she/her
The 90's US One-Hit Wonders Rate: WINNER REVEALED - Goodbye, farewell and amen
- Thread starter Ironheade
- Start date
"Sell Out" was actually a potential candidate for the list, but I decided it wasn't a big enough hit in pop chart terms and the Bosstones took the ska spot. Good tune, though.
(Reel Big Fish actually played my university in 2014! That was a fun night.)
Alright, guys, here's some news. In the next elimination, we will lose somebody's 11 for the first time. And it's a big one, trust me.
So for now, how about we dispose of MORE ADULT ALTERNATIVE?
49. COUNTING BLUE CARS
Average score: 5.729
Highest scores: 1 x 10 (@Andy French )
Lowest scores: 1 x 2.5 (@yuuurei )
Chart positions: #15 Hot 100, #5 Radio Songs, #4 Mainstream Top 40, #5 Adult Top 40, #1 Modern Rock, #2 Mainstream Rock
Year-End Hot 100: #28 (1996)
Who? Oh yeah, them...
So I've talked a bit about adult-alternative radio and how much it came to dominate mainstream rock in the 90's, but I think it deserves a little more analysis. In particular, we must examine one of its primary currents: that particular curious strain of pop-rock from the mid-90's, typified best by blockbuster records like Yourself or Someone Like You. This is one of those styles of music that could only have existed at this particular time, drawing currents from various strains of alternative rock, distilling them into a mild mixture that served as something of a sunnier antidote to the heaviness and noise that kept grunge off pop radio. It was too poppy to be post-grunge, but it had a few of the angstier signifiers; it had a bit of roots-rock flavour, but not enough to be full-on folk fare; the guitars jangled like 80's college rock, but had a bit more of a distorted bite to them. Serious-minded and sober, yet melodic and smooth, all things to all people, a brand of music perfectly primed for crossover hits on many a different format. And that's where Dishwalla comes in.
Honestly, I've done quite a bit of searching, but this really is another band where there is hardly anything I can say about their backstory. Dishwalla originated in Santa Barbara, first coming together in 1993. The name is a term that refers to satellite TV pirates in India, and comes from this Wired magazine article that their guitarist Rodney Browning Cravens read about the topic (“wala” or “wallah” being a Hindi suffix indicating a person involved with a specific activity or business – this has been your language lesson for the writeup). They're another band who contributed to a famous tribute album: what the Bosstones did for Kiss My Ass, Dishwalla did for If I Were a Carpenter, the well-known collection of alternative rock covers of Carpenters songs, contributing their own interpretation of “It's Going to Take Some Time”. That was a pretty big coup for them, as an unsigned local band, to be on a compilation with the likes of Sheryl Crow and the Cranberries, plus 4 Non Blondes for a bit of OHW CROSSOVER. And that was indicative of the local popularity that they built up, enough to get them signed to A&M Records, where they put out their debut album Pet Your Friends in 1995.
A good album to play when you're walking your deer.
The thing about adult alternative radio is, once they start playing a song, they will never stop, not until it becomes a veritable bombardment. Just like “Barely Breathing”, another of the rate's massive adult-contemporary pop-rock hits, “Counting Blue Cars” had the benefit of a greatly extended chart run, spending 48 weeks on the Hot 100, hence its high position on the year-end chart despite not cracking the Top 10. Part of that push came from the song's feature in Empire Records, the quintessential listen-to-the-hits-of-the-day movie of the 90's. And that's really all there is to say about the band themselves, so let's talk about that one lyric you're all curious about: the somewhat iconic “Tell me all your thoughts on God, cause I'd really like to meet her”, which I have to imagine is a big part of why “Counting Blue Cars” caught people's attention and has somewhat endured in the pop-culture memory. Now that's something you don't tend to hear much of, referring to God as a woman. Is it intended a feminist statement of some sort? A way of tweaking the nose of the more dogmatic religious types? Well, no, not really, though some Bible-thumper noses were certainly tweaked: according to Dishwalla's lead singer J.R. Richards (who, according to his own website, happens to be a direct descendant of Robert the Bruce!), it actually got to the point of him getting some death threats over it. Which is not very pious behaviour, if you ask me. This is what he had to say about that topic, in an interview with Songfacts.
