Now That’s What I Call Music 43 (EMI / Virgin / Universal, 1999)

Now 43

Now 43 r

Now That’s What I Call Music 43 was released in mid July 1999. It contained a total of 41 tracks. 12 of these have already been discussed on the following compilations:
New Hits ’99: Shanks and Bigfoot – Sweet Like Chocolate.
Smash Hits Summer ’99: Martine McCutcheon – Perfect Moment, Phats & Small – Turn Around, Geri Halliwell – Look At Me, Precious – Say It Again, Fierce – Dayz Like That, Fatboy Slim – Right Here, Right Now, Stereophonics – Pick A Part That’s New.
Fresh Hits ’99: ATB – 9PM (Till I Come), Tina Cousins – Forever, Wiseguys – Ooh La La, Chicane featuring Maire Brennan – Saltwater.

Anne Murray singing You Needed Me. Now there’s a childhood memory from the late 1970s. The song was one of my mother’s favourites. Back then our 3-in-1 stereo was in the “good” room. Sometimes she’d sit there and play LPs. Us children would play quietly or read. We had a compilation called Country Life (released on EMI during 1979) that had 20 tracks – all in the same vein: Ode To Billie Joe, Take Me Home Country Roads, Snowbird, The Gambler etc. Sadly Boyzone’s cover fails to capture the moment and it’s a rather dull experience. In a head-to-head battle with Geri Halliwell’s Look At Me, Boyzone came out in top and outsold Ginger Spice by 700 copies to hit #1. Much more satisfying is I Want It That Way, a pretty fine pop ballad from the Backstreet Boys. Taken from their Millennium album – people were really getting geared up then – it topped the chart in 25 countries.

S Club 7 get into the groove on their uptempo debut single Bring It All Back. The stars of BBC series Miami 7: Jon, Bradley, Hannah, Jo, Rachel, Tina and Paul shot straight to the top of the charts. The colonel was Simon Fuller who had been fired as the Spice Girls’ manager at the end of 1997. We boom once more with the Vengaboys torturous third single before the situation is remedied by Basement Jaxx’s Clinton-inspired Red Alert. The primary sample is Locksmith’s Chinese Funk Song. Moving on: Without Love saw Dina Carroll’s relaunch as a dance diva. Originally she planned to release a cover of Son Of A Preacher Man but was shelved due to Dusty’s death. Elsewhere Coronation Street’s Adam Rickitt broke out of his Nick Tilsley character role to release his debut single, I Breathe Again. I was cynical before I heard it but I have to say – top stuff. Like a male Madonna fronting a Euro dance outfit. Its bare-all promo video helped achieve a top 5 placing.

“Lolly is a super cool funster from the West Midlands who loves shopping, rollerskating, fluffy jumpers and Hollyoaks.” Vive La Radio is anodyne bubblegum but looks deep, complex and intricate when compared the Cartoons’ monstrous and offensively dire Doo Dah. Slowing things down are Honeyz with the syrup R&B jam Love Of A Lifetime, a nice slow burner. Sadly, 911’s version of the Stax classic, Private Number – sung so well by Judy Clay and William Bell in 1968 – is watery stuff. Culture Club’s reunion continues with the underrated Your Kisses Are Charity which unfortunately couldn’t repeat the success of I Just Wanna Be Loved. Wrapping up the first half are Beverley Knight’s summer anthem Greatest Day and Melanie G’s ill-advised train wreck cover of Word Up.

“Advice, like youth, probably just wasted on the young.”
This column by Chicago Tribune journalist, Mary Schmich, and published in June 1997 was framed as hypothetical commencement speech. In it she forcefully recommends the wearing of sunscreen, and dispenses various pieces of advice which are intended to help people live a happier life. The complete text of the essay was used by Australian director Baz Luhrmann for a track on his 1998 album Something For Everybody. The original seven minute track was cut down to 5:05 for a 1999 single release which went to #1 in both Ireland and the UK. Listening now, it comes across as both weirdly uplifting and intensely sobering. And naturally, it makes a lot more sense to me now than it did in 1999.

