The 90's Billboard #1s Rate: 1990-1994 - AND WE ARE DONE

I think the participants who remember this song and its reception that in depth from back then are pretty limited! Maybe just our PJ old timers, @Eric Generic and @Ray?

I was 13 when 'Baby Got Back' was released. It was a top 10 hit in Australia. I remember it well, and it being the topic of discussion one lunchtime at school. The video never aired here though at the time, other than in the wee hours of the morning, so I didn't actually see it until like 10+ years later!

I totally forgot about that Nicki Minaj sample. Thankfully, I've never heard the whole "song". But my impression on learning about it was, "Wow, that's such an obvious, dumb sample." It's like sampling ABBA or something (hold your tongues Madonna fans). Plus the Nicki video/song is much more overtly crass IMO than Sir Mix-a-Lot was.
 
Another 'Baby Got Back' memory/story... I went to dinner with someone from my form/'home group' in high school, 5 years after finishing school (I hadn't seen her since) and a mutual friend. And in her car on the way there, she had a tape (yes, tape... this was 2001) with 'Baby Got Back' on it and sang/rapped all (and I mean all) of the words. I was surprised/impressed she knew the whole thing.
 
Ha, no I knew someone might think I meant Queen Shania, but this one was way back...either late 80s, not much longer after the original, or the 90s...a group like Scarlet or Banderas...not them, obviously, but in that ilk...a new female act, but one that flopped.

Had to be this (if it hasn't been posted already):



#94 smash in Australia, and didn't seem to chart anywhere else (not even the UK). That's a former Belle Star singing.
 
Oh, absolutely. En Vogue did the empowerment message way better with Free Your Mind.

However, I do give Baby Got Back credit for featuring actual racism and then taking it down. After all, why are those women saying that the woman in question looks like “one of those rap guys’ girlfriends” and like “a total prostitute”? In case there was any doubt, it’s finished off with “she’s just so... black!”

Is it really "she's just so... BLACK!"? I always thought it was "she's just so... BLAH!"

I also thought the spoken female dialogue opening was between two black women (just from how I thought their voices sounded), but the video depicts two white women... or girls. From memory they looked like teens.
 
Well.. google proves me wrong (or am I right and everyone else is wrong?):

"baby got back" "she's just so blah" yields 303 results.

"baby got back" "she's just so black" yields 10,900 results.
 

londonrain

Staff member
Is it really "she's just so... BLACK!"? I always thought it was "she's just so... BLAH!"

I also thought the spoken female dialogue opening was between two black women (just from how I thought their voices sounded), but the video depicts two white women... or girls. From memory they looked like teens.
I think they’re meant to be the “valley girl” stereotype that was depicted a lot at the time.
 
I think they’re meant to be the “valley girl” stereotype that was depicted a lot at the time.

Not really in Oz. I hadn't heard of "valley girls" until seeing the term used on the interwebz in the late 90s.

They sounded like Cosby kids to me... perhaps minus the looks like a total prostitute comment.
 

londonrain

Staff member
Not really in Oz. I hadn't heard of "valley girls" until seeing the term used on the interwebz in the late 90s.

They sounded like Cosby kids to me... perhaps minus the looks like a total prostitute comment.

They do describe the character as being a "valley girl" in this video, in which they interview Amylia Rivas (formerly Dorsey), the woman who actually did the voice.

There's more on it in this article:
It started with Dorsey, whose upbringing had encouraged a keen aptitude for mimicking voices and accents. “The one [at the beginning of] “Baby” was based on girls I grew up around,” she told Vulture. “My friend and I would constantly do that voice back and forth as a joke: I’d call her and say: ‘hell-loh’ or ‘ohmygawd!!!’ He’d heard me do the voice many times; it comes the easiest of all the voices I do, and he loved it.”

“Originally it was going to be a serious song, but we realised that if we made it serious, they wouldn’t take it serious. It would just be dismissed,” he told Vlad TV. “I was like, how do I make this statement but keep it tongue-in-cheek? And I did it.”

