Hits 21 - 1996 (7): The Race for Christmas Number One

Episode Date: November 20, 2025

Hello, everyone! Welcome back to Hits 21, the show that's taking a look back at every single UK #1 hit..You can follow us on Twitter: https://twitter.com/Hits21UKYou can email us: [e-mail] 21 DOES NOT OWN THE RIGHTS TO ANY MUSIC USED IN THE EPISODES. USAGE OF ALL MUSIC USED IN THIS PODCAST FALLS UNDER SECTION 30(1) OF THE COPYRIGHT ACT 1988

Hits 21 Hi there everyone and welcome to hits 21 and welcome to Hits 21 the 90s where me, Rob, me, Andy. Many, many more. Are looking back at every single UK number one of the 1990s. Email as it hits 21 podcasts at gmail.com. Twitter as it hits 21 UK if you want to get in touch. Thank you ever so much for joining us again. We are currently looking back at the year 1996.

But it's our last episode of 1996 this week because we are covering the race for Christmas number one. Hits 21 does not own the rise to any music in this episode, but you should have all the music in this podcast falls under Section 30 Clause one of the Copyright Act 1988. All right, it's time to press on with this week's episode and you've got three wise men to guide you through it.

Andy, is there any UK album-y stuff happening at the end of 96? What's happening is that everybody is basically just breaking down the doors and windows of Virgin Megastore desperate to get their hands on a copy of Spice by Spice Girls. That's all that's happening, really.

I actually remember a very funny story I had on what I like to you by James Acaster from Christmas 96, where he said he asked for a copy of spice for Christmas. They were sold out so he didn't get it. And so the next day at the local swimming pool, he attempted to drown himself. He was that upset about it. And who wouldn't be? Who wouldn't be? That's how I would have felt that I didn't have spice.

So, Ed, the U.S. year-end review for 96. Just going to ask you how that's going, but I'm just going to warn listeners, if you hear any slight tearing or smacking of lips, I'm making my way through a satsuma to make it even more Christmassy. All I need now is a little bit of string and a lump of coal in a sack, and I'd be bloody lucky. I would be bloody lucky. And if I got the Jackie annual, that would be a bigger bonus. So, Ed, the US charts while I eat this satsuma. You can actually hear it. Seriously, if the listeners can smell orange, that's what it is.

Tell you what, this is a, let's have a Christmas treat. Can you separate these tracks, Rob? So it's my voice completely on one side and it's you peeling a satsuma on the other. Is it just the second version of It's Raining Today by Scott Walker? No, I was thinking. that, you know, if people got fed up of my longest litany of puns of the year, they could always just go to ASMR territory with Rob's sexy orange. But right.

There's no sexy way to eat an orange. It's just not a sexy fruit. I beg to differ. Yeah, they see, the eating of an orange is a lot like a good marriage, as we know, and good marriages can be sexy. But it's like the magnum adverts where they always have a woman in the magnum adverts who takes a sexy bite of a magnum. And in real life, you know, you're like,

trying to not let it fall out of your mouth as a massive hunk of chocolate comes out that you weren't prepared for. Anyway, we've gone way off track, so early in this episode, sorry. Thinking of chuck-eyes now. Anyway, right, US Billboard top ten best-selling albums

of the year, 1996. At number 10, this one surprised me, initially, smashing pumpkins make the top ten of the year. apparently selling 10 million copies of the freewheeling post-punk platter, melancholy and the Infinite Sadness. However, should be borne in mind that at this point at least, the RIAA was classing a double album as two sales.

So technically it's... Fuck off. Yeah, sorry. Yeah, it was. That's how they used to do it. So technically sold five million copies, but that technically doubled up because it was a double album. But still, fucking five million copies for melancholy, that's pretty impressive. It's not exactly the world's friendliest album.

Number nine, and the blowfish. Oh my God. Yeah, and it's the debut, still, which is the oldest album in this list. Having been released in July 1994, it is still there after two and a half years. Extraordinary. Number eight, powered presumably by a pretty funny early take of no reply. The Beatles Anthology One makes the cut. Andology two might be more interesting, but don't forget.

At number seven, he's back. Having eaten the previous bunch, Garth Brooks grows fat off fresh horses. But after... That's what they almost called. Fresh horses. No, I did. I'm just, I was genuinely really funny. Well done.