Fair enough. To the choons!
So what do I think?
6.5. They might have wanted me to tell them all my thoughts on God, which I could happily do, but telling you all my thoughts on “Counting Blue Cars” is a bit harder, because I don't have many. I mean... it's fine, and definitely not bad by any means. The opening guitar jangle mixed in with a bit of distortion is very typical of its era but works effectively to get the song going, the verses drift along pleasantly on the back of a glimmering keyboard melody before the guitars kick up again for the chorus, the lyrics are decently written, and J.R. Richards' voice is smoothly plaintive in the best traditions of his contemporaries and never taxing to listen to. Certainly, I can say it's well put together. It's just that “Counting Blue Cars” could very easily be by any number of other bands, and while it has multiple enjoyable elements, what it does lack is that one killer hook or riff to really tie it all together, as it's a bit too low-key for its own good. I've got to be honest, I didn't find it all that catchy at first, and while it's grown on me somewhat over time, I still can't say that I can pick out anything too special about it. Sorry, Dishwalla. At least you can bring an interesting theological perspective? (Someone introduce them to Joan Osborne, stat!)
Where Are They Now?™
So what do you do when your debut single, as an unknown band, is as massive a hit as “Counting Blue Cars” was? It's a tough task, considering that anything that big will probably overshadow all that follows, and you immediately face immense pressure to live up to it. The answer, in this rate, is usually that you attempt to capture the same sound and don't quite nail it, and that's what Dishwalla did. Pet Your Friends spawned two more primary singles: “Charlie Brown's Parents”, which fizzled out at #24 on Mainstream Rock and didn't cross over to any other format (despite being one of Dishwalla's more popular songs in concert), and “Give”, which had to content itself with a #26 on the Adult Top 40. I'm not quite sure why they couldn't score another hits, but having listened to the record, I must come to a sad conclusion: Dishwalla were just not a very special band, not bad or unpleasant to listen to by any means, but certainly generic. Compared to their peers among the big-name adult alternative rock bands, they lacked the reflectiveness and poignancy of Counting Crows, the melodic nous of the Gin Blossoms, or the rootsy gutsiness of the Wallflowers; they were just another pop-rock-cum-post-grunge outfit. This may explain why, even though Pet Your Friends was certified gold off the back of “Counting Blue Cars”, it actually peaked at a lowly #89 on the Billboard 200. Yes, those were the days when a #89 album could still go gold... oh, what a fat and spoiled place was the record industry of the mid-to-late 90's.
"You didn't sell 5 million records?! Get the hell out of my office!"
The follow-up album was And You Think You Know What Life's About, which came out in 1998, and showed off the band trying to do what a lot of other rock bands in the late 90's did to keep up with the times, tricking the record out with some mild trip-hop grooves and synth bleeps, and actually did a reasonable job of it from what I've heard. It was a major commercial disappointment, however: it failed to crack the Top 100 on the album chart, and while the lead single “Once in a While” got some reasonable play on rock radio (#17 Mainstream and #20 Modern), it didn't become a pop-crossover hit on the level of “Counting Blue Cars”. Unsurprisingly, Dishwalla got dropped by A&M after that, and moved over to indie label Immergent Records for their third album, 2002's Opaline; their follow-up and last album for twelve years, their 2005 self-titled, came out through another indie, Orphanage. “Somewhere in the Middle”, the lead single from Opaline, got some minor play on adult-pop radio, but that was it in terms of any sort of success, with the self-titled record not even managing to crack the Billboard 200. The band started to drift apart and lose members after that, so the decision was made to lay it to rest for the time being.