Baby Got Back’s opening line, that of a faux Valley Girl horrified by the prideful posterior of a black woman, was the first bit of the song to be laid down. Then Sir Mix-a-Lot wrote the lyrics.

My favourite bit of the article is probably this, though:
Bernstein looked to the “ass-obsessed” French fashion photographer Jean-Paul Goude, and decided to build an enormous pair of buttocks for Sir Mix-a-Lot to rap from in the video. They took the cue to paint it gold from his lyrics: “Some brothers wanna play that hard role/And tell you that the butt ain’t gold”. It was so big, and so shiny, that it almost temporarily blinded Sir Mix-a-Lot. “I walked on the set, and the first thing I saw was a 50-foot yellow ass. They said it was gonna be big, but it didn’t make any sense until you saw that it was as big as a house. There was a ladder going up the backside, and I was running all around that ass.”
 
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Welcome back, ladies and gentlementlemen! Remember how I said there were a few hanging about that really needed to go? This is one of them.






































Oh, look! It's another one for the Crap Covers Parade!

72. Can't Help Falling in Love - UB40

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Average: 5.483
Highest score: 3 x 10 (@berserkboi , @Filippa , @ohnoitisnathan )
Lowest score: 3 x 0 (@soratami , @iheartpoptarts , @Jeffo )
Weeks at #1: 7 consecutive Hot 100, 4 consecutive airplay
Year-End Hot 100: #3 (1993)

I don't know how popular an opinion this is, but here goes: UB40 sucks, and with the exception of some of their pre-Labour of Love work, has pretty much always sucked. It is to their credit, I suppose, that they introduced reggae to a much wider audience in the 80's, bringing some much-needed additional exposure to the likes of Jimmy Cliff and Lord Creator, and I don't doubt that Ali Campbell and friends had a genuine passion for the music; nevertheless, their watered-down pop take on the genre withers and dies whenever it is held up next to the real thing, and in their many covers, the vitality and life-or-death stakes of the best roots reggae recordings end up totally drained. Having said that, early (self-penned) singles like “King” and “One in Ten” could compensate for the band's middling musicianship with a decent amount of passion and surprisingly sharp political lyrics, but by 1993, those qualities were long gone; in its place was dull adult contemporary pop with mild reggae trimmings, and an endless conga line of soggy cover versions. And they don't get much soggier than this one.

We've encountered plenty of covers in this rate, but this arguably has the most classic source material: “Can't Help Falling in Love”, Elvis Presley's signature ballad, which he had already taken to number one in 1961. And as we always do when we encounter a cover, let's talk about the original a minute. While it is a great song, of course, the primary worth of “Can't Help Falling in Love” is as a record. The descending baroque chord sequences are beautiful enough on their own, but the crisp lightness of touch in the production gives them an additional airiness and lift, as the refined warmth of Elvis' vocal performance and the smooth harmonies of the Jordanaires make this, a relatively simple ballad at its core, sound transcendent. Unlike the more dramatic Elvis ballads, “Are You Lonesome Tonight” for example, there is no hint of melodrama or schmaltz: rather, there is only simple purity and grace.

So what do UB40 do with this? Translate it into their standard stiff and tinny cod-reggae style, of course! Honestly, I sort of like the addition of the trumpets here, but they're produced so badly that they might as well be synth horns; the rest of the song is dominated by thunky electronic drums and an overly loud bass synth that sounds several years out of date. There's no looseness or groove like a good reggae song should have; rather, it sounds sluggish and tired. Little connects this song to reggae besides the main piano figure, and while I suppose a reggae cover of “Can't Help Falling in Love” could work in theory, speeding up the song's careful tempo does it no favours whatsoever. Ali Campbell doesn't help matters any, of course; you have to have some balls to try and compete with the King vocally, but when your voice is a painfully toneless snotty whine and you have all the vocal charisma of cold unseasoned mashed potato, it takes an unbelievable amount of arrogance. The “like a river flows” bridge that was so warmly caressed by Elvis gets it worst, transformed into nothing but another petulant death-moan, but the entirety of the lyric is sung through without a hint of desire or passion. Even when he tries a little harder on the organ-driven intro, he's painfully exposed and out of his depth. The hopelessly in love performance ends up sounding more like a studied, knowing run-through, by a band that must surely now be aware that they can cover a classic song and sell huge numbers and who cares if it sounds like ass?

