Now That’s What I Call Music 32 (EMI / Virgin / Polygram, 1995)

Now 32

Now 32 r

Review
“He thought of cars
And where, where to drive them”

Made In Heaven was Queen’s 15th and final LP. It was released on 6 November 1995, just one week before Now That’s What I Call Music 32. After Freddie Mercury’s death, bass player John Deacon, drummer Roger Taylor and guitarist Brian May worked with vocal and piano parts that Freddie had recorded before his death, adding fresh instrumentation to the recordings. Heaven for Everyone was written by Roger Taylor and originally appeared on Shove It, a 1988 LP by his other band, The Cross. Freddie handled guest vocals on that occasion and for the posthumous record, the track was reworked with Queen’s music. It’s got an eerie, poignant feel and the video fits the mood, containing footage of Georges Méliès 1902 silent film A Trip to the Moon. A suitably fitting opening.

1995 had been a memorable year for many reasons, some good and others bad. Now 32 provides a soundtrack for the late summer and autumn period. The endless good weather stretched into October when Meatloaf unleashed his overwrought duet with Patti Russo, I’d Lie For You (And That’s The Truth). And Simply Red finally reach the top of the singles chart with the Goodmen-sampling Fairground. Video shot in Blackpool. Blockbusters – summer: the cinemas were full of punters anxious to see Batman Forever. U2’s brooding Hold Me, Thrill Me, Kiss Me, Kill Me was a key moment; a track which saw them building on the Zooropa template and nicely bridges the gap to the future Pop sound. Autumn: The new Bond, Pierce Brosnan, was eagerly anticipated in Goldeneye. Tina Turner delivers.

We move into ballad territory with Cher’s decent cover of Marc Cohn’s Walking In Memphis. It’s followed by the cutting Pretenders To The Throne, The Beautiful South’s first release since the mega-selling Carry On Up The Charts. Meanwhile Louise breaks free from Eternal; Light Up My Life being her sweeping big debut. And Oz is back – Big River is a intensely personal song, a six minute elegy to the days when shipbuilding was it its height in Newcastle. Jimmy goes on to lament the later decline of the industry and the marginalisation of the Tyne itself. Next comes the ambient / world / new age Wishes of Happiness and Prosperity (Yeha-Noha) by the German musical project Sacred Spirit. This tribal number is sung by Navajo elder Kee Chee Jake from Chinle, Arizona. Pipes of peace.

War Child is a non-governmental organisation founded in the UK in 1993 which provides assistance to children in areas experiencing conflict and its aftermath. The Help Album was released in September ’95 with the aim of assisting its charitable efforts particularly in respect of the Bosnian war. A new Radiohead track, Lucky, was chosen as the lead song on the Help EP and also featured on the star-studded album. It’s a slow-paced anthem and kicks off an excellent Britpop sequence that continues until the end of the disc. Pulp’s tale of highs and comedowns Sorted For Es And Wizz never fails to raise a smile. The dealer in the single version is now “messed-up”; the accompanying LP Different Class came with a photo frame sleeve which meant you had 12 different covers to choose from.

The Battle of Britpop is marked by Blur’s Country House and Oasis’ Roll With It both appearing. By now their respective LPs were in the shops: What’s The Story (Morning Glory) having considerably more staying power than The Great Escape. Stuck in the middle are Cast with the storming Alright. Travel back to May when Thieves met Suede. Or their ex-members David McAlmont and Bernard Butler did and created the spiritual and uplifting Yes. Meanwhile Paul Weller’s solo success continues with the warm sound of Broken Stones. A Fab Four finale: Suggs covers I’m Only Sleeping. And Weller, Macca and Noel Gallagher Come Together as The Smokin’ Mojo Filters. All for Help.

“Where were you while we were getting high?”

CD2 begins with two #1s; the first of which is Coolio’s Gangsta’s Paradise. Walking through the valley of the shadow of death. On a lighter tip is Shaggy’s Boombastic, also used to advertise jeans. Co-sign on N-Trance’s bouncy update of Stayin’ Alive; the iconic Saturday Night Fever trailer track. The spirit of 1977 is cleverly extended into the next tune; Rollo’s remix of Donna Summer’s classic disco synth monster I Feel Love. Not long enough. But neatly leads to Berri’s pulsating Sunshine After The Rain, also a hit in ’77, for Elkie Brooks. Not Eartha Kitt. Silver linings and rainbows. Try out some Eurodance: Corona’s Try Me Out and The Original’s I Luv U Baby. Smash up the continental discotheques.