(For the record, though, from what I've been able to gather from fan consensus, they consider Opaline to be one of the band's best works, and oddly enough, everything after Pet Your Friends has a far higher rating than it on RateYourMusic. So if you really liked “Counting Blue Cars”, then I guess you guys are going to have a good time when you go hunting for Dishwalla deep cuts? And for what it's worth, I did quite like “Until I Wake Up”, a non-single track from their second record.)
J.R. Richards relocated to the UK in that time, seeking better treatment at a “very forward-thinking” hospital in Oxford for his son, who suffers from a combination of autism and early-onset schizophrenia. This explains why, when Dishwalla reformed in 2008 to play some shows, he was not present, with Justin Fox, the frontman of their fellow Santa Barbara alternative rock band Tripdavon (who worked with Dishwalla's keyboardist Jim Wood as their producer in the past), in the lead singer role. Though they played shows sporadically over the next few years, it was not until 2012 that the band confirmed that Richards had left for good and Fox would be taking his place. Dishwalla released a twentieth-anniversary re-recording of “Counting Blue Cars” with Fox (which pretty much sounds exactly like you would expect it to, no real surprises there), and in 2017, they released their first album since reforming, entitled Juniper Road, through Arizona-based Pavement Music – which is primarily a hard rock and metal label, so they're a slightly odd fit for that. I suppose it's a bit like when the Goo Goo Dolls used to be signed to Metal Blade back in the day. Yes, that happened.
Richards has since kept himself busy, releasing three solo albums since his first record A Beautiful End in 2009, and works as one of the spearheads for the Oxford-based music and film production house Reid-Richards Productions, alongside his wife Min. For what it's worth, the change in frontmen happened entirely with his blessing, and Richards does not appear to have much desire to go back to Dishwalla. They probably don't need the original frontman anyway, because Dishwalla were a fairly anonymous, non-”rockstar” band as such outfits tend to be, and they're getting a good bit of coin playing “Counting Blue Cars” on the oldies package-tour circuit anyhow. On the tour for Junpier Road, the band happened to share the stage with Marcy Playground, Candlebox, the Gin Blossoms, Fuel, and Alien Ant Farm! Now if that's not the perfect late-Gen-X nostalgia trip right there, then I don't know what the hell is.
Oh yeah, and we can't forget Dishwalla's 1999 appearance in Charmed! Or their multiple references on How I Met Your Mother!
(Unfortunately, I could not find YouTube video of their Charmed appearance.)
OVER TO THE PEANUT GALLERY
Dull as dishwater
4Roses (3): The 90's really loved these kinds of songs, didn't they? (Sure did.)
Auntie Beryl (5.6): Yet another new one to me, this didn’t get a push over here. Can see why. Hardly anything to it. In fact, I fell asleep towards the end there, and when I came to YouTube had cued up Mr Jones by Counting Crows. It’s my fault, I should have taken precautions. Is this what the USA was doing while the British were doing electronica, trip hop, and Britpop? (And let's not forget letting Mr. Blobby to go to #1! Actually, on second thought, we SHOULD forget it.)
yuuurei (2.5): I guess god was a popular song topic in 1995. This is a tiny bit less twee than the Joan Osborne one but still a snooze.
chanex (5):
OMG I remember the chorus kinda? The definition of meh!
ModeRed (3): Insipid.
Hudweiser (4): Boring. Thought the act was named Dishwasher at first glance. (I used to play bass for Dishwasher. We could have been huge.
So for now, how about we dispose of MORE ADULT ALTERNATIVE?
49. COUNTING BLUE CARS
Average score: 5.729
Highest scores: 1 x 10 (@Andy French )
Lowest scores: 1 x 2.5 (@yuuurei )
Chart positions: #15 Hot 100, #5 Radio Songs, #4 Mainstream Top 40, #5 Adult Top 40, #1 Modern Rock, #2 Mainstream Rock
Year-End Hot 100: #28 (1996)
Who? Oh yeah, them...
