellers with a taste for barbed theatre about ‘Britishness’ and the perceptions of where Asians fitted – the name, the “curry-coloured” vinyl, the righteous incineration of Morrissey photos. “Get on the streets and fight! The powers that be” shouted their clattery debut “England’s Dreaming”, whose video showed plenty of Union Jacks – and their scummier wavers.

But the music didn’t catch up to the rhetoric, and I doubt I gave them much of a chance, at least compared to thrilling Wiija labelmates Huggy Bear or the catchier political pop of Chumbawamba. And – as if it needs saying – they seemed as likely to get to Number One as any band in the habit of releasing split singles with Blood Sausage would be. Even less likely, you would say, than a Housemartins bassist becoming the hottest ticket in British dance music.

Some might argue – especially as Norman Cook himself has jokingly conceded it – that Fatboy Slim ruined “Brimful Of Asha”. It’s certainly true that the bits he slices out are some of the song’s most beautiful and important. Gone is the recital of Indian and other touchstones – “Solid State Radio – 45!” and all that – which adds so much texture and emotional weight to “Brimful”. It’s one of the great pop lists, like Kevin Rowland’s furious count-off of Irish writers in “Dance Stance”, or Daft Punk’s tribute to house pioneers on “Teachers”, a personal testament to how culture builds you. Gone also are the gorgeous bloom of strings that ends the song so perfectly.

These are harsh losses, particularly as it’s so easy to imagine Cook fitting them into the single mix – he’d only have to ditch a half dozen “bosoms”. But he keeps a lot of the parts of “Brimful” that matter, and his central idea – speeding it up – is a brilliant one. Cornershop are often a leisurely band – Tjinder Singh is particularly good at setting up friendly, fuzzy, loping grooves to build his ideas around – but sped up, the riff of “Brimful Of Asha” reveals itself as one of the era’s sharpest, a piece of propulsive mod swagger. It’s half-pilfered off “Sweet Jane”, but that had always been part of the point – rock belongs to Cornershop just like any other music they use.

But while it’s mostly a Cornershop record, “Brimful Of Asha” is recognisably a Fatboy Slim track too. Cook had a wonderful streak of remixes and original tracks around this time – this, “The Rockefeller Skank”, “Michael Jackson”, his mix of Wildchild’s “Renegade Master” – almost all of which used the same trick. They’re fast, goofily repetitive, breakbeat-driven dance records, then instead of dropping the beat out for the breakdown, they start cutting it up faster and faster, bringing the track to a delirious head so the drop back into the chorus is a different kind of release. It’s magnificently crass and it works almost every time. On “Brimful” he uses the “bosom for a pillow” line as the repeating core, then works the cut-up trick on “and dancing – and dancing – and dancing” – and it’s a wonderful, surging moment. With that and the amped-up riff, Cook gives back as much as he takes away: this and the original are two brilliant singles, not one spoiled.

What’s more, they’re two brilliant singles with the same emotional centre. “Brimful Of Asha” is one of those occasional number ones about how glorious and liberating music is. “Dancing Queen” is another, so is “Come On Eileen” Unlike those records, “Brimful” was not originally about dancing – it was about music and film not just as communal escape but communal resistance. An unbreakable thread linked the band of 1997 to the band of 1993. “We don’t care about no government warnings, about the promotion of the simple life or the dams they are building”, to quote the record’s most resonant, compact line, one the remix shrewdly keeps. But any song about that can be very easily diverted to dancing, which has a long, intimate relationship with community and resistance.

In either of its versions, “Brimful Of Asha” is wise, exciting pop: in one version slightly more wise, in the other slightly more exciting. It remains an inspiration. I’m writing this in April 2014: two months into what I grimly suspect might be years of Britpop retrospection. England, once again, is looking backwards. But just as then, that’s too simple a diagnosis. There’s no shame in looking backwards, the past is full of treasure – the key is not to hoard it but to use it, to come back out of the past and share what you find. That’s what Cornershop did, building a fragment of their heritage into a part of everyone’s – stepping forward at the dying days of Britpop to show what nostalgia was good for.

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Comments

  1. 1
    Mark G on 28 Apr 2014 #

    it’s hard to have the britpop-fighting back, it’s only been 6 months since the last revival, it seems, and again it gets reduced to Oasis, blair and drink. This entry comes just in time.

    I’d give a ten here.

    10

  2. 2
    fivelongdays on 28 Apr 2014 #

    The final instalment of the ‘British Asian Number Ones At The Start Of The Year’ trilogy. Not QUITE as good as ‘Your Woman’, but still a corker. If anything I prefer the original – a nice, slow, likeable track, going backwards and forwards (and ridiculously simple to play on the guitar), but the remix doesn’t seem to change the song much, other than make it faster and more danceable.

    I would say more, but I have stuff to do…but for now, I think I’ll give it…9.

  3. 3
    flahr on 28 Apr 2014 #

    “The final instalment of the ‘British Asian Number Ones At The Start Of The Year’ trilogy.” – um what about when Echobelly hit #1 nex- oh :(

    I think Kutner & Leigh suggests that the original is the ‘official’ #1 single because it was the first track on the CD (or something like that). Glorious video which points up the giddy delight the song takes in the existence of music (I knew a “Come on Eileen” comparison would appear somewhere in Tom’s writeup!).

    An [8], I think, nestled in next to “The Sun Always Shines On T.V.”.

    P.S. Embarrassingly, I was under the impression that Cornershop were a Britpop band. After all, they did have guitars.

  4. 4
    Matt DC on 28 Apr 2014 #

    I must admit I had absolutely no idea which way Tom was going to go on this one. I loved it at the time, both versions, but I’m not sure I ever need to hear it ever again.

    I am still not sure I can think of a single other pop song that uses the word ‘bosom’.

  5. 5
    Chelovek na lune on 28 Apr 2014 #

    I have to agree at having been most unimpressed by Cornershop’s earlier music, even if their attitude (evident in the records and interviews) had a fair bit to commend it. I’d bought their debut “The Days of Ford Cortina” EP, I think largely on the basis of a piece in NME from which I recall the line (written round about the time the BNP had just got their first councillor, just down the road from me then in East London, and also about the time that Stephen Lawrence was murdered just over the river: a time when it appeared that there was a real resurgence of racism occurring in a London that was itself in a pretty bad shape, and which, in retrospect, now looks very grey) “We’re not pacifists, we’re paki fists”….but, the line “I was happy in the haze of a drunken hour: Fight the power!” apart, well, I’d rather have been listening to either the Smiths or Public Enemy. A lot of early Cornershop really was kind of anonymous loud-ish-guitar indie drone, the sort of thing that John Peel might have played a couple of times in 1987 but which otherwise would go forgotten: as indeed proved largely to bethe case….