Texas’ second coming continued with their another massive album – The Hush – which was a worthy successor to 1998’s White On Blonde. The rather serious In Our Lifetime was also included on the Notting Hill soundtrack. Meanwhile the New Radicals sound like a hybrid between Wham! and Wheatus on the anthemic You Get What You Give. Annie Zaleski for The A.V. Club wrote that the song was “surprisingly influential on popular music, just in a non-obvious, almost obscured way”, and that it was “both a nostalgic artifact and a song that transcends any era.” One for a road trip – Supergrass’ catchy glam rock of Pumping On Your Stereo – before the inclusion of a brand new single by Madness, the charming Lovestruck which was the band’s first fresh material of the decade.

The Chemical Brothers’ Hey Boy, Hey Girl can be filed under total dance stomper. The vocal sample “Hey girls, B-boys, superstar DJs, here we GO!” was taken from The Roof Is On Fire by Rock Master Scott & the Dynamic Three. The music video features skeletons. And in some neat sequencing, Chicane’s Saltwater is followed by their remix of Bryan Adams’ Cloud Number Nine, a reworking that’s exceptionally memorable. We’re on a roll now, Blur are next, Graham Coxon singing about his battles with alcoholism on the superb Coffee And TV; here we have the 5:03 radio edit. You can also hear the song on the Cruel Intentions soundtrack. Cast’s Beat Mama is a good song that’s hard to find, first single from the upcoming third LP that seems to have been lost in the millennium rush.

Bring It On sees Gomez use the name of their debut album on the lead 45 from the second LP, Liquid Skin. A stop / start track with only sudden bursts of melody, the video carries a health and safety theme, “Music can be dangerous.” Clearer: Semisonic’s crunchy Secret Smile with a guitar riff that’s once heard, never forgotten. After 1998’s Best Of, back come James with the direct sound of I Know What I’m Here For. I remain unconvinced. For the last three tunes we return to the club zone: Yomanda’s Synth And Strings brings us back to 1980 with is samples of Liquid Gold’s Dance Yourself Dizzy while Better Off Alone is the sound of the Euro trance wave crashing on rocks. Finally we get some decent and uplifting house music: Masters At Work presents India – To Be In Love. Ibiza ’99 forever.

Favourite tracks
Baz Luhrmann – Everybody’s Free (To Wear Sunscreen)

Supergrass – Pumping On Your Stereo

Blur – Coffee And TV

Masters At Work presents India – To Be In Love

Bryan Adams – Cloud Number Nine

Lest we forget
Cast – Beat Mama

Missing tracks and other thoughts
A mixed bag. The first disc is a struggle but CD2 ups the game with a pretty ace selection. Here’s a few more recruits that should have been drafted in:

Electronic – Vivid. Arthur Baker back in the game. No confusion.
Moby – Run On. Let us play.
Happy Mondays – The Boys Are Back In Town. After a seven year absence.
Shed Seven – Disco Down. Let it ride.
Gay Dad – Joy. The next big thing. Hugely underrated and lashings of glam.
Orbital – Nothing Left. Arrival from the middle of nowhere.


And thanks to Smash Hits Mag for this advert.

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Fresh Hits ’99 (Global Television / Sony / Warner ESP, 1999)

Fresh Hits 99

Fresh Hits 99 r

The 37th volume of the Hits series, Fresh Hits ’99, was released in July 1999. Making the “featuring” section of the front cover were Shanks & Bigfoot, Westlife, N Sync, Boyzone, Another Level, Venga Boys, Robbie Williams, TQ, Stereophonics, Lauryn Hill, Catatonia, 911 “and many more.”
14 of the 40 tracks had already appeared on previous compilations:
New Hits ’99: Shanks and Bigfoot – Sweet Like Chocolate.
Now That’s What I Call Music 42: Boyzone – When The Going Gets Tough, Steps, Tina Cousins, Cleopatra, B*Witched and Billie Piper – Thank ABBA For The Music, Vengaboys – We Like To Party, 911 – A Little Bit More, Honeyz – End Of The Line, Emilia – Big, Big World, Robbie Williams – Strong, Armand Van Helden featuring Duane Harden – You Don’t Know Me, A+ – Enjoy Yourself.
Smash Hits Summer ’99: Phats & Small – Turn Around. Fatboy Slim – Right Here, Right Now, Stereophonics – Pick A Part That’s New, Fierce – Dayz Like That.

