This Time I Know It's A Rate- The PWL/SAW rate 1989-1993- THE WINNER! | Page 28 | The Popjustice Forum

This Time I Know It's A Rate- The PWL/SAW rate 1989-1993- THE WINNER!

Discussion in 'Charts, rates etc' started by gezza76, Mar 12, 2019.

  1. Cool, wonder what will be shown the door tonight then?...
     
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    ERROL BROWN- SEND A PRAYER (TO HEAVEN)

    AVERAGE SCORE: 2.8
    HIGHEST SCORE: 7 X 1 @Eric
    LOWEST SCORE: 0 X 3 @CasuallyCrazed @CasperFan @CatastropheBoy


    PEAK POSITION: 83
    RELEASED: DECEMBER 1990


    Asked what his prediction for the Christmas No 1 in 1990 was going to be I recall Pete Waterman going for this! He produced it but I’m sure that was just co-incidence. Anyway whilst Cliff was sitting pretty with “Saviour’s Day” this ended up…..slightly lower. Not to worry he still had “You Sexy Thing” to dine out on.

    What did PJ say?

    Some fans including @nanafan “One of my Christmas staples. I find the 7" a bit dull but The Full Monte 12" has some amazing instrumental bits in it, should have charted but I guess it was the wrong artist” and @Eric “A lovely Christmas ballad” who give it decent marks.

    Others give Brown some credit for his vocal abilities @WhatKindOfKylie? nods “Great vocals I can't deny that. Just a slightly boring song that's all hence why no more than a 3 for me” and @ohnoitisnathan acknowledges “Another unexpected SAW collaboration. He can sing, but the song’s not that interesting.”

    The song itself seemed to be the problem for most including me “Needless slush- I suppose in context of Xmas records of the time it isn’t awful but that’s damning with faint praise- to be diplomatic. A touch of Eurovision to it too”, @Odge “Sounds like a play for a Christmas hit single. That clearly and deservedly failed” and @CasperFan “Ugh crappy song, vomit-inducing lyrics, lame production-fail!” whilst @iheartpoptarts is optimistic “Well, I hope it made some money for charity, at least.”

    @MixmasterRemix had a wish however “Not bad but not my cup of tea. Wish they’d at least done a dance track with him for the b-side.”


    7" Mix


    12" Mix
     
    Last edited: Apr 29, 2019
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    L.A MOOD- OLE OLE


    AVERAGE SCORE: 2.9
    HIGHEST SCORE: 7 X 1 @idratherjack
    LOWEST SCORE: 0 x 2 @CasperFan @letuinmybackdoor


    PEAK POSITION: 78
    RELEASED: OCTOBER 1990


    You might have thought this would have done slightly better had it been timed with the world cup in 1990 but instead we get a bizarre October release and the track suitably bombs. The outfit was apparently a pseudonym for Pat & Mick (You’d have thought their name alone would have helped sell it).


    What did PJ say?


    So we all pretty much agreed this was awful- the nicest comment I could get is from @WhatKindOfKylie? “A bit of a racket! This was well and truly aimed at 'rave-goers' methinks, as opposed to the charts itself. But, I wouldn't exactly turn it off either“- yes hardly a ringing endorsement! @nanafan gives us some hope “A very strange release. Did they really think this would be a hit? The Cerveza Mix isn’t bad though”

    The rest of us aren’t as unforgiving however, @CasperFan has only “Utter shite!” to contribute to the review, @iheartpoptarts is puzzled “This is a song?! I thought it was just a random chant people sang at sports games and stuff…” @Odge has other things on their mind “If I was dancing in a club and this came on, I’d leave for a toilet break” and I’m no less unhappy “Basically a dance version of the sporting chant- and as dull as that sounds”.

    At least for @ohnoitisnathan “This is new to me. The ‘ole ole ole’ and ‘hear the drummer get wicked!’ samples are not” and @MixmasterRemix remains diplomatic “Never exceeds what you’d expect of a track that started life as a Pat & Mick b-side written just to get publishing royalties.”


    7" Mix


    12" Mix
     
  4. No two great big losses there in my view.
     
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  5. Of course there's a Cerveza Mix!
     
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  6. Finally, a song I gave a score to! Objectively LA Mood is dreadful but I am a real sucker for that early 90s rave sound which saved it for me. I could listen to that style of production all day long. And frequently do.
     
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  7. One thing I will say is that PWL certainly did aim at every music taste. Even if their results were not always good.
     
  8. I'll be back on Thursday with more of your zero's!
     
    Last edited: Apr 30, 2019
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  9. Please let Shakey, finally be shown the door!
     
  10. I feel the rate can begin in earnest when the Shaky scourge is over.
     
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  11. Gosh... Being drunk out of my head when scoring most of these and having a bad hangover for the rest really didn't help things in the end, n'est-ce pas?
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  12. I had wondered, suddenly it all makes sense!
     
  13. Bloody hell...
     
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  14. @MixmasterRemix can you explain this to me? Who wanted royalties, and why / how would they get royalties if it wasn't a hit? I'm so dense on these subjects but find them fascinating.
     
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  15. No prob, happy to explain. So the profits made on single would get divided up a few ways. For the Pat & Mick singles, the performance royalties (that would normally go to the artist) went to Help A London Child. But the publishing royalties would still go to the original songwriters (or whoever owned the copyright at that point) and not to the charity. Since the Pat & Mick singles were all covers, SAW would throw on these mostly instrumental original tracks that listed SAW as the songwriters onto the singles so they could garner a partial amount of the publishing royalties paid on the singles sold. You probably know this but they added a SAW-written b-side on almost all the cover songs they released and probably made a decent amount off things like Jason’s “Just Call Me Up” or Kylie’s “We Know the Meaning of Love.” But as you mention, it didn’t do much if the a-side wasn’t a hit. “Olé” was originally part of the Pat & Mick “Concrete Megamix” that came out as a single after “Gimmie Some” and was then re-used on the b-side of Pat & Mick’s “Hot Hot Hot.” Both of those were flops so the royalties were likely negligible but since “Olé” was probably thrown together in an afternoon, it would be worth taking that amount of risk in hopes the singles would be hits.

    Hope this makes sense! Let me know if you need me to explain it any more. :-)
     
  16. Thanks so much, I find that so interesting. I'm assuming this is also why Five Star so often put a self-written instrumental as their b-sides. It all makes sense now.
    I know it's a different era now, but back in the day when singles were sold, would the writers of the B-side get the same share as the writer of the A-side? Or would the writers pf the A-side get a higher share?
     
  17. And why Soft Cell lost out on a lot of money on "Tainted Love" when it was released as a single - it had another cover on the B side "Where did our love go" - Marc Almond/David Ball stated this in an interview not so long ago...
     
  18. From memory when you ask to do a cover the writer or whoever controls the rights can either ask for a one off payment or a cut of the royalties depending, I assume, on how successful they think the cover will be depending on who it is etc.
     
  19. Great start to this rate! I gave 6 songs a 0 and 5 a 1 and they are all out already. So no surprises for me and hopefully it will continue like this (but I doubt it).
     
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  20. The A and B sides used to be split equally. One of the things which almost caused Queen to break up in the 70s, was the fact that Roger Taylor got as much for "I Love My Car" (the B-side to Bohemian Rhapsody) as Freddie made from "Bohemian Rhapsody" itself. In the 80s, the band decided the only way to stop all the ill-feeling was to make everything a 4-way compositional credit.
     
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