    Later on, they definitely cultivated the art of the loping groove: “Sleep on the left side” is not a great or classic single by any stretch of the imagination, but it does have a almost hypnotic rhythm than is extremely appealing..

    And this… Hmmm. Yeah, it’s pleasant enough, a bit lightweight in some ways (certainly once the more meaningful or pertinent lyrics have been stripped out) – – musically almost a reassuring vestige of post C-86, pre-Madchester (or: post-Velocity Girl, pre-Loaded!?) indie in the original: But still….(even taking into account what he cut or omitted) I really think Norman Cook makes the record, polishes up its shinier edges, strengthens its backbone, and gives it more oomph, far more than anything else Cornershop ever recorded. A fine but not absolutely outstanding combination. 7

  6. 6
    lonepilgrim on 28 Apr 2014 #

    It’s a wonderful piece of music. It’s always a pleasure when different music cultures combine as richly as this and the whole becomes greater than the sum of its parts. It was also refreshing to see those cultures represented on TOTP and other shows.
    Stereotypes of South Asian cultures within and without the UK were being stretched and challenged with ‘Goodness Gracious Me’ on the radio at this time, ‘East is East’ the play in 1996 and the previous success of acts like Apache Indian.

  7. 7
    dorsalstop on 28 Apr 2014 #

    Great song, and some wonderful writing here – I was going to give it an 8, but reading Tom’s last two paragraphs while listening to it convinced me that it should indeed be a little bit higher still.

  8. 8
    Alan not logged in on 28 Apr 2014 #

    very important resource: http://www.lyrics.net/lyrics/bosom

    most pop thing on there (after BoA): Faithless “Insomnia” (lots of others, just mostly album tracks)

  9. 9
    thefatgit on 28 Apr 2014 #

    The late ’90s for me, was Dave Pearce’s Dance Anthems on a Sunday evening and Pete Tong/Judge Jules on a Friday night. Dance seemed so much more vital and exciting compared to the “where do we go from here?” post-Britpop hangover. BoA sort of represented both stances. Radio 1 played the Norman Cook remix, that propelled Cornershop to the top. Our local commercial station, which was Dance music averse, stayed true to the slower original from 1997. The significance of Asha Bhosle outside the British Asian community was presumably negligible, so Tjinder’s nod to Bollywood’s most famous playback singer sailed way over my head. Bollywood is something I still know very little about. So it’s difficult for me to pass any sort of useful judgement on the source.

    So what I’m looking at is Norman Cook’s input. The shot of Norman’s nitrous oxide into the song, elevates BoA into a Saturday night disco floor-filler. This is almost what indie disco is about to become. It’s almost too tempting to suggest Dance + Rock = Pop. The video seems to make that distinction, but I’ve not heard enough Cornershop to confidently make that assumption. Not in the way that equation was applied in Manchester and Birmingham in the ’80s. It seems to me Cook was trying something similar, though. It works for me. (9)

  10. 10
    Kinitawowi on 28 Apr 2014 #

    One of the b-sides is a “Norman Cook Original Full Length Remix”, which preserves the aforementioned central ’45 list and is a much better song for it.

    I heard the unremixed version of this first and didn’t much care for it; this remix was let down by association. Later exposure to the full length mix (by which time he clearly was Fatboy Slim, rather than the Norman Cook credited here) boosted this one back up; I think I’m going for a 9 for the long mix, while this one gets an 8.

    The Rockafeller Skank would have been a 10, mind, although the Full Length Remix of Fatboy Slim’s story will surely come in due course.

  11. 11
    Utter Dreck on 28 Apr 2014 #

    My Britpop summer idyll in New Zealand came about when a local TV channel went bust and someone had the idea of piping in MTV UK with a sprinkling of homemade shows. Now it’d all be utterly groanworthy, but this was my pre-internet existence and the NZ media hadn’t really gotten on the Yoof tip. Suddenly I went from being starved for exposure to the stuff I read in three-week-old magazines being imported from the UK to being able to actually hear the bands I read about in the library’s ragged copies of NME. My fondest memories are of a show called Up for It, hosted by Eddie Temple-Morris. Maybe this was the height of naffness in England, but I was properly dazzled. And that’s where I remember hearing the original Brimful of Asha, chewier lyrics and all. In NZ, Britpop was never the dominant sound, though it was popular, but hip hop was huge (as was what we might as well refer to as ‘American rock’ for the sake of things) and the local music industry was going through a purple patch, so it felt like a time when things were really blooming – you didn’t have to like just one thing, and if you wanted to make music that seemed like it could even be a viable career choice. To me, this song is part of the Britpop import sound, because it sure as hell wasn’t Tupac or Pearl Jam, but that’s partly because I didn’t have the knowledge of how to sift between the lines.

  12. 12
    Tommy Mack on 28 Apr 2014 #

    A real ‘stop what you’re doing and listen’ moment on the radio for me. The references were lost on me at first but I remember reading what it was about fairly early on. This was the peak of my independent local radio listening and I was pretty sick of it after a few months. 10 on first listen, 8 after overexposure, so 9 seems about right.

    V. Dissapointed Rockefeller Skank wasn’t a #1, that was an even bigger WTF radio moment for me. The mix of retro twangy guitars and up to the moment beats definitely did it for me back then.

  13. 13
    Steve Mannion on 28 Apr 2014 #

    Probably my least favourite (90s) Fatboy Slim remix (the others tended to hit harder) – and some novelty aspects aside the original just bored me so reluctantly another 5. At least with this and Talvin Singh’s Mercury win (the ‘OK’ album had some stirring moments although not quite on the level of the 1997 ‘Anokha’ compilation he presented) there seemed a renewed optimism in a greater quantity and wider range of Asian representation and influence throughout the charts.

    Meanwhile Busta Rhymes dropped the superb ‘Fire It Up’ in turn setting up one of the big 00s hits by an British-Indian act (albeit originally recorded not that long after Busta’s itself). If only ‘Mundian To Bach Ke’ could’ve been a hit just after this instead of that much later.

  14. 14
    PurpleKylie on 28 Apr 2014 #

    One of my overriding childhood memories of this was my then 8 year-old little sister innocently asking our mum: “what is a bosom?”

