The third month of the new feature. The charts of March 1990 had Beats International at the top for a while, but from the aspect of singles making their entry during the month, one act kind of stands out….and they are actually up first.
Three months after Fool’s Gold had given Stone Roses a first major hit, a re-issued Elephant Stone matched the achievement with a #8 placing on the week of entry, 3 March 1990. Rather surprisingly, it dropped down two places immediately after, eventually slipping out of the Top 75 altogether after six weeks.
In at #32 on 3 March and managed to crawl its up three more places the following week. A very rare instance of a Marc Almond-penned single cracking the top end of the charts. This was his 14th such single and only his third to reach the Top 40, with his other hits all being covers.
A band that had enjoyed minimal success prior to this over the previous 12 years, with just a 1986 re-release of a double-A single consisting of Rock Lobster/ Planet Clare selling in any sort of numbers. Tailor-made for radio with its catchy and shout-along chorus, it was no surprise that after entering the charts on 3 March at #33 it hung around for almost three months, peaking at #2 for three weeks, kept off the top spot initially by Beats International and then by German dance-act Snap, whose song The Power would first enter the charts later in the month and enjoy two weeks at the very top in late March/early April.
A band that had been regarded as something of a joke throughout the late 80s. This was something completely different. It’s an example of a song that actually didn’t do all that much sales-wise but whose influence would prove to be so much greater. It came in at #47 on 3 March and just over a month later it reached its peak of #16. It was out of the charts by the time the summer arrived, but it proved to be a massive hit in the clubs all year long, setting the tone for the huge sales of the album Screamadelica when it hit the shops some seven months later.
De-Luxe – Lush (from the Mad Love EP)
I didn’t think I was going to be able to salvage any new entries from the chaert of 10 March until my eyes got all the way down to #55. The debut EP disappeared as quickly as it had come in as would be the case throughout Lush’s career. Eight times they made the Top 75, not once did any of the singles stay longer than three weeks – even the big hits from the mid-90s which developed the habit of coming in high on the week of release (Single Girl : #21, Ladykillers : #22, 500 (Shake Baby Shake): #21) before crashing and burning.
One–hit wonders with this debut effort, with the follow-up stalling at #60 and two further efforts not cracking the Top 75. In at #18 on 17 March and it eventually got as high as #3. The duo of by Danny Spencer (vocals, keyboards) and Ric Peet (keyboards) named themselves after candyflipping, the name given to the taking of ecstasy and LSD at the same time. It’s no surprise that they turned their attention to a rave/acid house take on the Beatles song
The cash-in continues. At least Elephant Stone hadn’t been on the debut album so there perhaps were legitimate reasons for its re-issue so that folk could own and enjoy it. Made of Stone had bombed exactly 12 months later with a placement of #90. This time around, it came in on 17 March at #20, which proved to be its peak as it dropped down immediately. Silvertone Records weren’t quite finished mind you…..
Having been linked into the Manchester/baggy movement, it was no real surprise that Inspiral Carpets were next to come off the conveyer belt as far as the charts were concerned. This Is How It Feels is an almighty piece of music, one that I featured just yesterday on the songs as short stories series. It’s a disgrace that the sentiments from the song are just as applicable today as they were 30 years ago. Entered the charts at #22, got up to #14 a couple of weeks later and was only ever bettered, performance-wise, by Dragging Me Down two years later.
Further evidence that dance music from the clubs and the fields where the raves were happening was crossing over into the mainstream. Orbital, consisting of brothers Phil and Paul Hartnoll, took their name from the M25, the orbital motorway that circles Greater London and which was central to the rave scene and party network in the South East of England during the early days of acid house. Chime was the debut single and its appearance in the charts, initially at #28 on 24 March led to an invite to appear on Top of The Pops during which the brothers wore t-shirts making a protest about the impending introduction of the Poll Tax in England, a measure that had, on its earlier introduction in Scotland, created civil unrest, as it would also do in England later that very same week of the TOTP appearance (the director avoided any close-up shots of the brothers, concentrating instead on the audience….the single climbed to #17 the following week)
Orbital would prove to be one of the biggest, most important and influential dance acts to emerge out of the UK at any point in history – but that’s really for friends of this blog to highlight rather than me.
The success of Hello, as covered in the first entry of this series, led to the label opting for a re-release of a single that had flopped in February 1990. An absolute belter of a track, one that found favour with the ravers and the indie-kids alike in terms of dancing, it didn’t transfer to sales as it came in at #40 on 24 March, going up one place the next week and then disappearing.
The 18th successive single to go Top 50; there would be a further eight such successes before the release of Gone, which stalled at #60 just before Xmas 1996. It’s actually quite astonishing that Pictures Of You charted as well as it did, coming in at #28 on 31 March and inching its way up to #24 a couple of weeks later as it had been around for the best part of 12 months as a track on the Disintegration LP. Fans of The Cure again demonstrating brand loyalty, and even today the second hand market for many of their singles is a healthy one in terms of the price they fetch.
First released in July 89 when it made #36, a fairly decent showing for an underground band with no track record of success, Silvertone decided to re-issue She Bangs The Drums just two weeks after the re-release of Made of Stone. It meant that the chart of the final week of March 1990 had two Stone Roses 45s inside the Top 50. World domination beckoned, didn’t it?
Cobra Bora (Call The Cops Mix) – 808 State (from The Extended Pleasure of Dance EP)
Between November 1989 and March 1991, 808 State would release six singles/EPs, all of which, with the exception of The Extended Pleasure of Dance EP, went Top 10. I’d love to have been able to give you a reason but I can, in all honesty, say that I didn’t even know this EP existed until typing these words out. When I later go and track down a copy, it’ll be the first time I’ll have ever heard it.
Hope some of these bring back good memories.
(aged 56 years and 9 months)