Now, I'd give this one maybe a 3.5 under its own merits. But like Michael Bolton, it gets the “wrecking a classic” points knocked off. No, it's not nearly as bad as “When a Man Loves a Woman”, very little gets close to that... but it still blows. Not to the commentariat though, apparently.

Filippa (10) - I don’t really like it when Elvis sings it. I love it from UB40. And I truly adore Ali Campbell’s voice. (...I guess I should have looked at the commentary before I wrote all that, huh. Oh well.)

berserkboi (10) - A classic, enhanced so well in the reggae-ton fashion by UB40. (...Not sure this is reggaeton, me old son.)

mung_bean (7) - I’ve always quite liked this; it’s enjoyable and inoffensive if nothing else.

japanbonustrack (8) - Super cute.

ohnoitsnathan (10) - Always liked this one, though it did get a bit overplayed at the time. (And that describes most Billboard #1s, really!)

WowWowWowWow (8) - On paper I should hate this but somehow it works...

Rooneyboy (9) - Great version, and I also loved the film Sliver which featured it heavily. (Yeah, you and the people who choose Razzies! It was nominated for seven, but won none, taking the usual Razzie "erotic thriller" slot that was open for them all through the 90's.)

Sprockrooster (9) - No idea this was a #1. So many classics to their name. And this is definitely one of them.

GimmeWork (8) - Sure the original is a 10, but this is still a pretty decent cover. (Until you try to compare it to the original and it goes *pfft*. That describes most UB40 covers, though.)

Mina (2) - I never thought I'd say this, but....poor Elvis? (Enjoy this moment of us aligning while it lasts...)

londonrain (3) - This is the first version of the song I ever heard and at the time I moderately liked it, although it was never a favourite of mine. Listening to this for the first time in years... I’ve discovered that I have no nostalgia for it whatsoever. Oh well. (The cure was a total success!)

DJHazey (1) - I can't give my parent's wedding song a 0 (D'awwwww!), but this guy's voice is an atrocity.

soratami (0) - Too bad we can't give -1s here. (Believe me, I considered it when I saw "When a Man Loves a Woman" on the list...)

Empty Shoebox (3) - Another cover. At least this one tries something a little different. A*Teens did it better though. (A rare sentence, there.)

iheartpoptarts (0) - Horrible idea. Now post the A*Teens version with puppies. (OK then, but I can't say I think much of that one either, and that's me being polite...)



At least it's not "Here I Am (Come and Take Me)". Somehow, UB40 found a way to make Al Green sound unsoulful. ...How do you even do that?!​
 
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londonrain

Staff member
Hurrah! An excellent elimination. Now if we can get on to some of my more controversial low scores I'll be very happy... even if nobody else is.

Empty Shoebox (3)
- Another cover. At least this one tries something a little different. A*Teens did it better though.
(A rare sentence, there.)

iheartpoptarts (0) - Horrible idea. Now post the A*Teens version with puppies. (OK then, but I can't say I think much of that one either...)


This video deserves to be watched on mute. I enjoyed looking at it but good grief, that cover is awful.
 
You could argue that UB40 put their own stamp on the song; then again, Pet Shop Boys did likewise with Always On My Mind and that cover is a billion times better than this one. And once again - THAT FILM. Dear God.

Baby Got Back bombed in the UK, so I think my first actual exposure to it was the Friends episode. I hadn't even noticed it was in the rate.
 
I agree with Eric. The song isn't much in the first place.

Pet Shop Boys was a far far better cover partly because it was a far far better song in the first place.

I vaguely remember Sliver being a terrible film.

The best thing about it was the Aftershock song.

 

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