    Very interesting spin on things, on how looking back on nostalgia too much in regards to making music isn’t very productive. We should indeed look to the future of musical sounds more often.

  15. 15
    lmm on 28 Apr 2014 #

    This is not my stork-boy, but perhaps more meaningful: this is the first number 1 I can remember being aware of at the time. And I remember reading an interesting analysis at http://www.kuro5hin.org/story/2003/8/7/12518/77483 .

  16. 16
    Tom on 28 Apr 2014 #

    #5 Yeah, “In The Days Of Ford Cortina” was not that good – I remember hearing “Readers’ Wives” once on the radio and thinking OK, they got a bit better, but then basically forgetting about them until I picked up “6AM Jullander Shere” in the 10p basement in MVE – it had only recently come out so a particularly cruel (tho fortuitous) placement. That record completely stunned me, and I paid a lot more attention by the time “Asha” and the LP came out. I still try and give whatever they do a listen or two – “What Did The Hippie Have In His Bag?” was a gem, from their 2012 album.

  17. 17
    Tom on 28 Apr 2014 #

    Weirdly enough, revisiting “Lessons Learned From Rocky I To Rocky III” just now, I realised I think about Cornershop in the way I feel like a lot of people do about Super Furry Animals – kind of retro sometimes but always imaginative, interesting, groovy…. SFA themselves have never really done it for me (beyond a couple of tracks everyone likes).

  18. 18
    mapman132 on 28 Apr 2014 #

    This was never a big hit in the US – the cultural references didn’t resonate as much here, therefore making this just another alt-rock record – but it did get enough airplay to appear on the modern rock chart. Can’t remember for certain but I think the unremixed version got the bulk of play. Listening to both now, I’m not sure which I actually prefer – enjoy the faster beat of the remix, but think it cuts out too much. Had a feeling Tom would mark it high either way – I’m not quite as gung ho, but I’ll still give it 7/10.

  19. 19
    James BC on 28 Apr 2014 #

    Another vote for the extended mix, with the “Trojan Records, Argo Records” list intact and Norman Cook chucking everything at it. Love it.

    This was possibly the first and certainly the last number 1 single I bought in the week it went to number 1 (until 2014, that is!). Nice to feel part of something.

    As good as this was, the Handcream For A Generation album is even better, and without Cook’s assistance. Should have been an absolute smash.

  20. 20
    anto on 28 Apr 2014 #

    I’m delighted to see this one receive such a high mark and a splendid review which captures a lot this track’s real joy. Personally I could take or leave the Norman Cook version – the original is just magnificent and that ‘Everybody needs a bosom for a pillow’ part was the most engagingly eccentric hooks of 1997-98.
    I don’t think of the lyric so much as a list song as a welcome callback to the cryptic pop hits of thirty years earlier – I’m referring to the likes of ‘Windmills Of Your Mind’ or ‘McArthur Park’ and the kind of post-psychedelic vogue for perplexing songwords.

    As the subject keeps coming up can I just put in a word for those of us who relished a fair amount of Britpop and the alternatives as well. It wasn’t purely a matter of one or the other. Also it’s worth mentioning ‘When I Was Born For The 7th Time’ which is an album that seems to take the idea of a cultural tapestry that Tom refers to in the review even further. It’s a record where you genuinely can’t predict what’s coming next whether it be suburban funk, protest music, Beatles covers or C&W ballads. There is even a recital by Allen Ginsberg on what proved to be one of his last recordings.

  21. 21
    Garry on 28 Apr 2014 #

    The original is a song I would consider giving a 10. The remix also scores highly with me, but I love the Trojan Records, Argo Records bit at the original tempo.

    The original was perhaps the song which I best remember as being of the time I started in radio. Both it and Sleep on the Left Side are still on my car mix, as are Rocky and Staging the Plaguing of the Raised Platform. It’s perhaps my first music gain from my radio times.

    As for Fatboy Slim, I’ve always put him as music I need to be in the mood to enjoy, but if I am in the mood I enjoy it a lot. But his best remix for me is the Beastie Boys Body Movin’, which was the version of choice doing the rounds on Australian radio over and above the original. Both it and Intergalactic were my introduction to the Beasties. I love the Fatboy Slim remix so much when I heard the original of Body Movin the otherness of it tripped me up. I was too used to the Slim groove.

  22. 22
    Tom on 28 Apr 2014 #

    It’s been years since I heard “The Rockefeller Skank” – the CD single had “RIGHT ABOUT NOW THE FUNK SOUL BROTHER” on a big sticker, presumably the marketing team were tearing their hair out about people realising what the record was… anyway, just played it and what an extraordinary single, I’ll definitely talk about it a bit next time we meet Mr Cook.

  23. 23
    Mark M on 28 Apr 2014 #

    I saw Cornershop play at the New Cross Venue in, I presume, early ’93, on an NME ‘bands* we reckon are going to be big this year’ bill, when their combination of agit-prop and Mary Chain-ish noise was far more appealing in theory than in practice. They got a bit better after that, and then – as Tom says – with 6AM Jullandar Shere they got a whole lot better.

    I still really like When I Was Born For The 7th Time – I can’t improve on Anto’s description of its range. What was crucial to me is that this felt like stuff they had absorbed along the way, rather than some deliberate fusion project (Tjinder Singh’s reputation for laziness probably helps there). I think even a fleeting listen to the album would show how far from Britpop they were.

    I don’t hate the remix, but I much, much prefer the original, with its fairly obvious debt to Roadrunner and that lovely list of references – a few of which I got, most I didn’t (I’d guess that ‘the promotion of the simple life’ is to do with the Gandhi-inspired rural policies tried out unsuccessfully by post-independence Indian governments). It still felt strange and pleasing when it got to number one.

    *There were four bands that night, I think, but the only other one I remember is Thieves, David McAlmont’s band.

  24. 24
    AMZ1981 on 28 Apr 2014 #

    I’m probably going to be in a minority but I don’t rate this. I didn’t at the time and I don’t now. I don’t dislike it but I can’t bring myself to particularly like it either.

    Anoraks note BofA dropped to three after a week at the top so I was wondering if somebody might suggest that Cornershop were the first act whose first chart week was at number one but whose second was outside the top two (we’ve had a few acts start their chart life 1 -2). The answer is that they aren’t because the original version spent a week at number 61 (this came up during the Forever Love discussion but Gary Barlow had of course charted previously as part of another act).