So I've talked a bit about adult-alternative radio and how much it came to dominate mainstream rock in the 90's, but I think it deserves a little more analysis. In particular, we must examine one of its primary currents: that particular curious strain of pop-rock from the mid-90's, typified best by blockbuster records like Yourself or Someone Like You. This is one of those styles of music that could only have existed at this particular time, drawing currents from various strains of alternative rock, distilling them into a mild mixture that served as something of a sunnier antidote to the heaviness and noise that kept grunge off pop radio. It was too poppy to be post-grunge, but it had a few of the angstier signifiers; it had a bit of roots-rock flavour, but not enough to be full-on folk fare; the guitars jangled like 80's college rock, but had a bit more of a distorted bite to them. Serious-minded and sober, yet melodic and smooth, all things to all people, a brand of music perfectly primed for crossover hits on many a different format. And that's where Dishwalla comes in.
Honestly, I've done quite a bit of searching, but this really is another band where there is hardly anything I can say about their backstory. Dishwalla originated in Santa Barbara, first coming together in 1993. The name is a term that refers to satellite TV pirates in India, and comes from this Wired magazine article that their guitarist Rodney Browning Cravens read about the topic (“wala” or “wallah” being a Hindi suffix indicating a person involved with a specific activity or business – this has been your language lesson for the writeup). They're another band who contributed to a famous tribute album: what the Bosstones did for Kiss My Ass, Dishwalla did for If I Were a Carpenter, the well-known collection of alternative rock covers of Carpenters songs, contributing their own interpretation of “It's Going to Take Some Time”. That was a pretty big coup for them, as an unsigned local band, to be on a compilation with the likes of Sheryl Crow and the Cranberries, plus 4 Non Blondes for a bit of OHW CROSSOVER. And that was indicative of the local popularity that they built up, enough to get them signed to A&M Records, where they put out their debut album Pet Your Friends in 1995.
A good album to play when you're walking your deer.
The thing about adult alternative radio is, once they start playing a song, they will never stop, not until it becomes a veritable bombardment. Just like “Barely Breathing”, another of the rate's massive adult-contemporary pop-rock hits, “Counting Blue Cars” had the benefit of a greatly extended chart run, spending 48 weeks on the Hot 100, hence its high position on the year-end chart despite not cracking the Top 10. Part of that push came from the song's feature in Empire Records, the quintessential listen-to-the-hits-of-the-day movie of the 90's. And that's really all there is to say about the band themselves, so let's talk about that one lyric you're all curious about: the somewhat iconic “Tell me all your thoughts on God, cause I'd really like to meet her”, which I have to imagine is a big part of why “Counting Blue Cars” caught people's attention and has somewhat endured in the pop-culture memory. Now that's something you don't tend to hear much of, referring to God as a woman. Is it intended a feminist statement of some sort? A way of tweaking the nose of the more dogmatic religious types? Well, no, not really, though some Bible-thumper noses were certainly tweaked: according to Dishwalla's lead singer J.R. Richards (who, according to his own website, happens to be a direct descendant of Robert the Bruce!), it actually got to the point of him getting some death threats over it. Which is not very pious behaviour, if you ask me. This is what he had to say about that topic, in an interview with Songfacts.
Fair enough. To the choons!
So what do I think?
6.5. They might have wanted me to tell them all my thoughts on God, which I could happily do, but telling you all my thoughts on “Counting Blue Cars” is a bit harder, because I don't have many. I mean... it's fine, and definitely not bad by any means. The opening guitar jangle mixed in with a bit of distortion is very typical of its era but works effectively to get the song going, the verses drift along pleasantly on the back of a glimmering keyboard melody before the guitars kick up again for the chorus, the lyrics are decently written, and J.R. Richards' voice is smoothly plaintive in the best traditions of his contemporaries and never taxing to listen to. Certainly, I can say it's well put together. It's just that “Counting Blue Cars” could very easily be by any number of other bands, and while it has multiple enjoyable elements, what it does lack is that one killer hook or riff to really tie it all together, as it's a bit too low-key for its own good. I've got to be honest, I didn't find it all that catchy at first, and while it's grown on me somewhat over time, I still can't say that I can pick out anything too special about it. Sorry, Dishwalla. At least you can bring an interesting theological perspective? (Someone introduce them to Joan Osborne, stat!)