Everything But The Girl appeared on 1984’s The Hits Album. The evocative Missing got the benefit of a Todd Terry remix and became huge. Meanwhile Eternal became three with the loss of Louise [see CD1] but Power Of A Woman seemed to lack their usual funky fizz. Soul II Soul were up to Volume V and dropping the eponymous I Care (Soul II Soul). Elsewhere there’s fluff on show for The Outhere Brothers’ La La La Hey Hey while Whigfield’s Big Time sees her move into Ace Of Base territory. Hotly tipped: the new Alex Party single Wrap Me Up. And Josh Wink’s Higher State Of Consciousness climbed to #8 in July; a perennial party favourite that benefited from a remix 12 months later.

Already reactivated was Wildchild’s Renegade Master. But the timeless number in this sequence is Goldie’s dreamy drum ‘n’ bass monster Inner City Life. Moving on: a busy year for the Human League with Red Jerry speeding up Don’t You Want Me. This is the cue for pitch +8s: Candy Girls’ Fee Fi Fo Fum is followed by the Happy Clappers’ havin’ it large Ibiza belter I Believe. The Perfecto team get their hands on Fleetwood Mac’s Dreams and turn it into a club tune for Wild Colour. Best wine for last: E’voke – Runaway. Remember their names: Marlaine Gordon and Kerry Potter. A euphoric end-of-night classic. Us Girls.

“Let’s all meet up in the year 2000
Won’t it be strange when we’re all fully grown?”

Favourite tracks
U2 – Hold Me, Thrill Me, Kiss Me, Kill Me

Pulp – Sorted For Es And Wizz

Goldie – Inner City Life

Paul Weller – Broken Stones

McAlmont and Butler – Yes

Lest we forget
E’voke – Runaway

Missing tracks and other thoughts
Now That’s What I Call Music 32 is a mostly memorable volume; a story split between rock, pop, indie and club tunes. It does run into a samey trough halfway through disc two but picks itself up again. Here are seven more songs that could have made it to the end:

New Order – Blue Monday ’95. They missed out with 1988 so one more chance.
Boyzone – So Good. Another big hitter strangely absent.
Clock – Everybody. Devastatingly effective Eurodance.
The Verve – History. A song for all those lonely nights.
Nick Cave and Kylie Minogue – Where The Wild Roses Grow. An unlikely Aussie duet.
Bluetones – Bluetonic. Top early tune from the Blue Army.
Smashing Pumpkins – Bullet With Butterfly Wings. Owned Fanning’s Fab 50 then / now.

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Promotional poster courtesy of the Now That’s What I Call Music Collectors Group UK.
Now 32 poster

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23 Responses to Now That’s What I Call Music 32 (EMI / Virgin / Polygram, 1995)

  1. cosmo says:

    The best Now of ’95. At least to me, anyway.
    Personal highlights include Simply Red, U2, Tina Turner, Louise, Jimmy Nail, Sacret Spirit, and Suggs on Disc 1; whereas Disc 2 has a truly breathtaking selection of dance tracks that could nearly all be called “club classics”, including Coolio, Berri, The Original, EBTG, Eternal, Soul II Soul (with their swansong), and the Candy Girls, plus the Donna Summer and Human League remixes. To which I agree that New Order would have been nice here too. I’d say ’95 is the 3rd foremost year for remixes in the 90s, after ’96 and ’93 coming on top. FWIW, EBTG is another high-profile ’95 remix, but, in contrast to the others, which were already big hits “revived” by their remixes, it’s clear the remix turned “Missing” in into the big hit we remember it for, and kick-started their 15 minutes of mainstream fame:

    • nlgbbbblth says:

      Thanks Cosmo. Todd Terry did a great job on Missing and transformed them (however briefly – the song is era-defining like Glory Box etc). The only downside is that the shorter radio edit 3:52 approx is not included here – but can be found on Hits ’96 which will be reviewed on 11 October.

      “Missing” (Todd Terry Club Mix (Blanco/Eternal Radio Edit)) – 3:52 [on Hits ’96]
      vs
      “Missing” (Todd Terry Club Mix) – 4:58 [on Now 32]

      • Andrew Chinnock says:

        Would this have been a licensing issue? The track was licensed to Warner, who were in cahoots with Global with Hits 96. Top of the Pops 2 (on Sony) has the same extended club mix. Perhaps it is Warner keeping the radio edit for its own compilation?

  2. Feel the Quality says:

    IMO the series returned to mediocrity after a great recent run with this entry. There’s only two songs on there I’d say have reached “classic” status for me and that’s Gangsta’s Paradise and Missing. I think the U2 song is painful (both of the main releases from Batman Forever were dreadful, just like the film) and I hate that Simply Red song with a passion. I understand that the Battle of Britpop was the big music story of this period and that both tracks had to be included but Roll With It is comfortably the worst track from Oasis’ first couple of albums and Country House isn’t exactly Blur’s finest hour.
    I think they tried their best with what was around at the time although it would have been nice to see Shy Guy by Diana King on there. One of the big summer hits that was seemingly stuck on radio station playlists for months.

