Discussion in 'Charts, rates etc' started by Lost In Japan., Feb 21, 2022.
Bye! Now this rate is kids free, we love to see it!
My money's on Dare/Destroy Everything You Touch, although the former deserves to hang around a bit longer.
Uniting Nations - Out of Touch (2005)
Average Score: 7.39
Highest Score: 10x4 (@soratami, @Sprockrooster, @Remorque, @MilesAngel), 9.5x2 (@Conan, @FINISH LINE)
Lowest Score: 0x1 (@TéléDex)
My Score: 8
Not long after ‘In My Arms’, we say goodbye to another 2005 nominee that takes a hit from the 1980s and turns it into a noughties dance track. ‘Out of Touch’ is a cover of the Hall & Oates single from 1984, the lead single to their twelfth (!) album Big Bam Boom and their sixth and final #1 on the Billboard Hot 100. Big Bam Boom signified a move towards electronic music for Hall & Oates and ‘Out of Touch’ was subject to the remix treatment even back in 1984, from legendary producer Arthur Baker.
For Uniting Nations, ‘Out of Touch’ was their debut single and the lead from their album One World. The vocals are re-recorded by session singer Jinian Wilde with production from the two members of Uniting Nations, Paul Keenan and Daz Sampson. Released in November 2004, it peaked at #7 in January 2005. It also holds the honour of being the biggest selling single of 2005 in Romania, where it was a #1 hit.
In the 2005 voting, ‘Out of Touch’ had the indignity of being eliminated from the running before the event had even started, by a preliminary text vote from Popjustice.com. Uniting Nations went on to release two further singles from their debut album One World, including ‘Ai No Corrida’, a cover of the Chaz Jankel song best known for its Quincy Jones cover. That single featured vocals from Laura More, best known for her role in the video to Eric Prydz’ dance hit ‘Call on Me’. Uniting Nations have also remixed tracks for other acts, including PJ fave Girls Aloud.
One half of the Uniting Nations line up who released 'Out of Touch’, Daz Sampson, had previous chart successes as a member of the group Bus Stop. Bus Stop had four UK hits including a top 10 remix of ‘Kung Fu Fighting’ featuring Carl Douglas. He is probably best-known for his entry into Eurovision 2006 for the UK (the year after fellow Twenty Quid nominee Javine), ‘Teenage Life’. The song scored 25 points in Athens, but was a top ten hit in the UK, peaking at #8. Daz has since tried to enter the contest two further times, representing Belarus, but has not made it through the national selection process. He also has a separate career as a footballer and football manager, having worked as a manager of football clubs in Poland, Florida and Bhutan.
@DJHazey (2): Oh I thought they just did remixes like that Clea one that goes awf. We will go ahead and file this under the 'sometimes legendary songs should not have a donk added to them' category and move along. Hall and Oates should be disgraced.
@Phonetics Girl (6.5): I was relieved when they moved onto Ai No Corrida.
@WowWowWowWow (7.5): Will always have a place in my heart for this flash in the pan genre of "take a song you kind of remember and send it through a filter, voila, club classic in progress."
@Sally_Harper (8): I still get this stuck in my head ALL THE TIME. So repetitive but so bloody catchy!
@berserkboi (8.5): The sample clearly comes from a bop since it doesn’t have anything else going on dd
@Sprockrooster (10): The epitome of 00's trance. A timeless classic at this point.
Second part of the tie coming up soon!
Out of Touch is such a classic. Honestly I think it's much better than the original, which doesn't really have much going for it other than the chorus, and, well, the Uniting Nations version is just the chorus on repeat, so it's superior dd
I really don't care, but I fucking love Out of Touch. Even the original. There's just something about that chorus that does it for me.
That, and the fact that it takes me back to my days at uni, which were, well... wild.
Before I reveal the next elimination... I have fucked up and not included @MilesAngel's scores in the rate (thank you @MilesAngel for alerting me!)