  25. 25
    tonya on 28 Apr 2014 #

    I feel like both versions were played on the radio in San Francisco quite a bit. I definitely heard the original first. And actually Googling I see it’s listed on local playlists from both 1997 and 1998.

    #21 I feel the same way about Body Movin’.

  26. 26
    Will on 29 Apr 2014 #

    A brilliant pop record about brilliant pop records. I bought it (on 7 inch, of course) in its first week of release and still love it today. 10!

  27. 27
    Billy Hicks on 29 Apr 2014 #

    Fatboy Slim absolutely owned 1998 and is easily my favourite artist of the year – Renegade Master, The Rockafeller Skank, Gangster Tripping and Body Moving are all utterly monumental tracks with ‘Skank’ perhaps my fave, though Renegade Master would be another easy 10 with the other two very high 9s at the least. Indeed one of my favourite moments IN MUSIC HISTORY happens midway through Skank, which apparently was a mistake by Cook that just got left in – when the track slows down so much it overloads the sampler and this insane loud buzzing sound envelopes you and gives you the most glorious euphoria rush I think I’d ever experienced up to first hearing it.

    This is perhaps the weakest of all his ’98 output and ironically his only #1, but still better I think than the bunny to come next year. Very surprised to see it score so high but it is a great track, and was used for about six months by Sky One on their idents – hearing the opening of this just takes me back to watching ‘The Simpsons’ and later ‘South Park’ over and over again, usually with the visuals of a guy slow-motion on a skateboard with the logo appearing at the end. Then a sponsor ad for Domino’s Pizza for The Simpsons.

    I’d probably give it a 7.5, maybe 8.

  28. 28
    Doctor Casino on 29 Apr 2014 #

    Always really loved the original, heard the remix only once on (US) radio as the DJ revealing an intriguing novelty. I like the things Tom is bringing out about Cook’s intervention, but I just don’t connect to it viscerally. Maybe if I heard it pounding at a big party where everybody was having a good time. Funny, listening to the original directly afterwards it definitely sounds slowed down, a sort of weird feeling for such a familiar song. Now I wonder if the ideal tempo is somewhere in between – less lopey than Cornershop’s, less Chipmunky than Fatboy’s.

    I do think it’s missing something reeeeeeally crucial without the “list.” Its items were baffling but intriguing (and yeah, just cool-sounding) to me as a white American suburbanite teen; for other audiences though they would be touchstones of familiar everyday life, as lived at home but rarely presented as part of Official Culture. I can’t speak for how they would have felt about those names appearing in a #1, but I do have to say it seems a bit odd, not to say dicey, to have systematically cut them out. Yes, better to have omitted a few “bosoms.” (The word, by the way, does feature prominently on Dean Friedman’s minor 1978 hit, “Ariel.”)

  29. 29
    swanstep on 29 Apr 2014 #

    BOA (in either mix) is one those critical consensus records (like ‘MMMBop’) that I’m completely unmoved by. I feel like I know exactly where this is coming from musically and this is just a clumsy version of that naive-but-wise-at-the-same-time tradition. The Chills made this basic record at least 5 times, every time a lot better than BOA. Ditto Luna. Ditto The Magnetic Fields. Ditto Stereo Total and Stereolab. And many others (even The Corrs!). The moderately intriguing lyrics (tho’ not the vocal performance) are the best part here, esp. in the original mix, but while it’s fun to have some relatively obscure references in a pop hit, there’s no poetry here, and the dull backing track and vocal perf. makes one wonder why one should care. Not a #1 (or especially close to it) anywhere other than the UK & Ireland, which suggests that the local pop politics (& the on-going local narratives about multi-culturalism) were decisive. Anyhow, for me a:
    4

  30. 30
    Cumbrian on 29 Apr 2014 #

    As I read this review from Tom, I felt more and more certain that there was going to be a 10 nestling at the bottom of the article – but like Pele shooting from the halfway line in 1970, I’ll just have to be content with a gloriously memorable but close miss.

    Everyone has covered most of the stuff I would have said about this. It probably should be considered alongside the original track in a compare and contrast sort of fashion, as many have done. I do miss the list bit from the original, but the remix has more vim and joy to it for my money than the more blissed out in a bedsit version. Would I have gone up to 10? Maybe not, in the end – but I can see why some would and it was close in my mind too.

    Cornershop lived on in a corner of my subconscious for years afterwards, as Mark and Lard used “Sleep on the Left Side” (I think) as a sound bed on their R1 show right up until they left the station and I always had a somewhat favourable impression of them, despite not owning anything (bar this) by them – that bed always made me think, “I like this, quite dreamy and pleasant” and also “I wonder what Cornershop are up to” even if it didn’t push me towards spending my money on them (back then CDs were comparatively expensive – regularly north of £14 for a new release, so I took very few chances on stuff that I didn’t know I’d like at least a few tracks from – this is one of the things that the recent Britpop nostalgia trip has made me remember and thank the Internet that I can sample stuff much more easily now than then). Tom’s description of them as being a bit like Super Furry Animals, in spirit if nothing else, has actually piqued my interest though. I’ll check them out on that basis, as I am one of those in the tank for SFA.

    I’d also agree that Body Movin’ is probably Fatboy Slim’s best remix – it’s so good, it supplanted the original from Sounds Of Science, the Beastie Boys double album retrospective. At his best – and surely, we’ll get into Fatboy Slim on his own in time – I thought his stuff to be pretty great but I would also say that he had a couple of tricks which he seemed to pummel mercilessly too. Perhaps he’s not quite as great as I remembered and nostalgia is taking over – sort of like some of the Britpop stuff that has been going around recently too. I guess that time to delve more deeply will arrive sooner rather than later (at least on Popular).

  31. 31
    Tommy Mack on 29 Apr 2014 #

    Good calls all round on the Body Moving remix. I’ve just remembered Cornershop played my university summer ball in 2001. I don’t think they did BfOA.

  32. 32
    punctum on 29 Apr 2014 #

    Much, much more than a superior perspective on the relationship between film and music, “Brimful Of Asha” ranks alongside Richman’s “Roadrunner” as one of the greatest odes to the transformative and redemptive power of music and its ability to change the way we walk through our world. It also marks the final triumph of Riot Grrl; the Leicester-Wolverhampton Asian Generation X crossover have become the most durable of the British contingent, and typically were deemed the ones least likely to succeed. But their second album, Woman’s Gotta Have It (1995), was a revelation to those who still believed that Britpop could and should embrace everything; the two-part marathon of “6 AM Jullandar Shere” and “7:20 AM Jullandar Shere” which bookend the record still stands as one of the most remarkable fusions of East and West – drone and punk-informed psychedelia, Shankar meets Stereolab – ever to have emerged from this country. Among those few discerning listeners applauding were Damon Albarn, who never passed up an opportunity to declare Cornershop’s hidden greatness; eventually the word spread and 1997’s When I Was Born For The 6th Time deservedly became a Top 20 album.