    • nlgbbbblth says:

      I like Roll With It but it was certainly Oasis by numbers. Country House is quite poor. Can’t agree with you re the U2 track; thought the track was a logical extension to what they’d been doing on Achtung Baby and Zooropa. Good call on Diana King; don’t think any of the UK compilations picked it up.

      • cosmo says:

        I agree that Diana King was another strange omission from the compilation albums that came out “at the time”. Fab track, too.

        • Andrew Chinnock says:

          It appeared on Top of the Pops 2, unsurprisingly as it was a Sony track on a Sony compilation. Again, a possible licensing issue with Sony having first shout of one of its own. I recall TOTP1 having a few exclusives that appeared elsewhere later on, like Ini Kamoze, MN8, Jam & Spoon to mention a few. Early dance compilations in 95 had a version of Hotstepper by I’m a Kamikaze……..

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  7. Andrew Chinnock says:

    Another thought on this. I wonder why they went with Big Time by Whigfield, instead of the cover of Last Christmas? Don’t think there are many occasions where they decided to go with the “2nd” A-side. Simply Red on Montreaux EP, Erasure on Abba-esque EP and Annie Lennox “Love Song For a Vampire” from memory.

    Very happy to see a “lest we forget” for E’voke’s Runaway. A very underrated tune that, while it borrows heavily from Set You Free (and wasn’t remixed by the Time Frequency despite the remix name), it’s a track that’s always been among my favourites of all time and a fantastic end to the album.

  8. Andrew Chinnock says:

    Me again, just another tiny point, the graphic of the track listing you have omits Runaway by E’voke. Never noticed that before!

  9. Andrew Chinnock says:

    May I suggest a swap on cd 2? The pretty underwhelming ‘Wrap Me Up’ disposed and replaced by the seminal ‘To The Beat Of The Drum’ by The Ethics. Absolutely massive in the clubs here at the time and only released a week after Alex Party. It would appear on The Best Dance Album In The World 95, which I guess was Now Dance 95 after Now Dance 95 had already been taken, and BDAITW6. Good fit with Josh Wink and part of the EMI/Virgin stable.

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  11. Martin Davis says:

    Must admit this is not one of the Now albums I’ve had much experience of although there are some good tracks on there.

    With regards to Human League, given that “Tell Me When” and “One Man In My Heart” had been featured on Now 30 and Now 31 respectively I do wonder why the compilers decided to go with a remix of “Don’t You Want Me” as opposed to “Filling Up With Heaven” (which I believe was the follow up to “One Man In My Heart”)? Was it simply the case that “Filling Up” didn’t chart very high or was it more the case that the remix of “Don’t You Want Me” was more recent?

    I don’t think I have that Human League greatest hits album. Have always owned either the 1988 one or the Very Best Of Compilation from the early 00s. Does the 1995 Greatest Hits album have the original version of “Don’t You Want Me” or the remix (or both?)

    Out of interest did you buy the Oasis and Blur albums when they came out? If so were you one of those people who queued up until midnight to buy the Oasis album when it was first released?

    • nlgbbbblth says:

      Hi Martin
      Filling Up With Heaven was a bit dated and a flop. It charted early June at #36 and dropped to #95 a week later. Don’t You Want Me was reissued on the same day (mid-October) as their new Greatest Hits (dark cover) and its inclusion here was to promote same. The Red Jerry 7″ is on Now 32 whereas the Snap Remix is included on Greatest Hits along with the original 1981 version. Both the Red Jerry and Snap mixes are on the Don’t You Want Me (Remixes) CD single. There was also a two track 12″ and a promo 12″. No 7″ which was unusual.

      Yes – bought both Blur and Oasis albums on release day. Didn’t queue for Oasis – I worked as normal and picked it up around 5.30pm that day. Double LP which was selling steadily according to the record shop guy (Freebird). The Blur album was bought in Virgin, they had a load of vinyl copies. It’s easily their weakest.

      I did queue up at midnight for U2 – Achtung Baby in 1991.

      • Martin Davis says:

        Hello again Paul

        Once again thanks for a really interesting response. Respect to you buying Blur and Oasis on vinyl in 1995. Do you still have your copies? They must be worth quite a bit now.

        Slightly unrelated but is it true that there is an endless looped groove at the end of the last track on the Blur album (Yuko and Hiro) which plays endlessly on a manual turntable?

        • nlgbbbblth says:

          Still have both. They were very plentiful at the time. Most people weren’t buying new albums on vinyl so there was no problem getting hold of it. In many instances – particularly in Virgin and HMV – new LPs sat unsold for weeks on end and were discounted / reduced to clear. Yes- side 2 of The Great Escape ends on a locked groove

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