Where Are They Now?™
So what do you do when your debut single, as an unknown band, is as massive a hit as “Counting Blue Cars” was? It's a tough task, considering that anything that big will probably overshadow all that follows, and you immediately face immense pressure to live up to it. The answer, in this rate, is usually that you attempt to capture the same sound and don't quite nail it, and that's what Dishwalla did. Pet Your Friends spawned two more primary singles: “Charlie Brown's Parents”, which fizzled out at #24 on Mainstream Rock and didn't cross over to any other format (despite being one of Dishwalla's more popular songs in concert), and “Give”, which had to content itself with a #26 on the Adult Top 40. I'm not quite sure why they couldn't score another hits, but having listened to the record, I must come to a sad conclusion: Dishwalla were just not a very special band, not bad or unpleasant to listen to by any means, but certainly generic. Compared to their peers among the big-name adult alternative rock bands, they lacked the reflectiveness and poignancy of Counting Crows, the melodic nous of the Gin Blossoms, or the rootsy gutsiness of the Wallflowers; they were just another pop-rock-cum-post-grunge outfit. This may explain why, even though Pet Your Friends was certified gold off the back of “Counting Blue Cars”, it actually peaked at a lowly #89 on the Billboard 200. Yes, those were the days when a #89 album could still go gold... oh, what a fat and spoiled place was the record industry of the mid-to-late 90's.
"You didn't sell 5 million records?! Get the hell out of my office!"
The follow-up album was And You Think You Know What Life's About, which came out in 1998, and showed off the band trying to do what a lot of other rock bands in the late 90's did to keep up with the times, tricking the record out with some mild trip-hop grooves and synth bleeps, and actually did a reasonable job of it from what I've heard. It was a major commercial disappointment, however: it failed to crack the Top 100 on the album chart, and while the lead single “Once in a While” got some reasonable play on rock radio (#17 Mainstream and #20 Modern), it didn't become a pop-crossover hit on the level of “Counting Blue Cars”. Unsurprisingly, Dishwalla got dropped by A&M after that, and moved over to indie label Immergent Records for their third album, 2002's Opaline; their follow-up and last album for twelve years, their 2005 self-titled, came out through another indie, Orphanage. “Somewhere in the Middle”, the lead single from Opaline, got some minor play on adult-pop radio, but that was it in terms of any sort of success, with the self-titled record not even managing to crack the Billboard 200. The band started to drift apart and lose members after that, so the decision was made to lay it to rest for the time being.
(For the record, though, from what I've been able to gather from fan consensus, they consider Opaline to be one of the band's best works, and oddly enough, everything after Pet Your Friends has a far higher rating than it on RateYourMusic. So if you really liked “Counting Blue Cars”, then I guess you guys are going to have a good time when you go hunting for Dishwalla deep cuts? And for what it's worth, I did quite like “Until I Wake Up”, a non-single track from their second record.)
J.R. Richards relocated to the UK in that time, seeking better treatment at a “very forward-thinking” hospital in Oxford for his son, who suffers from a combination of autism and early-onset schizophrenia. This explains why, when Dishwalla reformed in 2008 to play some shows, he was not present, with Justin Fox, the frontman of their fellow Santa Barbara alternative rock band Tripdavon (who worked with Dishwalla's keyboardist Jim Wood as their producer in the past), in the lead singer role. Though they played shows sporadically over the next few years, it was not until 2012 that the band confirmed that Richards had left for good and Fox would be taking his place. Dishwalla released a twentieth-anniversary re-recording of “Counting Blue Cars” with Fox (which pretty much sounds exactly like you would expect it to, no real surprises there), and in 2017, they released their first album since reforming, entitled Juniper Road, through Arizona-based Pavement Music – which is primarily a hard rock and metal label, so they're a slightly odd fit for that. I suppose it's a bit like when the Goo Goo Dolls used to be signed to Metal Blade back in the day. Yes, that happened.