    Like “Roadrunner,” “Brimful Of Asha” comes in two versions. The first, as heard on the album and as initially released on 45, is the great, generous and gorgeous slacker anthem which nineties Britain deserved. As with Pavement, Cornershop proved themselves able to fuse sublime pop melodies with a determinedly shambolic but good-natured approach; hey, what’s the hurry? The original “Brimful” doesn’t even feature a bass line, but is a wonderful and slowly enveloping campfire of an ode to everything that inspired Tjinder Singh. In addition, it is decidedly subversive; the “Asha” of the title is Asha Bhosle, the “Queen Of Bollywood,” she who, along with (and in competition with) her cousin Lata Mangeshkar, provided the main singing voice for thousands upon thousands of Bollywood musicals (“Behind those movie screens…Asha Bhosle/She’s the one that keeps the dream alive”). The song celebrates the unapologetic escapism of the Indian cinema, and notes that its escapism can be interpreted as meaning an escape route; those fenced in by arranged marriages were able to look up to the screen and revel for a while in what they believed was true romance, something entirely absent from their own coldly rationalist lives – “Everybody needs a bosom for a pillow.”

    From there, Tjinder remarks on the power of escapist entertainment to subvert the established Indian order: “We don’t care about no government warnings/’Bout their promotion of a simple life/And the dams they are building” – a direct reference to what was perceived as a corrupt Indian hierarchy, allowing their people to endure in genteel poverty while lashing out billions on building contracts for their business friends. Following this, Tjinder creates the link to his own experiences of childhood wonder, moving out from Indian stars like Mangeshkar and Mohammad Rafi (the latter frequently in duet with Asha; listen to their “Gulabi Raat Gulabi” to find yet another hitherto hidden version of 1967) towards Solid State Radio and Ferguson Mono, and on towards Jacques Dutronc and the Bolan Boogie and Trojan Records; leaving an awed pause between each as though Christmas has come afresh with every new citation.

    The arrangement is basic with ramshackle guitar and drums in the forefront plus the addition of tambourine for the choruses and increasing interspersions of ’67 Mellotron and flutes. Finally, when Tjinder conjures up the spectre of the vast Indian studio orchestras – “7,700 piece orchestra” he sighs – a sweet figure for violins makes its entrance and the song rambles towards its unhurried fade.

    But it was Norman Cook, absent from the number one spot for eight years, who helped break them big with his beats. Running eagerly to the front of the Big Beat pack as Fatboy Slim, Cook’s late nineties notion of dance music was the equivalent of a playful puppy who won’t stop licking your hands; like Slade, he brought pure happiness and enjoyment back into a music scene which had largely abandoned both. In his mix, he speeds “Brimful” up, adds an 808 bass and numerous sound effects, and relocates both song and group in a gaudily dazzling fairground of colour and motion. There’s a particularly marvellous moment where, in the “instrumental break,” Cook unleashes a whirlpool of spluttering whole tone runs, notes and whoops. The effect – as demonstrated by the climax of “and singing, and dancing, and dancing, and singing” over demented Magic Roundabout organ – is akin to leading the group through the cinema screen and into the film itself; they become part of the never-ending, multicoloured Bollywood spectacle, up there dancing with Sadi Rami; their dream becomes a luminous reality. And Cornershop have continued, at their extremely patient pace, to surprise and delight open ears; firstly with their hugely underrated album Disco And The Half Way To Discontent, released under their dance music alter ego of Clinton – very avidly reflecting what Cook did for them – and then with 2002’s wonderful and extremely sensual Handcream For A Generation. “Mine’s on the RPM,” Singh concludes on both versions of “Brimful,” and he and Cornershop fully deserved to be on the money.

  33. 33
    Seb Patrick on 29 Apr 2014 #

    I always preferred the original (even though I doubt I’d heard it before hearing the remix), because I was like that; but there’s no denying that the remix is the one that deserved to be an absolutely huge number one hit.

  34. 34
    Andrew Farrell on 29 Apr 2014 #

    I think Mr Hicks at #27 covers most of what I’d have to say – the worst of his great singles but still great. I was at the Dance Tent at Glastonbury this year for his set – one of the first acts back on after someone had reversed the machine clearing out the mud, and sprayed the tent with sewage – and the experience of hearing Rockafella Skank for the first time there and then will keep me cheery on the last day.

    Apart from anything else, he has a great love of sounds and music – I was a little surprised when first I heard the original and found that all of the interesting-sounding things on it are from the remix. The great list even sounds better and snappier in the memory than on the record – but I’m going to be spending more time remembering than listening anyway.

  35. 35
    Tom on 29 Apr 2014 #

    I like pretty much all the FBS singles mentioned but thought “Gangster Tripping” was a real slip-up – jumped over the line dividing glorious from irritating repetition.

  36. 36
    Andy M on 29 Apr 2014 #

    The only #1 to also hit the top of the John Peel Festive 50, I think.

  37. 37
    Tom on 29 Apr 2014 #

    I’m just imagining being asked in 1993: “Which of these bands will get a #1 single? Cornershop, Rage Against The Machine, The Manic Street Preachers, or Suede?” Pop’s a funny old game.

    (Sorry, bunny)

  38. 38
    Mark G on 29 Apr 2014 #

    Ha, but if you change the question to “Which *won’t*”, everyone would point to but one answer.

  39. 39
    James BC on 29 Apr 2014 #

    Oh, I loved Gangsta Trippin’, maybe more than the Rockefeller Skank. Absurdly repetitive vocal sample but lots of playful stuff happening behind it – as I remember explaining to my mum at the time! That was his first great video also, I think. BOOM!

  40. 40
    jim5et on 29 Apr 2014 #

    Ah, now, this was always going to be a 10 for me. Both the moment Cornershop finally became the band they sounded like in interviews (Their set sharing a bill with Mambo Taxi in about 1993 is, I think, the most genuinely unlistenable and shambolic noise I have ever heard live, and I went to multiple Frumpies gigs) and the high point of Fatboy Slim’s world of Brighton eclecticism. By 1998 I was a year or two away from regular clubbing, with a real job that didn’t allow for comedowns, but this was the soundtrack to North Laine for pretty much all of that year.

