Wednesday, 16 April 2014

25 Years Ago This Week: April 16, 1989

I wonder if ARIA actually received complaints about the top 50 chart being completely red every single week following Coca-Cola's sponsorship deal a few weeks earlier. I'm not sure what prompted it, but this week in 1989, a splash of colour was added back onto the chart with the ARIA logo changing each week thereafter (until the next redesign). Granted, the colours weren't as varied as they used to be, but at least it was something.

Tone Lōc's record won the "Wild Thing" chart battle in 1989

Why did it matter? Well, if nothing else, the colour variation made it easier to tell if the chart on the record store counter was a new one or still last week's. Nothing was more annoying (OK, that might be a slight over-exaggeration) than finding the previous week's chart still on display - and having to ask the oh-so-helpful sales assistants to dig out a new one.

ARIA Top 50 Singles Chart - week ending April 16, 1989

There was good reason to keep on top of the charts at this point 25 years ago since the battle for number 1 had never been so intense (and I can't think of it ever being so since). After two weeks waiting in the runners-up position, Madonna's "Like A Prayer" stormed back to number 1 for a second week, swapping places with Fine Young Cannibals' "She Drives Me Crazy". It was only the start of an exciting few months at the top of the singles chart.


Single Of The Week
"Real Love" by Jody Watley
Peak: number 78
Of the five singles released from her debut self-titled album, only one, 1987's "Looking For A New Love", had been a hit in Australia - and unfortunately for the former Shalamar singer, that didn't change now she was onto her second album. Despite peaking at number 2 in the US, "Real Love" didn't come anywhere near the ARIA top 50, which was pretty typical for female R&B songs that weren't by Janet Jackson. Besides Jody, artists like Karyn White, Pebbles and even Sheena Easton (who at this point of her career was working with all the same hot producers) didn't find a wide audience in Australia.




Breaker
"Cult Of Personality" by Living Colour
Peak: number 54
Run DMC's cover of "Walk This Way" had shown what could happen when rock and hip-hop joined forces - and it was those two genres (plus a few more besides) that Living Colour blended on their debut album, Vivid. The Grammy-winning single "Cult Of Personality" may not have made much of an impression on the Australian chart, but I recall the band receiving a lot of buzz locally and a fair bit of music video play for the track. The band's time would come on the singles chart - but not for a couple of years.




New Entries
Number 47 "Halleluiah Man" by Love & Money
Peak: number 47
I've always liked this song, even though it wasn't very successful for the Scottish band either here (where it spent a single week in the top 50) or in the UK. I associate it with a genre I think of as "white soul" music, named after a compilation of the same name released locally featuring acts like Wet Wet Wet, Level 42, Curiosity Killed The Cat, Kane Gang and, bizarrely, Pepsi & Shirlie. Whether or not that's an appropriate tag for the sound, there certainly was a lot of that slickly produced, vaguely soul-influenced pop coming out of the UK, with bands like Johnny Hates Jazz, Breathe and Climie Fisher a few more examples. I was a big fan of all those artists, so Love & Money fit right in to my musical taste - but it was only the odd exception that became a big hit in Australia.




Number 45 "Dirty Blvd." by Lou Reed
Peak: number 45
Another song to only spend a single week in the top 50 and another entry for which ARIA got the title wrong, "Dirty Blvd." was the lead single from Lou's New York album, one of the best received of his 14 studio sets. The track itself features Lou's unmistakably monotonous vocal delivery and became the highest-charting single of his career. Amazingly, classic single "Walk On The Wild Side" only spent a single week at number 100 back in 1973.




Number 40 "Wild Thing" by Tone Lōc
Peak: number 15
Last week, Sam Kinison debuted with his cover of rock classic "Wild Thing", and this week in 1989, rapper Tone Lōc (real name: Anthony Smith) entered the top 50 with his soon-to-be hip-hop classic of the same name, which sampled "Jamie's Cryin'" by rock legends Van Halen. "Wild Thing" was a two-million-selling smash in the States, while in Australia, his follow-up track would end up being the bigger of his two hit singles. Still, Tone's "Wild Thing" did perform better here than the other identically titled track, so that's something.




Next week: a future reality show judge makes her debut, as does one of the year's biggest singles (from one of 1989's most popular movies). Plus, we'll look at what two former members of a classic Australian band did next.


Back to: Apr 9, 1989 <<<<<<<<<<<<<  GO  >>>>>>>>>>>>> Forward to: Apr 23, 1989


10 comments:

  1. I'd almost forgotten about having to check the date on the look-a-like ARIA charts to see if it was the right one. I think I've mentioned before, but one week in 1993, I didn't find the new printed chart until Saturday (and then only one copy in a store I didn't routinely visit for them), which was very anxiety-inducing, ha ha.

    I just noticed Kokomo's platinum award. I don't remember seeing the triangle not being filled in red.

    I was somewhat surprised that 'Real Love' wasn't a bigger hit here. It seemed to be in Triple M's Top 8 at 8 for a while, and I saw the video on TV quite a bit. I guess it was still too American r&b-sounding for Australia. Its ARIA peak (seeing here for the first time) was quite a bit lower than its AMR peak (56) too.

    Love or Money's 'Hallelujah Man' would be classified as wine bar music by a member of a music forum I visit. I think the label suits that type of music. Other 'wine bar' artists would be Sade, Black, Swing Out Sister, (some) Massive Attack, and Simply Red.

    Truly shocking that the original 'Walk On the Wild Side' peaked at #100!

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    1. Swing Out Sister were also on the White Soul Music compilation. 8 Polygram acts on the one album - 12" versions, though. And not the big hits (so Wet Wet Wet's "Wishing I Was Lucky" instead of "Sweet Little Mystery") but it did introduce me to Level 42's "Lessons In Love" and Curiosity Killed The Cat, who weren't big here.

      By the way, since I know you're a stickler for these things, Love And Money's song is "Halleluiah" not "Hallelujah". ARIA got that and the Lou Reed title's wrong.

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    2. Ha ha, yes I am normally a stickler, but I have never noticed it's an 'i' instead of a 'j' in that song title! I even just checked discogs.com for 'receipts'... and you're right. Although the Aus & US singles are listed with the 'j', but when I view the entries, the picture sleeve posted shows an 'i'.

      I lived on a Boulevard(e) at this time in 1989, though it was just a fancy name for a street along a river rather than an actual boulevard (according to the wikipedia definition anyway).

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  2. A tip for when you're scanning Top 40 charts (and newspapers etc). Put a black sheet of cardboard behind the scanned paper. A (clean) folded rubbish bag will work just as well. That way the reverse side of the paper won't shine through the page.

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    1. Thanks for the tip but I used a document feeder. 500+ charts are too many to do individually!

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  3. PS. Thanks for putting the charts online! I used to have a small collection but I stupidly threw out most of them years ago.

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  4. Tone Loc was so cool in '89.... I have never seen/noticed the platinum accreditation not being filled in red either? Can't believe today, 25 years later, that the number of sales to achieve a gold or platinum accreditation are still the same. I think around this time ABC were being known as white soul music or wine bar music.

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    1. ABC were also on that compilation - with "The Night You Murdered Love" (instead of "When Smokey Sings"). I loved their singles from around that time.

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  5. I thought so and I remember Pepsi & Shirlie's cover of 'All Right Now' on that compilation.

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    1. Yeah, that was an odd inclusion - and a weird choice of cover after the previous two PWL singles.

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