Richards has since kept himself busy, releasing three solo albums since his first record A Beautiful End in 2009, and works as one of the spearheads for the Oxford-based music and film production house Reid-Richards Productions, alongside his wife Min. For what it's worth, the change in frontmen happened entirely with his blessing, and Richards does not appear to have much desire to go back to Dishwalla. They probably don't need the original frontman anyway, because Dishwalla were a fairly anonymous, non-”rockstar” band as such outfits tend to be, and they're getting a good bit of coin playing “Counting Blue Cars” on the oldies package-tour circuit anyhow. On the tour for Junpier Road, the band happened to share the stage with Marcy Playground, Candlebox, the Gin Blossoms, Fuel, and Alien Ant Farm! Now if that's not the perfect late-Gen-X nostalgia trip right there, then I don't know what the hell is.
Oh yeah, and we can't forget Dishwalla's 1999 appearance in Charmed! Or their multiple references on How I Met Your Mother!
(Unfortunately, I could not find YouTube video of their Charmed appearance.)
OVER TO THE PEANUT GALLERY
Dull as dishwater
4Roses (3): The 90's really loved these kinds of songs, didn't they? (Sure did.)
Auntie Beryl (5.6): Yet another new one to me, this didn’t get a push over here. Can see why. Hardly anything to it. In fact, I fell asleep towards the end there, and when I came to YouTube had cued up Mr Jones by Counting Crows. It’s my fault, I should have taken precautions. Is this what the USA was doing while the British were doing electronica, trip hop, and Britpop? (And let's not forget letting Mr. Blobby to go to #1! Actually, on second thought, we SHOULD forget it.)
yuuurei (2.5): I guess god was a popular song topic in 1995. This is a tiny bit less twee than the Joan Osborne one but still a snooze.
chanex (5):
OMG I remember the chorus kinda? The definition of meh!
ModeRed (3): Insipid.
Hudweiser (4): Boring. Thought the act was named Dishwasher at first glance. (I used to play bass for Dishwasher. We could have been huge.
iheartpoptarts (5):
I never remember what this one is but every time I hear it I’m like, "Oh, it's that song.” (adultalternative.mp3)
berserkboi (4.3): Nope! Not what I had in mind! (Man, coming from you, that is CUTTING.)
Ganache (6): The "tell me all your thoughts on God" line is such a solid hook. But that's about it. (So how many people thought this was actually called "Tell Me All Your Thoughts on God" before? Cause I did for a while.)
You'll believe God is a woman
unnameable (6): Not bad.
DominoDancing (6.5): Okay. Minor props for the pronoun switching I guess.
Untouchable Ace (6.3): Forever immortalized by Charmed.
pop3blow2 (9): More pseudo-spiritual rock! What was going on in the 90's that made us all need Jesus! (The fact that we allowed the Flintstones movie to be made, perhaps? - Ed.) To me, this is a more successful version of 'One Of Us' to me. I like this song a lot. As a junior feminist is high school, I really liked the concept of god being a woman. It was a little thing, but makes a good song great to me.
Seventeen Days (7): A song referring to God as a woman! Ariana found time-traveling. (Now that would be one hell of a mash-up.)
saviodxl (7): Matchox 20 wannabes sound kinda cool. (Pedantic note, this actually came out before Matchbox Twenty's debut record.)
DJHazey (9): Never knew what the lead-in to the chorus was saying but I was bopping as a kid.
WowWowWowWow (8): I don’t have many thoughts on G-d but I do have lots of thoughts about what the hell happened to Dishwalla? That damn Empire Records strikes again. (I don't know, I'll just figure everything is cool until I hear it from you, hear it from you.)
Andy French (10): Honestly one of my favorite songs of all time. (...Oof. Well, now I feel bad for my writeup's contents.)
berserkboi (4.3): Nope! Not what I had in mind! (Man, coming from you, that is CUTTING.)
