The 90's Billboard #1s Rate: Part 1 (1990-1994) - #93 - Going Postal | Page 36 | The Popjustice Forum
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The 90's Billboard #1s Rate: Part 1 (1990-1994) - #93 - Going Postal

Discussion in 'Charts, rates etc' started by Ironheade, Nov 6, 2017.

  1. AAAARRRRGGGHHHHHH. Yep, that be another zero.
     
    Terminus likes this.
  2. Uhm I love Informer?!
     
    berserkboi and londonrain like this.
  3. No argument here
     
    Ironheade likes this.
  4. Me too, it's one of my 10s and I did not give out a ton of them.
     
    berserkboi and londonrain like this.
  5. Who is Informer?
     
    Eric Generic and londonrain like this.
  6. Apparently he is a licky bom bom down.
     

  7. Police-a them-a they come and-a they blow down me door
    One ee come crawl troo, troo my window
    So dey put me in de back de car at de station
    From that point on me reach my destination
    Where the destination reachin outta east detention, where dey
    Looked down me pants, look up me bottom, so

    Informer, ya' no say daddy me Snow me I go blame
    A licky boom boom down
    ‘Tective man a say, say daddy me Snow me stab someone down the lane
    A licky boom boom down
    Informer, ya' no say daddy me Snow me I go blame
    A licky boom boom down
    ‘Tective man a say, say daddy me Snow me stab someone down the lane
    A licky boom boom down

    So, bigger dem are they think dem have more power
    De pon di phone me say dat one hour
    Me for want to use a once an' now me call me lover
    Lover who me callin an' a one Tammy
    An' mi love er' in my heart down to my belly-a
    Yes say daddy me Snow me I feel cool an' deadly
    Yes the one MC Shan an' the one Daddy Snow
    Together we-a love'em is a tor-na-do

    So, listen for me, you better listen for me now
    Listen for me, you better listen for me now
    When-a me rock-a the microphone, me rock on steady-a
    Yes a daddy me Snow me are de article don
    But the in an a-out a dance an they say where you come from-a?
    People dem say ya come from Jamaica
    But me born an' raised in the ghetto that I want ya to know-a
    Pure black people man that’s all I man know
    Yeah me shoes are a-tear up an'a me toes just a show-a
    Where me-a born in are de one Toronto, so

    Come with a nice young lady
    Intelligent, yes she gentle and irie
    Everywhere me go me never lef' her at all-ie
    Yes-a Daddy Snow me are the roam dance man-a
    Roam between-a dancin' in-a in-a nation-a
    You never know say daddy me Snow me are the boom shakata
    Me never lay-a down flat in-a one cardboard box-a
    Yes-a daddy me Snow me-a go reachin' out da top, so

    [Interlude]
    Why wo ee? why wo ee? an' wo ee an' wo ee?

    Me sitting 'round cool with my dibbie-dibbie girl
    Police knock my door, lick up my pal
    Rough me up and I can't do a thing
    Pick up my line when my telephone ring
    Take me to the station black up my hands
    Trail me down cause I'm hanging with the Snowman
    What I'm gonna do? I'm backed and I'm trapped
    Slap me in the face and took all of my gap
    They have no clues and they wanna get warmer
    But Shan won't turn informer



    I hope this clears things up for people. Pretty self explanatory.

    Clearly the question we should all be asking is why wo ee?
     
  8. Yeah, an' wo ee an' wo ee...
     
    Last edited: Dec 2, 2017
    londonrain likes this.
  9. Does that Bryan Adams solo track ever end?
     
    Eric Generic and Ironheade like this.
  10. I don't think it does. It came on Spotify when I was scoring and before it ever finished I called it a day. Next time I started up Spotify the song started right back in without me even hitting play to continue as if it was a nightmare.

    #WhatWereAmericansThinkingInThe90s?
     
    Ray, Ironheade and Mina like this.
  11. There was a radio edit.

    Funnily enough the first time I ever heard the full version was years later... on the radio!
     
    Eric Generic and Ironheade like this.
  12. The radio edit was the video I linked for a reason, people. I'd have done the same with the Spotify playlist, only it doesn't seem to be on there.