Here’s where the Westlife story begins. Formed in the summer of 1998 and originally called Westside, they released their debut single Swear It Again around Easter 1999. It’s an unremarkable ballad and typical of the vast majority of their output. Interestingly Brian McFadden changed his first name to Bryan so that it would be easier to sign autographs. The tempo (and quality) increases with N Sync’s delightfully fresh Tearin’ Up My Heart. Only their second 45 and already a slick machine. Next comes Another Level’s soulful From The Heart which appeared on the Notting Hill soundtrack; pretty tender stuff and still sounds good today. Then we have Cher by numbers, the formulaic All Or Nothing which despite its rather robotic and artificial construction, retains a certain charm. To Eurovision ’99 and the winning song from Charlotte Nilsson, Take Me To Your Heaven. It scored an impressive total of 163 points and very much the atypical Scandinavian girly pop sound that won ABBA the contest 25 years before.

Sugar Ray’s breezy Every Morning is like something you’d hear on a Friends soundtrack. The sound of sunny days in the Belgrave Square basement. Time for some substandard R&B from Glamma Kid featuring Shola Ama, the Sade-sampling Taboo. Never fear, the pop sensation of 1999 is here: Hepburn. Debut single I Quit was written by Phil Thornalley who had massive success with Natalie Imbruglia’s Torn. It’s a blast, girl power with fuzzy guitars or if you prefer, foxy fierceness. The video features scenes from Buffy The Vampire Slayer and featured on the soundtrack CD. The NME hated Hepburn and gave the band’s one and only album a nasty and vindictive review: “Music made by morons, marketed by evil morons and designed to be bought by people they hope are morons. . . The most morally and aesthetically repugnant album ever.” That’s anti-pop hipsters for you.

Killing time: Tina Cousins’ Forever is beautifully melodic trance that belies a melancholic and lonely mood. There’s a ghost town vibe in the music video, possibly a metaphor for the isolation she’s feeling. Meanwhile you can’t keep a good ’90s song down as Des’ree serves up You Gotta Be (’99 Mix). Reissued again because of its use in a Ford Focus advert, this became the most successful of the song’s chart runs, peaking at #10. The Blondie rebirth continues with another single, Nothing To Beat But The Girl, which was written by the band’s keyboard player, Jimmy Destri. Despite a single remix, it could not repeat Maria’s success and just reached #26. CD1 concludes with Andy Williams’ vocal version of The Bob Crewe Generation’s Music To Watch Girls By. You’ll know it from the Fiat advertisement.

By the summer of 1999 I almost off the big beat bandwagon. Wall Of Sound had released some fine records between 1995 and 1997, one of them being Executive Suite, the debut LP from The Wiseguys. In April 1998, I picked the 12″ of Ooh La La in Abbey Discs. Orange company sleeve. It sampled Lalo Schifrin’s Jim On The Move and worked really well on the dancefloor. A year later, following use on a Budweiser commercial, it was everywhere. As was the next tune here, ATB’s banging hedonist anthem 9PM (Till I Come), a regular play in Rathmines’ Tram Co. Going back to Belfast 1982: Harry’s Game was scored by Clannad’s mournful lament which is sampled on Chicane’s rather epic Saltwater with Máire Brennan getting a co-credit. Ferry Corsten + Tiesto = Gouryella, a self-titled dance monster that stormed Europe during May 1999. When trance was trance.

The indie sequence kicks off with Catatonia’s beautifully underrated Dead From The Waist Down. “Make hay, not war.” Suede were the difficult fourth album zone and much of Head Music shows the pressure and strain that the band were under – namely Brett Anderson’s crack addiction and Neil Codling’s chronic fatigue syndrome. The album has a more electronic feel than the previous three with lead single Electricity a right old glam racket. Elsewhere Kula Shaker keep the mystique up with the timeless sound and exotic scents of Shower Your Love. And there’s Lit’s My Own Worst Enemy, a neo-90s blast of power punk reminiscent of Green Day and Blink 182. Addictive despite its derivative style. The same could be applied to Shawn Mullins’ stoned drawl groove of Lullaby, a song which is reputedly about “A girl who is feeling depressed, crying out for a life away from her upbringing, a life full of Hollywood days and movie star-filled nights.”