Ganache (6): The "tell me all your thoughts on God" line is such a solid hook. But that's about it. (So how many people thought this was actually called "Tell Me All Your Thoughts on God" before? Cause I did for a while.)
You'll believe God is a woman
unnameable (6): Not bad.
DominoDancing (6.5): Okay. Minor props for the pronoun switching I guess.
Untouchable Ace (6.3): Forever immortalized by Charmed.
pop3blow2 (9): More pseudo-spiritual rock! What was going on in the 90's that made us all need Jesus! (The fact that we allowed the Flintstones movie to be made, perhaps? - Ed.) To me, this is a more successful version of 'One Of Us' to me. I like this song a lot. As a junior feminist is high school, I really liked the concept of god being a woman. It was a little thing, but makes a good song great to me.
Seventeen Days (7): A song referring to God as a woman! Ariana found time-traveling. (Now that would be one hell of a mash-up.)
saviodxl (7): Matchox 20 wannabes sound kinda cool. (Pedantic note, this actually came out before Matchbox Twenty's debut record.)
DJHazey (9): Never knew what the lead-in to the chorus was saying but I was bopping as a kid.
WowWowWowWow (8): I don’t have many thoughts on G-d but I do have lots of thoughts about what the hell happened to Dishwalla? That damn Empire Records strikes again. (I don't know, I'll just figure everything is cool until I hear it from you, hear it from you.)
Andy French (10): Honestly one of my favorite songs of all time. (...Oof. Well, now I feel bad for my writeup's contents.)
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he/him
:(
If Jane Child was in the rate I'd say it's her ddddd
As she's not, I think it's Epic (Faith No More)
Aww, this was definitely one of my favorites in this rate. I have fond memories of that song from when I was getting super into rock music in my tween years.
With all of the alt-rock slaughtering going on, I fear for my 11.
With all of the alt-rock slaughtering going on, I fear for my 11.
she/her
Not a huge fan of this song, but I expected it to hang around a bit longer!
Have we lost Breakfast At Tiffany's yet? I feel like it's the next adult-alternative song out.
Have we lost Breakfast At Tiffany's yet? I feel like it's the next adult-alternative song out.
he/him
There were worse crimes that could've happened here. Great song but almost all of my 9 was based on "oh I haven't heard this in years!" nostalgia and the Empire Records connection. Literally one of the best films of the 90s.
What is a crime though? The Joan Osborne slander I'm hearing.
What is a crime though? The Joan Osborne slander I'm hearing.
I like Joan, but never got completely on board with One Of Us. I didn't completely tank it, because I like her voice... but it could leave sooner than later & I'd be fine.
Sames. Those GCSE level lyrics...
Well, The Flintstones did produce one top 40 hit for a little known act called the 'BC 52's'. I'm outraged they were left out of the rate. Haha!
Oh.
My.
That spent several weeks at number 3 in the UK, right behind the Love Is All Around/I Swear axis of evil. The summer of 1994 was a dark, dark time.
Apparently a total of 37 different writers worked on the Flintstones movie, which just goes to show that if you hire too many cooks, some of them might take a giant dump in the broth just for the hell of it.
she/her
I remember that flintstones film existing, but I really cannot remember anything else about it. Did I see it? I have no idea.
Worst thing is I am kinda sure I saw it in the cinema, and still I remember nothing about it. It's on the same level as Beethoven's 2nd for me. And for that one I at least remember there was a scene at...a lake.
It was beyond awful. A career low for almost everyone involved (probably open to debate in the case of Kyle Maclachlan and Halle Berry, bless them).
Fun fact - Halle Berry's character Sharon Stone was actually meant to be played by the real Sharon Stone, but she had to bow out due to a scheduling conflict with the slightly less terrible Intersection. I wonder if they ever chatted about that on the Catwoman set, in between wondering what the fuck they were doing there of course...
she/her
If you're into podcasts, We Hate Movies did an episode on the Flintstones movie, and it sure sounds... interesting.