  41. 41
    hectorthebat on 29 Apr 2014 #

    Sample watch – the Norman Cook remix lifts drums from “Mary Mary” by The Monkees, and “Lesson 3 (History of Hip Hop Mix)” by Double Dee and Steinski.

  42. 42
    Steve Williams on 29 Apr 2014 #

    I’m going to try for the daftest comparison of all here and compare this song to Funky Moped by Jasper Carrott. That’s because Carrott used to say that Radio 1 and all the other radio stations thought Funky Moped was a bloody awful record and had no idea why it made the chart, while Carrott says the reason it was selling so well is because everyone was buying it for the rude Magic Roundabout parody on the B-side. And I wonder if, had your knowledge of the charts been just watching Top of the Pops (on which they performed the original version), you might wonder why this pleasant but not particularly mainstream song had got to number one.

    Liked the original, and bought When I Was Born From The 7th Time and liked that too (I think Tom’s comparison with Super Furry Animals is a good one, and I like Super Furry Animals), but I absolutely loved the remix. I was bonkers about big beat in 1998, I thought it was brilliant. I remember being blown away by hearing SMDU by Brock Landers, a record everyone seems to have forgotten about now but was all over Radio 1. Fatboy Slim was my favourite pop star in 1998, by miles.

    There was a fascinating piece on Cornershop in the short-lived Deluxe magazine which followed them on the promotion trail, there was a bit where they had to record a trail for Chris Tarrant on Capital which appeared to have been a rather fraught process (“That’s great, guys, but could we…?”). They appeared not to like that side of it at all.

    They didn’t perform Sleep On The Left Side on Top of the Pops, but they did perform it on Blue Peter.

  43. 43
    wichitalineman on 29 Apr 2014 #

    NOW! watch: This cropped up on Disc 2 of Now 39, which had some strange timelag issues – Barbie Girl, but no Doctor Jones? A funny old mix of Britpop offcuts, N Cook, nu soul, smirking Robbie (Let Me Entertain You sounds antique alongside BoA) and quite a few novelties, assembled in a slapdash K-Tel fashion, which is always fun. I don’t think I remember the Goldie song at all… (but then I don’t think I remember any of Sash’s hits from looking at the titles, then I hear them, and then I nod, and I go “ahhh, of course” like an old man chewing through a packet of assorted flavour Toffos).

    Robbie Williams : “Let Me Entertain You”
    Catatonia : “Mulder and Scully”
    Cornershop : “Brimful of Asha” (Norman Cook Remix)
    (bunnied for the time being)
    Wildchild : “Renegade Master ’98”
    Bamboo : “Bamboogie”
    Ultra Nate : “Found a Cure”
    Sash! : “La Primavera”
    Aqua : “Barbie Girl”
    Steps : “5,6,7,8”
    Louise : “Let’s Go Round Again”
    Chumbawamba : “Amnesia”
    Camisra : “Let Me Show You”
    DJ Quicksilver : “Planet Love”
    Rest Assured : “Treat Infamy”
    Warren G featuring Sissel : “Prince Igor”
    Lutricia McNeal : “Ain’t That Just the Way”
    Prince Buster : “Whine and Grine”
    The All Seeing I : “Beat Goes On”
    Goldie : “Believe”
    Backstreet Boys : “All I Have to Give”
    Vanilla : “No Way No Way”

  44. 44
    punctum on 29 Apr 2014 #

    Third single off the album time, mostly. The Goldie one probably an offcut from Saturn Returnz. Does anyone remember that album at all, including me, who wrote 10,000 words about it?

  45. 45
    wichitalineman on 29 Apr 2014 #

    Re bosom: the only other hit I can think of that included the word bosom, and a Radio 2 staple, was Don Williams’ I Recall a Gypsy Woman.

    But I prefer the use of the word on The Last Will and Testament of Jake Thackeray – Leeds’ own Jacques Brel, he often referenced bosoms, thighs and bottoms in his lyrics:

    “Lady, if your bosom is heaving don’t waste your bosom on me.
    Let it heave for a man who’s breathing, a man who can feel, a man who can see.”

  46. 46
    wichitalineman on 29 Apr 2014 #

    Re 44: As I was sharing a flat with a big Metalheadz fan, I’m surprised that I never heard Saturnz Return at the time – though I think the idea of an hour long track might have scared me (and him) off. Also d&b seemed to be everywhere – in movies, in ads – which had severely blunted its impact. I can understand, in retrospect, why Norman Cook’s playful breakbeat pop would have felt preferable to an album that seemed to scream “important”.

    Metalheadz to Celebrity Come Dine With Me Christmas Special. What an odd career.

  47. 47
    Tom on 29 Apr 2014 #

    We played “Mother” in the bookshop once, it was…. OK? On the boring side of OK? As you’d expect really.

    I heard that very Now disc about a week ago and even so I too can’t remember the Goldie song. What a rum choice.

  48. 48
    Cumbrian on 29 Apr 2014 #

    “Let Me Entertain You sounds antique alongside BoA” – I’d describe it more as the sound of someone realising that no one had yet successfully ripped off Pinball Wizard before thinking that, actually, it would be better to rip off some musical theatre instead (though I guess Tommy is musical theatre too). I actually think it’s alright! Certainly not something I’d want to buy but I’d rather listen to it than, for instance, Mulder and Scully. Though I agree that it sounds old news in comparison to some of the rest of that disc.

    Is the tale about Vanilla apocryphal or not (i.e. that the record was the result of a bet or some such)?

  49. 49
    Kinitawowi on 29 Apr 2014 #

    #43: La Primavera was undoubtedly one of Sash!’s prettiest songs, if nominally the weakest of the early bunch in that it peaked at number 3, for a change.

    Doctor Jones made Now! 40. But you’re right – I mentioned around Now! 37 that the Now!s went through a phase of losing touch with the accelerating pace of the charts; we’ve still got another bunny to get through, and one more week of a previous one, before we get to put Now! 39 to bed. Three Now!s a year, maintained since 1992, wasn’t going to be enough any more (they missed 2 Become 1 entirely).