The final stretch kicks off with a second tune from Another Level, a pretty boring cover of Simply Red’s Holding Back The Years. Next comes the slick R&B sound of Tatyana Ali’s Everytime and Lauryn Hill’s deeply eloquent Ex-Factor which describes the pain of the relationship with a narcissist. Neo-soul that cuts right to the bone and a song that will make you google what reciprocity is. Also on a similar type, Bye Bye Baby, a little gem from Compton’s TQ. After achieving global recognition with It’s Like That, Jason Nevins followed up with a string of hip house remixes: Run DMC’s It’s Tricky, 2 Live Crew’s We Want Some Pussy, Insane Clown Posse’s Hokus Pokus (Headhunta’z Edit) and Cypress Hill’s Insane in the Brain which is the closing track on Fresh Hits ’99. Uni-Vs-Al. 4/10.

Favourite tracks
Gouryella – Gouryella

Suede – Electricity

Kula Shaker – Shower Your Love

Lit – My Own Worst Enemy

Shawn Mullins – Lullaby

Lest we forget
Hepburn – I Quit

Missing tracks and other thoughts
It takes a bit of time to get going but for the most part, Fresh Hits ’99, is a good trip. There’s a quite a few tunes here that while fairly well remembered and are not commonly found elsewhere. Here’s a few others that would have fitted in:

Eminem – My Name Is. The arrival. Massive tune that spring.
Blackstreet with Janet Jackson – Boyfriend / Girlfriend. Rip her to shreds.
Offspring – Why Don’t You Get A Job? Outside the Central Bank anthem.
Red Hot Chili Peppers – Scar Tissue. Here it comes, the inescapable Californication.
Flaming Lips – Race For The Prize. From the multi-layered symphonic Soft Bulletin.

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Now That’s What I Call Music 1995: The Millennium Series (EMI / Virgin / Universal, 1999)

Now Millennium 1995

Now Millennium 1995 r

The sleeve notes to the 1995 edition of Now’s Millennium series commence by referencing Robbie Williams departure from Take That. They then discuss the rise of Boyzone who had been voted Best Band On The Road at the 1994 Smash Hits road show. Their debut album, Said And Done, went straight into the album charts at #1 in September which cemented their place at the top of the boy band league. Their cover of Cat Stevens’ 1970 hit Father And Son leads off CD2 of this compilation and became the sixth best-selling boy band single of the decade. It got significant airplay in Ireland during the last two months of the year and could be heard at all hours of the day – before breakfast, during my lunch hour at work and even as late as 3.00am over the speakers of Jason’s pool hall in Ranelagh.
“Now there’s a way and I know that I have to go away
I know I have to go.”

Check out these reviews of mine for more discussion on the following tunes:
Smash Hits ’95 – Volume 1: Strike – U Sure Do*.
Now Dance ’95: Kenny Dope presents The Bucketheads – The Bomb (These Sounds Fall Into My Mind)*, R Kelly – Bump ‘n’ Grind*.
Now That’s What I Call Music 30: Boo Radleys – Wake Up Boo, Mike and The Mechanics – Over My Shoulder, Massive Attack featuring Tracy Thorn – Protection, Portishead – Glory Box, East 17 – Stay Another Day, Freak Power – Turn On, Tune In, Cop Out, Bobby Brown – Two Can Play That Game, Alex Party – Don’t Give Me Your Life, Cher with Chrissie Hynde and Nenah Cherry – Love Can Build A Bridge.
Smash Hits 2: Livin’ Joy – Dreamer**, Edwyn Collins – A Girl Like You**, Oasis – Some Might Say**.
Now That’s What I Call Music 31: Supergrass – Alright, Pulp – Common People, Del Amitri – Roll To Me, Baby D – I Need Your Lovin’ (Everybody’s Gotta Learn Sometime).
Now That’s What I Call Music 1995: N-Trance – Stayin’ Alive***, The Original – I Love You Baby***.
The Greatest Hits Of ’95: Coolio featuring LV – Gangsta’s Paradise***.
Now That’s What I Call Music 32: U2 – Hold Me, Thrill Me, Kiss Me, Cast – Alright, Tina Turner – Golden Eye, Meat Loaf – I’d Lie For You (And That’s The Truth), Eternal – Power Of A Woman, Shaggy – Boombastic.
The ’96 Brit Awards: Paul Weller – The Changingman, Blur – The Universal****.
Now That’s What I Call Music 33: Boyzone – Father And Son.
Now That’s What I Call Music 34: Lighthouse Family – Ocean Drive.
* Also on Now 30 / ** Also on Now 31 / *** Also on Now 32 / **** Also on Now 33.