    (You actually listened to six and a half minutes of Bryan Adams? ...Wow. I feel guilty now.)
     
    londonrain and Eric Generic like this.
  13. If you have been affected by any of the tracks listed in the rate, the following organisations may be able to provide help and advice:

    Samaritans
    Provides confidential emotional support for people who are experiencing feelings of distress or despair.
    Helpline: 08457 90 90 90 (24 hours a day, seven days a week)
    Website: www.samaritans.org

    UK Police Service
    Provides links to all official police forces across the country and related organisations.
    Website: www.police.uk

    Crimestoppers
    The organisation works for you, your family and your community to stop crime. You can call anonymously with information.
    Helpline: 0800 555 111
    Website: www.crimestoppers-uk.org

     
  14. Fixed that for you!

    [​IMG]
     
    londonrain, Ray, Eric Generic and 3 others like this.
  15. [​IMG]
     
  16. [​IMG]
     
  17. Alright, people. We're coming up on TEN DAYS to get your votes in. So far, we have seventeen sets of votes at our headquarters: not a bad pace, but keep 'em coming, people! I'll do another tagging round in a few days. But in the meantime... another SONGS WE ALMOST HAD TO RATE, and I think @DJHazey might like this one.

    Because, yep... I'm talking about EURODANCE! As she often was, Madonna had served as something of a pioneer in this instance, with "Vogue" helping to bring house music into the American mainstream. But in Europe, it had been a major part of pop music for quite some time - and with its growing popularity stateside, the European dance producers were well-positioned to cross the Atlantic. Though the vogue (har har) for it was short-lived in America, during the first few years of the nineties, artists like Technotronic, Snap! and Black Box all scored big hits, and homegrown artists like C+C Music Factory and Deee-Lite would be beneficiaries of the new craze, before dance music essentially got pushed out of the American pop mainstream for most of the next decade. But we're not talking about Belgians, Germans or Italians for our first discussion of Eurodance - no, I can feel some patriotism and talk about a Brit! Specifically...

    TOUCH ME (ALL NIGHT LONG) - CATHY DENNIS


    I actually didn't mean to include this one in my Songs We Almost Had to Rate feature, so I guess you could say this one is actually by request! (Thanks to @phoenix123 .) A cover of an obscure 1984 song by Fonda Rae (which did earn itself a feature in A Nightmare on Elm Street 2!), "Touch Me (All Night Long)" was produced by Madonna's Erotica co-conspirator Shep Pettibone, and got itself a video directed by none other than Rocky Morton and Annabel Jankel, the creators of Max Headroom. After its release in January 1991, it went to #2 in May, behind Extreme with "More Than Words", after having earlier topped Hot Dance Club Play chart for a week in March; together, these earned it the #30 spot on the year-end Hot 100 for 1991. "Touch Me" also saw some international success, going to #3 in Ireland, #5 in Cathy's home country of the UK, #9 in Canada, and #16 in Australia, though it did little in Europe. As for this Cathy Dennis character's future career, I've heard she's in songwriting now. I wonder if she wrote any good songs... probably never heard of any of them, anyway...

    Well, we've had our fun, but I'm serious as cancer... when I say I'VE GOT

    THE POWER – SNAP!


    You don't get much more Euro than this, do you? German, to be precise, with Snap! producing one of the genre's earliest major American hits (though it was Technotronic who really broke down the door, with fellow Song We Almost Had To Rate "Pump Up the Jam" earlier in 1990) and providing fodder for more commercials than you can shake a stick at. Built primarily around samples from Mantronix and Jocelyn Brown (the latter of whom actually sued Snap! for unauthorized usage of her vocals), “The Power” was one of the first victims of Mariah Carey's domination of the chart's top spot, as it peaked at #2 behind “Vision of Love” in August 1990. It compensated for that with some major crossover success, however: it went to #1 on Dance Club Songs for a week and on Hot Rap Songs for three weeks, as well as going to #4 on Hot R&B/Hip-Hop Songs, thus ending up with a platinum certification and the #26 position on 1990's year-end Hot 100. And, of course, “The Power” was also one of the year's biggest international hits, as evidenced by it topping the Eurochart for three weeks. It went to #1 in the UK, Netherlands, Spain and Switzerland, #13 in Australia, #16 in Canada, #6 in New Zealand (where it was named the ninth biggest hit of the year) and top 5 in every European market where it charted... with the notable exception of France, where it only went #15.
     
    Last edited: Dec 7, 2017
  18. COME ON CATHY DENNIS....the best thing ever from Norwich...after Alan Partridge.
     
  19. Those were the days.

    They don't make popstars like Cathy "find the nose" Dennis anymore.

    [​IMG]
    [​IMG]
     
  20. The Power is a bop and a half but not one of my absolute favourites (10s, 11 etc) from the genre - would get a 9, possibly a 9.25...