I was just, yeah. But after he's had his equine fill, It's a largely female-dominated chart. Number six, Shania Twain experiences whatever the opposite of body dysmorphia is with the woman in me. And number five, Lauren Hill, Heathcliff and the other one, combine great talent with considerable half-arsedness on the score. And number four, the Waiting to Exile soundtrack sells millions in places where they had sold out of the bodyguard soundtrack. at number three Celine Dion

How exciting At number two Mariah Carey Kel Suprize And at number one It's like rain R-E-I-G-N That is

For Alanis-Morissette Whose debut had gone 16 times platinum in the US As of 1998 Jesus Christ No I know It's mad that in it Now on to the top ten singles

of 1996. Some surprises here, actually. Well, until the top three, at least. But you can get some of the players on display there. And number 10, twisted, Keith Sweat. That's twisted by Keith Sweat. Okay. Yep.

At number nine, at Tony Braxton, you're making me high, backed with lighted flow. At number eight, I love you always forever. by Donna Lewis. A lot of these not making number one at any point, interestingly enough. And number seven, although Crossroads by Bone Thugs and Harmony, certainly did make number one. And number six is a Tracy Chapman song. I'm pretty sure I haven't heard.

I don't know about you, folk. Give me one reason. No, not familiar. Drawing a slight blank there. It outsold fast car in America. Wow. And remarkably, it reached no higher in the UK than number 95. Probably why we're a bit unfamiliar.

Yeah, but strange to that. It would have thought it would at least, you know, name recognition would have launched it higher than that. But anyway, number five, Mariah, Mariah, pants on fire. Stop having hits, because I'm running out of humorous things to do with your name. Always be my baby. well until 2012 when the low-cost airline was finally discontinued and number four do you know because according to the Tony Rich project

nobody knows and number three Celine Dion whoopty do and number two Mariah Carey and Boys to Men Uncontainable Orgasm and at number one it's the Bayside Boys mix of macarene

The macarena. Not too surprising there. So yes, finally we get on to the Christmas week. And in the week of the 21st of December, 1996, the number one album was Tragic Kingdom by No Doubt. Oh, okay. The top five Christmas billboard singles were at number five. From the charmingly titled Sweat Hotel,

it's Keith. Sweat. birth name Keithland Pitstink with nobody. His surname is legit sweat, by the way. He was born Keith Sweat, which slightly surprised me. And number four, on Vogue is popular with don't let go. Love brackets from set it off, close bracket. Open bracket, you know that one, the Jada Pink get in, close bracket.

No, I don't think I've seen it actually. Close bracket. Open bracket. It's all right. Close bracket. At number three. A joke about bags. No Diggity by Black Street with Dr. Drey.

And number two. I believe I can fly. Open bracket from space jam. Close bracket. Open bracket. Isn't this the same as that song he wrote for MJ? Close bracket. Open bracket.

Yes, pretty much. Close bracket. Open bracket. I still like it. It reminds me of my grand. Close bracket. Open bracket. Why? Was she a paedophile? Close bracket.

Open bracket. No. She played basketball with Daffy Duck. Close bracket. And at number one, look at that cover. Camera lenses are my passion. It's Tony Mariah Slayer Braxton with Unbreak My Christmas Heart. I might have added the festive overtones there, but that's the US charts. Andy, the TV.

What have we got in 1996 to select from on the main channels over here? You've got plenty, Rob. Thank you for asking, yes. Four-year-old Andy waits for more rainbow and postman Pat as a grateful nation, Basquesin' Spice Mania. But what else is keeping us entertained this Christmas? On BBC One, it's another big Only Fools and Horses Christmas special, which I really think I seem to say every single year.

this one is Heroes and Villains which I imagine is the Batman and Robin one can't say for sure that's the only episode of Only Fours and Horses I've ever seen but I'm going to guess

with that one The Vicar of Dibley also gets a Christmas special which will become quite a tradition in coming years and the comedy specials continue on Boxing Day with 2.4 children

and one foot in the grave depicting each of the extreme ends of the human life cycle without any of the middle like a sort of inverted take on the first film Boyhood. There's still more with the Brittas Empire and a question of sport getting big specials and the entirely bearable sounding all the best for Christmas with Brian Conley

also showing up on Christmas Eve. On ITV the big slot goes to Des O'Connor with his Christmas with the Stars, a variety show with a genuinely quite impressive lineup. I think I would have watched this if I was an adult back then. It featured Diana Ross, Lily Savage, Panther and Lightning from Gladiators, Bradley Walsh and the Backstreet Boys, amongst others, all in 75 minutes. Pretty good. The other main piece of programming for the day was Christmas with the Royal Navy, which was portioned out in 15-minute chunks throughout the day,

in which serving officers in the Navy send live video messages home to their loved ones at Christmas, which I think is fair enough. Russ Abbott, Lee Evans and Michael Barrymore all get specials too. Over to the soaps, and on EastEnders, the Mitchell family have a typically quiet and carefree Christmas, as Grant Mitchell is revealed to have had a fling behind his wife Tiffany's back with the lady in question Lorraine also at the dinner table with them, a slanging match of cares before Peggy trashes the dinner and throws everyone out.