CD1 starts with U2’s Hold Me, Thrill Me, Kiss Me. Taken from the soundtrack of Batman Forever and one of two missing links between Zooropa and Pop. Other tracks to bridge the gap for U2 are: Night And Day (after Rattle & Hum and before Achtung Baby) and Salome (1992 B-Side between Achtung Baby and Zooropa). Which brings me to Miss Sarajevo which appears further on during the first half; a mixture of Brian Eno’s ambience and Luciano Pavarotti’s emotion. US journalist Bill Carter suggested to Bono an idea to film a documentary based on Sarajevo’s underground resistance movement. From the sleeve: “The camera follows the organisers through the tunnels and cellars of the city, giving a unique insight into life during a modern war, where civilians are the targets. The film captures the dark humour of the besieged Sarajevans, their stubborn refusal to be demoralised and suggests that surrealism and Dadaism are the appropriate responses to fanaticism.” Due to being released in November, the song has a downbeat Christmas feel and slots in perfectly between Portishead’s Glory Box and Tina Turner’s Golden Eye.

I finally ditched my Sony 4-in-1 in 1995. The record player, cassette deck, radio and CD player had served me for nine years with extremely heavy use throughout. As I was now earning a salary, it was time to go to Richer Sounds and invest in proper separates. For the turntable, I chose an Ariston Pro 1200, a solid deck. The first LP I spun on it was The Great Escape, Blur’s fourth album and also known as the final part of their “Life” trilogy. While initially likeable, the album gradually unveiled itself to be a busy, sprawling flawed mess of a record – loads of differing emotions all clashing with each other and preventing the creation of a unified whole. Thankfully Ashley Abram decided to use The Universal rather than the battle-hardened Country House. The video sees the band getting dressed up as droogs like A Clockwork Orange; all in white perfoming at the Milk Bar. The 7″ was only pressed for jukeboxes and did not make it into the shops. Aside from Abbey Discs.

It was the year of Alright. I Should Coco, the debut album from Supergrass, came out in mid-May, around the same time that I was intensely cramming for my final university exams. The vast majority of my friends had decided to defer at that point, figuring that they’d repeat the year and knuckle down during the 1995-96 college year. I carried on regardless and the band’s spiky singles Caught By The Fuzz, Lenny, Mansize Rooster and Lose It are forever associated with that hazy time. Sofa (Of My Lethargy) sounds like a late ’60s psych tune brought right up to date for the middle of the 1990s. However, the fifth single from the album, Alright (released at the start of July), saw Supergrass hit paydirt and immortality. It was in the top 3 for a month. A bona fide teen anthem even though Gaz Coombes remembers otherwise “It wasn’t written as an anthem. It isn’t supposed to be a rally cry for our generation. The stuff about ‘We are young/We run green…’ isn’t about being 19, but really 13 or 14. and just discovering girls and drinking.”

Cast’s debut single, Fine Time, was released on the same day as the Supergrass smash. People hoping for an acoustic-style cover of the New Order Ibiza anthem were out of luck. Comparisons to Paradise City have been suggested for 23 years, but as first singles go, this is a cracking tune that takes me back to extremely warm and bright evenings. Walking down Moyne Road and up Dunville Avenue to purchase 20 cigarettes; toying with Camel Mild (or was it Medium), Consulate, Winston as well as Marlboro Reds. Two months later the heat was still relentless and Cast dropped their second 45, Alright. In the video, John Power is reading Revolution In The Head: The Beatles Records and The Sixties by Ian MacDonald. It remains a Britpop highlight: brash, brittle, toppy and full of energy. The debut LP, All Change, came out in time for my graduation and became the highest selling debut album in the history of the Polydor label. O’Reilly Hall, photos by lake.

1995 was a massive year for Oasis and their story has been recounted on several occasions throughout these pages. Thankfully the far superior Some Might Say gets the nod over Roll With It. Other people will make a case for Wonderwall but by not including it, means that Ashley Abram can throw in the delightful cover version by The Mike Flowers Pops. Led by Mike Roberts, the MFP (a nod to budget label Music For Pleasure), cashed in on the easy listening revival of mid-90s. I got sucked in too, along with another friend, who stunned the crowd in Strictly Fish at Power’s Hotel, Kildare Street when he dropped an exotic version of Raindrops Keep Falling On My Head. Over the next 12 months, compilations like The Sound Gallery, Inflight Entertainment and The Sound Spectrum opened the gateway into new worlds and labels like Studio 2 Stereo, Circle Of Sound, Stereo Gold Award and the musical delights of Ray Davies and The Button Down Brass. The latter’s 1974 LP Themes From The Exorcist was a key purchase for me in late 1995.