I'll add these back in and work out how much it changes things this evening, and then move on with the eliminations. Sorry everyone x
Okay... things move around slightly, as well as some changes in averages:
60. Busted - What I Go to School For (4.23)
59. McFly - 5 Colours in Her Hair (4.66) (was 58)
58. Busted - Crashed the Wedding (4.7) (was 59)
57. Robbie Williams - Radio (4.92)
56. Abs - Stop Sign (5.3)
55. S Club - Say Goodbye (5.42)
54. Matt Willis - Up All Night (5.5)
53. Daniel Bedingfield - If You’re Not the One (5.86)
52. Hot Chip - Over and Over (6.34)
51. Kaiser Chiefs - Every Day I Love You Less and Less (6.39)
50. Robbie Williams - She’s Madonna (6.54) (was 48)
49. Amy Studt - Misfit (6.61)
48. Will Young - Who Am I (6.63) (was 50)
47. Bodyrox - Yeah Yeah (feat. Luciana) (6.66) (was 45)
46. Calvin Harris - Acceptable in the 80s (6.7)
45. Verbalicious - Don’t Play Nice (6.75)
44. Ladytron - Seventeen (6.83)
43. Will Young - Leave Right Now (6.97)
42. Mylo - In My Arms (7.05)
41. Javine - Surrender (Your Love) (7.13)
40. S Club Juniors - New Direction (7.22)
I'll edit the posts to reflect all of this later this evening.
'Out of Touch' should not have been eliminated yet. The good news is, @MilesAngel's scores break the tie, so the actual next elimination (which is now 39) is coming right up.
Keane - Somewhere Only We Know (2004)
Average Score: 7.3
Highest Score: 10 (@Epic Chocolat, @berserkboi, @marie_05, @Untouchable Ace, @TéléDex)
Lowest Score: 2 (@klow)
My Score: 7
“Keane make brilliant pop singles”. So declared the Popjustice homepage in July 2004, presumably in response to popheads furious at ‘Somewhere We Know’s inclusion on the Twenty Quid shortlist.
Maybe because of the reaction at the time, but I was pleasantly surprised by how well Keane have managed to do in the rate; particularly in comparison to the litany of men we said goodbye to in the bottom 10. I have a real soft spot for this song and, even moreso, for ‘Everybody’s Changing’.
On their debut in the early 2000s, Keane became known as a ‘guitar band with no guitars’, fitting into the indie-rock scene of the mid-2000s but featuring the piano as the most prominent instrument. That piano is front and centre on ‘Somewhere Only We Know’, the debut single from the band and lead from their first album, Hopes and Fears, written by keyboardist Tim Rice-Oxley, vocalist Tom Chaplin and drummer Richard Hughes
Released in early 2004, ‘Somewhere Only We Know’ charted at #3 in the UK, behind Busted’s #1 hit ‘Who’s David?’ and Pop Idol contestants Sam & Mark’s truly barrel-scraping cover of ‘With a Little Help From My Friends’. Coincidentally, Sam & Mark won the vote for the 2004 ‘£20 Invoice Prize’, representing the worst British single of the year, for their follow-up release ‘The Sun Has Come Your Way’. That song beat out greats including Michelle McManus’ ‘The Meaning of Love’, The Idols’ ‘Happy Xmas (War is Over)’ (the voters had it in for Pop Idol) and Fast Food Rockers’ ‘I Love Christmas’ for the “honour”…
‘Somewhere Only We Know’ was later released in the US and peaked at #50 on the Hot 100. It was also memorably covered (alas, in a slightly neutered version) by Lily Allen for a John Lewis advert in 2013, out-charting the original and becoming her third UK number one single. Hopes and Fears became the second-best selling album of 2004 in the UK, winning a BRIT Award for Best Album in 2005, and has become of the best-selling British albums of all time. It had four further singles released, including the top 10 hits ‘Bedshaped’ and ‘Everybody’s Changing’.
Hopes and Fears was also shortlisted for the 2004 Mercury Prize. As I’ve mentioned in a couple of previous write-ups, there are only a small group of artists who have achieved the feat of being shortlisted for both awards for the same album/era. Keane (together with Jamelia) were the first act to pull this off, though both lost out to Franz Ferdinand’s self-titled debut at the Mercury. For the zine accompanying the 2004 Prize, Peter asked Tim Rice-Oxley if the nomination for the Twenty Quid meant more than the band’s Mercury nomination, and he very diplomatically dodged the question nn.