    Irrelevant side note: I’m currently hitting up eBay to fill out the last few gaps in my collection. 83 down, 4 to go…

  50. 50
    Mark M on 29 Apr 2014 #

    Re 44 etc: Goldie was on the Feb 98 cover of Select, which had had a relaunch – Britpop and a sense of fun were out, attempted chin-stroking seriousness was in. The tagline had gone from ‘Pop Babylon’ to the pompously vapid ‘Music And Beyond’. I have no idea what they were thinking, other than a panic about being caught stuck as the magazine of a moment that had gone…

  51. 51
    Tommy Mack on 29 Apr 2014 #

    I am appalled that Now 87 is the current Now: triple the last now that I bought (on vynil, rather pretentiously – with ten tracks a side, it sounded fuck awful, though it (Now 29) remains one of the best nows: Shampoo, General Levi, Blur, Oasis, Reel2Real, Corona, 2 Unlimited, Sparks and loads I can’t remember right now.)

    Also just remembered: ant man b used to cover BfoA in rehearsals (rehearsals were all we had in 1998 – more exciting things will develop!) – at that stage, we’d do anything that was easy to play really! (Bflat – F -Eflat if you’re interested…)

  52. 52
    wichitalineman on 29 Apr 2014 #

    Re 49: I might be able to help you there as I have a few spares. Unless you’re after the crazy-price early ones. I’ve got vinyl from 1-10, CDs from 11 onwards (somehow numerically satisfying).

  53. 53
    Kinitawowi on 29 Apr 2014 #

    Yep, it’s mainly the crazy-price early CDs I’m missing. 1 on vinyl and CD (25th anniversary rerelease), 2 on vinyl, 3, 4, 5, 6, 7, 9 and 10 on tape (I think it’s those – I know I’m missing one of the tapes, anyway, but they’re all in a box somewhere right this second), and 12, 13 and 15-87 on CD. (And 20 on vinyl, because I misread the auction.) CD 14 is on its way, and I’ll be after 10 on CD (didn’t realise it was available as a double when I bought the tape at a market in Manchester – 4, 8 and 9 are all single CDs).

    eBay’s crazy-prices aren’t actually that crazy right now. Now! 10 is on a Buy It Now for £24.99 as I type – when I first started the collection you wouldn’t have got much change from triple that. Part of the problem is that you can never really tell just how legit some of those CDs are – doubtless there’s people making a mint out of fake copies.

    The scariest crazy-price CD I still want is James’ One Man Clapping. Somebody’s after £79 for that on vinyl, the loon.

  54. 54
    swanstep on 29 Apr 2014 #

    @wichita, 45. Surely someone must have got a hit in the ’60s with ‘Rock (a) my soul in the bosom of Abraham’. The only trace of one that a quick google search reveals is Peter, Paul, and Mary taking it all the way to #93 in the US, but it seems unlikely that that’s it…

  55. 55
    Garry on 30 Apr 2014 #

    #43 Only two of those tracks are on my car mix (ie usb stick on random) – BofA (but the original version) and Chumbawumba’s Amnesia.

    Let Me Entertain You is one of those tracks I’ve always associated with the gym, hearing it blare out of aerobics classes. We Will Rock You was another. Robbie was common gym fodder at the Millennial turn.

  56. 56
    Rory on 30 Apr 2014 #

    My contribution to “Brimful of Asha” lore is that the extended version of the Norman Cook remix is on the Australian compilation Meaty, Beaty, Big & Bouncy!”, which I enjoyed at the time. In fact it’s the only CD I own with BoA in any form. I was never moved to investigate the parent album, nor anything else by Cornershop, and for the life of me can’t now think why. I later got into Black Star Liner, who were associated with them, but even that didn’t trigger a revisiting of Cornershop. I guess for a Britpop and big beat fan there was so much other good stuff to explore that I never got round to it.

    I wonder if Cook’s influence was part of it. There will be a better chance to talk about Fatbunny Slim, but I was oddly reluctant to get into his stuff at the time; some sort of misguided reaction to its ubiquity. In hindsight, I really should have, because this remix reminds me a lot of Mint Royale, another of my late-’90s favourites; in fact this track is about the best representation on Popular of a lot of music I loved in 1998-2000.

    The original feels a little languid to me after being used to hearing the remix, but I like the roll-call of record labels (preserved on the extended remix). Apart from the speeding up, my favourite feature of the remix is that Cook’s interpolated Bollywood sounds are cut short every time, leaving the listener to fill in the gaps; it’s a neat trick.

    I was going to give this a 7 on the basis that although it’s clearly a superior track it wasn’t part of my core listening then and isn’t now; but I suspect that’s about to change. 8.

  57. 57
    leveret on 30 Apr 2014 #

    The languidity of the original, as well as its minimalism, is where its appeal lies for me. Compared with, say, the last-but-one Oasis entry, which layers blaring guitar upon blaring guitar, the unhurried, unfussy arrangement is really refreshing. Some of the Britpop-era indie(ish) bands and their producers could’ve taken some lessons from BFOA as to how to use string sections as well; sparingly and in a way complementary to the arrangement, rather than layering them on to add boil-in-the-bag gravitas to their latest workmanlike anthemic ballad.

    I do rather like the remix too though, enough to buy it at the time – shockingly, I think this is the only UK number one single I’ve ever bought (other than as part of an album or compilation).

  58. 58
    Mark M on 30 Apr 2014 #

    Re56: Black Star Liner! Blimey! I had completely forgotten them – led by ubiquitous/legendary Leeds music scene character Choque Hosein. They were alright, I now half-remember.

  59. 59
    ciaran on 30 Apr 2014 #

    I expected this to get at least a 7.As I was scrolling down the review I was thinking we might have a 10 on our hands. I would have given an 8 going into this but it’s hard to argue with Tom’s 9.

    I hadn’t heard either in a long time up until this week. Back in 1998 it was always refreshing to hear the original as it was overshadowed by the remix. Now though I enjoy the original less than I did. The intro sounds a bit like ‘You Ain’t seen Nothing Yet’ to my surprise. Still it would worth at least a 6. I was a bigger fan of ‘Sleep on the Left side’.Comparisons to Super Furry Animals have been made but it also has a They Might Be Giants quirky vibe to it.

    It’s strange that Norman Cook picked up on it but like he did with ‘Dub Be Good To Me’ in 1990 but BFOA really comes to life with the remix. Overexposed in late 90s no doubt but now it’s terrific again.

    If I was to choose I would prefer White Town but it’s a similar in a way to the M/A/R/R/S or S’Express debate of the late 80’s. Lots of enjoyment to be had from both.I still find hard to believe that there hasn’t been more Asian fronted pop in the charts (gigantic 2012 bunny aside!).