“You have to put the death in everything.”
If you listen to Wake Up Boo! a little more closely, then you’ll realise that it’s about the change from summer to autumn. The lyrics offer two different viewpoints: the narrator’s upbeat positivity contrasted with his companion’s pessimistic outlook. On the album version of the song, the “Wake up, it’s a beautiful morning” refrain is performed as an acappella prelude to the main track; this is absent from the single edit, which is otherwise identical. The second CD single and 12″ feature a version called Wake Up Boo!: Music for Astronauts which later featured on the group’s Find The Way Out best of. Meanwhile the parent album, Wake Up, was one of 1995’s unsung highlights, a true distillation of pop, gleaned from years of listening to Beach Boys and Beatles records. Find the answer within.

Dodgy’s first LP, imaginatively titled The Dodgy Album was released in 1993 and produced by Ian Broudie. It’s a surprisingly enduring record, full of pop blasts and mellow turns. Its successor Homegrown arrived around the same time as Suede’s Dog Man Star and doesn’t mess with the formula. The catchy hooks and quirky melodies are all present and correct with the LP getting some serious turntable action during that hazy late spring of 1995; particularly in mornings as the sun came up. Generally speaking we hadn’t gone to bed yet. The opening track Staying Out For The Summer had peaked at #38 in late ’94. It was remixed and reissued in June 1995, reached #19 and perfectly encapsulates the vibe of that time. They also played at Féile in Cork; still the greatest value for money festival ever.


Favourite tracks
Dodgy – Staying Out For The Summer ’95

Blur – The Universal

Cast – Alright

Passengers featuring Luciano Pavarotti – Miss Sarajevo

Lest we forget
The Mike Flowers Pops – Wonderwall

Missing tracks and other thoughts
The 1995 Millennium edition is definitely my favourite one of the decade. No maybe. It’s extremely well sequenced with Oasis leading the British pop charge that takes in all the expected artists – Supergrass, Boo Radleys, Pulp, Cast, Dodgy, Edwyn Collins, Paul Weller and Blur. On either side of that we get a couple of big movie tunes from U2 and Tina Turner with two trip hop classics from Massive Attack and Portishead. The previously uncompiled gems from Passengers and Sheryl Crow also add a fresh flavour. CD2 is primarily geared towards the dancefloor and oozes good memories of open windows and blaring car stereos. And including Mike Flowers’ take on Wonderwall is a total blast.

In September 1995, there was the last throw of the 10th Anniversary series dice. That release is my favourite of the three “add-on” volumes. If you want to compare with this Millennium release, then note that there there are just 12 overlapping tracks, which is fewer than usual – Freak Power, Boo Radleys, Alex Party, Kenny Dope presents The Bucketheads, Bobby Brown, Strike, Supergrass, Edwyn Collins, Baby D, Livin’ Joy, N-Trance, The Original. There were three regular Now albums released in 1995 and 27 of their songs are featured on this Millennium entry. Caveat: 9 of these first appeared on fellow Virgin compilations under the Smash Hits and Now Dance franchises. Meanwhile, three more would turn up 1996 Now volumes – 33 and 34.

There were 17 number ones in 1995. We get five here while East 17’s Stay Another Day is considered a 1994 chart-topper. I’d have thrown in Fairground, Unchained Melody and Back For Good. Other songs that also really, really could have won are: The Beautiful South – Dream A Little Dream or Pretenders To The Throne (both non-album and bridging the gap between “Carrion” and Blue Is The Colour), Black Grape’s gloriously chaotic Reverend Black Grape, The Charlatans’ groovy Just When You’re Thinkin’ Things Over, Queen’s spooky Heaven For Everyone, Everything But The Girl’s Missing as remixed by Todd Terry (not Terje), N-Trance’s Set You Free (instead of Stayin’ Alive), TLC’s jam hot Waterfalls, Scarlet’s Independent Love Song (indie fans rejoice) and The Stone Roses’ Ten Storey Love Song. More: The Prodigy’s frantic Poison, Ash’s other-worldly Girl From Mars and lastly Perez Prado’s Guaglione (mine’s a Guinness).

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