And as for that point about Keane making brilliant pop singles? If ‘Somewhere Only We Know’ and ‘Everybody’s Changing’ weren’t enough to prove it, Rice-Oxley is responsible for Gwen Stefani career highlight ‘Early Winter’, and the gorgeous ‘Everything is Beautiful’ from Kylie Minogue’s Aphrodite album. Case closed.
@DJHazey (3): Was this in the Indie Rock Rate or the UK #1’s Rate, in any case re-visiting it has done nothing. The kind of melodramatic shit I can never get into, it’s like a less evil version of “How to Save a Life”.
@BubblegumBoy (4): Another one that really makes you question Peter’s choices
@Sally_Harper (7): This is one of those songs where on a bad day I end up a snivelling wreck but the rest of the time it’s just nice and piano-y. I was going to write something along the lines of “Aaah, remember when Lily Allen covered this for John Lewis a couple of years back and everyone cried?” but then I looked it up and it was 2013. Nearly a fucking DECADE ago. My sense of time, where has it gone? I’m getting old etc etc.
@Kyle. (9): I appreciate its not exactly a PJ style song but this really does hit.
@CorgiCorgiCorgi (9): Sorry, I love Keane. this isn't their best single (I am partial to Everybody's Changing) but this is still a lovely little song. it's very timeless and I think it will age better than most other adult alternative from the 2000s.
@berserkboi (10): Amazing as ever!
Everybody's Changing is another 10/11! Well said @CorgiCorgiCorgi
On the Keane front, don’t sleep on This Is The Last Time:
It is a brilliant pop song. Was then, is now. I don't see how anyone with functioning ears is comparing it to the absolute dirge that is How To Save A Life.
The less said about the Lily version and the entire trend for wispy-voice acoustic covers that still refuses to die, the better.
Ah well, goodbye Keane.
Of course I would have given my 11 to Somewhere Only We Know in every other rate, but in an utterly bizarre twist of events this rate proved itself to be the worst case of Sophie’s Choice ever for me on this forum and Keane lost out. In a way I feel bad for missing my only chance to throw an 11 their way, but to be fair, the other act deserved it so much.
Almost 20 years down the line, Somewhere Only We Know has established itself as a huge classic. I’d say it’s the Angels of the 00s, except much better! I credit Keane and specifically Somewhere Only We Know with music legitimately taking over my life in 2004. I heard this song and it blew me away. The melody, the vocals, my 17 year old self had never heard anything that beautiful before. And no, the album did not disappoint. That whole era was flawless back then and now that the dust has settled, it still holds up.
Did it deserve to do better? Of course, but considering that male act + ballad = guaranteed flop on this forum, I guess they did OK. That being said, I can accept acts like Girls Aloud/Sugababes/Rachel etc. beating them, but Uniting Nations? Does.not.compute.
This is an actual rate crime that Keane are out now.
Speaking of Keane, I’ve always wondered if the chorus for this was a little bit inspired by Call The Shots:
Oh no, my rate villain side is showing again. *ducks*
Well those are my last scores below a 5, I swear!
Also, this Keane song issa a bop. So... truce?
I missed the voting this time but I think I've locked in my 11 for part 2. Unless one of the songs I need a reminder on blows me away, but I'd be surprised.
I can't believe this is unmentioned, my 11 in a Keane rate
Speaking of Keane bops:
Everybody's Changing would be the third song in my holy trinity.
I'm very much in the minority on this, but I thought Under The Iron Sea was an even better album than Hopes And Fears. Some absolutely stunning songs on there: Atlantic, A Bad Dream, Hamburg Song, Try Again...
Hopes and Fears has the advantage of having been released first, but Under The Iron Sea is objectively just as good or perhaps even better (albeit darker and not as hit-heavy). I’ve always wished for them to push the envelope a bit further in that direction, but at this point I don’t think it’s going to happen. Still, all of their later albums did have their moments of brilliance (despite being a bit on the patchy side).
Anyway, my holy trinity would be Somewhere Only We Know, Bedshaped and My Shadow.
Separate names with a comma.