    Norman Cook really bossed 1998 though. Renegade Master was a great start to the year and as noted ‘The Rockafeller Skank’ was glorious. I loved Freak Power’s ‘No Way’ but that one has been forgotten about. I’d agree with Tom’s opinion on Gangster Trippin-not Cook’s finest hour.

  60. 60
    AMZ1981 on 30 Apr 2014 #

    Has anybody noted above that this kickstarts a trilogy of number ones where (in slightly different ways) the producer is significant?

  61. 61
    Mark G on 30 Apr 2014 #

    No, because that would set off two bunnys.

  62. 62
    Steve Mannion on 30 Apr 2014 #

    Re ‘Gangster Trippin’ the big sample is from a Dust Junkys tune which vocalist MC Tunes only last year won a legal battle over for royalties. Tunes has been in the grown up music news recently due to his second LP ‘Damaged By Stereo’ from 1991 finally being given a release (on Hooky’s label…hmm, good luck all involved). I personally visit the MC Tunes Wikipedia page regularly just in order to check where he lives (see ‘extensive’ Personal Life section).

  63. 63
    Mark M on 30 Apr 2014 #

    Spent the afternoon listening to Cornershop & The Double O Groove Of, the 2011 album they made with Bubbley Kaur, a previously unrecorded singer recommended – or so the story has it – by a cabbie. All her lyrics (I think) are in Punjabi, and Tjinder doesn’t do any of the vocals. I hadn’t heard it before but so far, I really like it.

  64. 64
    speedwell54 on 30 Apr 2014 #

    I no longer have the book, but Stuart Maconie in “The People’s Songs” quotes from a Robin Cook speech from the period. The then foreign secretary was talking optimistically about the multicultural society and chicken tikka the indian dish being adopted over here, and our preference of meat with gravy and adding the masala sauce. It was about Britain absorbing and adapting external influences. I can’t remember exactly all the points but essentially Maconie was drawing a parallel with the merging of different cultural musical styles from Cornershop and Norman Cook.

    I did have the parent album “When I Was Born” but don’t really remember it at all. ”Handcream for a Generation” a few years later has some great tracks Heavy Soup, Staging, and Lessons Learnt. After a Kate Bush break came “Judy Sucks a Lemon for Breakfast” imo another fine album which features a cover of The Mighty Quinn.

    Vague memory – did the video get banned in some countries due to the frequency of the group’s name and song title featuring?

    8 for me.

  65. 65
    Mark G on 1 May 2014 #

    Yes, it appeared on-screen so often some thought it was subliminal advertising.

  66. 66
    iconoclast on 4 May 2014 #

    Cornershop very rarely crossed my consciousness at the time; the first time I heard of them was a mention in the NME circa 1993 lauding a list of bands who were “seething with a level of political activism not seen since the late seventies”, or something like that. Not living in NME-land, this meant nothing to me.

    Anyway, this is a classic example of the strange and often misguided belief that a song can be improved in some way by “remixing” it and adding “beats”. The original is an idiosyncratic, charming, engaging, and quirky record whose cultural significance has already been expressed by others far better than I could. The remix is a cluttered and overfussy mess which, characteristically, destroys most of this seemingly for no other reason than to make it “danceable” and thus presumably comprehensible to Ecstasy-addled brains. An easy EIGHT for the original, FOUR for the remix.

  67. 68
    Alex on 9 May 2014 #

    I never liked the original; a bit twee and annoying. This was a lot of fun, but IIRC it didn’t take long to play it to death.

  68. 69
    isigfethera on 12 Oct 2014 #

    I really love this song! This is the first year that I really started listening to the charts (over in Australia), since I’d just started high school and discovered the radio Top 40 countdown. I don’t know that it ever got to number one here, but it still got played. I don’t think they really played the original in Australia, but I know the remix and it’s just so joyful. My memory is of walking back from school at the start of the summer holidays, listening to it. It was something that would just make me happy when I heard it then, and it still does now.

  69. 70
    Chinny Reckon on 15 Nov 2014 #

    @66 Iconoclast- Spoken like someone who knows absolutely nothing about dance music, all that’s missing is your prehistoric opinion (which you no doubt hold) that electronic music isn’t ‘real music’ because it doesn’t generally employ real instruments.

    If you think everyone who likes this kind of music is on drugs, I suggest you get your nose out of the Daily Mail, do you honestly think this got to number one on the basis of pilled up kids running down to Woolworths or something? Proper ‘druggy’ dance music does not get into the Top 40, never mind get to number one. And make no mistake, the only reason the original dirge and the entire release didn’t sink without trace was because Norman Cook remixed it.

  70. 71
    iconoclast on 15 Nov 2014 #

    @70: De gustibus non disputandum est.

  71. 72
    Chinny Reckon on 16 Nov 2014 #

    @71 Do you mean ‘De gustibus non est disputandum? Or is there a joke hidden here somewhere?

  72. 73
    thefatgit on 16 Nov 2014 #

    “Romanes eunt domus????”

  73. 74
    sukro sukras sukrat on 16 Nov 2014 #

    cicero sic in at

  74. 75
    enitharmon on 16 Nov 2014 #

    durex
    durex
    duricem
    duricis
    durici
    durice
    durices
    durices
    durices
    duricium
    duricibus
    duricibus

  75. 76
    Kinitawowi on 16 Nov 2014 #

    Quidquid latine dictum sit altum videtur.

  76. 77
    Chelovek na lune on 16 Nov 2014 #

    NON. SUM. DIGNUS.

  77. 78
    Kinitawowi on 17 Nov 2014 #

    Caecilius est in horto.

  78. 79
    swanstep on 17 Nov 2014 #

    Groot sum.

  79. 80
    iconoclast on 17 Nov 2014 #

    et mihi dico: dive! quid feci?

  80. 81
    chelovek na lune on 17 Nov 2014 #

    Qui Bono? (Who IS he?)

  81. 82
    km on 29 Nov 2019 #

    Different brains interpret things differently. If you’ve got a Sick P1g brain you interpret it as you like women with big breasts. The same language means different things to different brains. ‘Everybody needs a bosom for a pillow’ Mines Love for Music on the Vinal-45.
    Another brain will interpret that as ‘Everybody loves Women’, My Love is Music on the
    Vinal-45. Language means different things to different people.

  82. 83
    Gareth Parker on 30 Apr 2021 #

    I like Cornershop’s original, but I also think Fatboy’s remix brings a different element out of the tune. An appealing groove, so an 8/10 from me.

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