On Corrie, Don Brennan is saved from an attempt on his own life by the Webster's and Kerley and Maureen tell each other they like each other and have a smooch. On Emmerdale, Kim and Dave are so busy arguing that they fail to notice that Christmas cards have fallen into the open fireplace in the baby's bedroom, surely a common feature of all households of roaring fire in the baby's bedroom, and Dave manages to pass the baby through the window before he is roasted like a turkey. The big film battle this year is pretty one-sided, let me tell you. ITV put up Dennis, the 1993 film starring Walter Mathau, me neither, and BBC One have the TV premiere of Jurassic Park. Do we need to vote on this one? I think you're probably right.

Yes, definitely Dennis. Dennis is definitely better. The Queen uses her speech to show us all her holiday photos from her visits to Poland, the Czech Republic and Thailand this year. And as someone personally who is currently making a movie, about the joys of travel and holidays and is enthusiastic about any inquiries from any potential streaming partners,

I think this is a great idea from the Queen, and it sounds really interesting with an accessible premise for 18 to 49s and no budget headaches. I just wanted to say that. And finally, Channel 4 never fail to disappoint in the 1990s with another attempt to capture the upmarket audience, shall we say, in a non-suttle way.

as they stick on a three and a half hour showing of the opera forced throughout Christmas Day afternoon three and a half hours and that's the one with like a deal with the devil that's about so cheery stuff a documentary called Pavarotti returns to Klan Golan takes up a lot of boxing day and their big film is Hitchcock

Learn the Alphabet classic Dial M for Murder That's a good movie to be fair It is a good movie, it's a good movie, yeah Channel 4 also have 1996's Alter Christmas message done by Rory Bremner as Princess Diana. Maybe they can get the real thing next year. Oh dear. And that's your lot.

I'm off to watch the Queen's Christmas message again, because like all viewers, I find travel footage really appealing, and I'd be happy to subscribe to any service that offers that sort of programming, as would anyone else. Absolutely. Thank you very much, Andy and Ed, for those reports.

So for Toys and Games in 1996, I'm going to share with you a clip from the BBC Christmas Eve in 1996 of a report from, I think it was like TV Southeast or something, and they are monitoring a very special delivery to toy shops in that region. Finally, emergency supplies of the year's most popular toy arrived in the Southeast this morning. 400 were delivered to Brent Cross. Thousands of grown men and women who'd spent hours queuing up to buy him. I got here at 7 o'clock. I didn't know they'd be on sale until yesterday. So my wife phoned up and found out that Brent Cross is one of the lucky stores and I'm here.

This time it was Disney to the rescue. Staff at its shop in Brent Cross were hurriedly bagging up the hundreds of toys the company boasted it had managed to ship in to quench demand. The doors open, this store sold half of its allocation of toys in the first 20 minutes. Ricky was one of the lucky ones. his mum had hunted everywhere for his hero. He's like the space ranger in Toy Story and he's my favourite bit in it.

It's Christmas tomorrow. Does that mean you can't play with it until tomorrow or what's your mum said? Well, she said I can't but I'm sure I can get around there so. Buzz is clearly the biz, but other stores have been less fortunate and able to get hold of Buzz Lightyear in a supply crisis which has reached intergalactic proportions. Karen Allen, Newsroom, South East,

up London. A few more relieved parents, a few happier children this Christmas. Okay, so, we're out of toys and games. We've gone through the TV in the US charts. It is now time for the Christmas Day. Top 10 in 1996 is as follows. At number 10,

the beautiful South are asked to speak now or forever hold their peace this Christmas to which they respond, don't marry her, have me. It's up one from 11th. Down three places from number six, this week at number nine. Celine Dion powers her way through Eric Carman's original, exactly 21 years later. It's all by myself.

At number eight, Mark Morrison told us earlier this year that he, the Mac, had returned, and now that he's here this Christmas, he's horny, but down three places from number five. It's a former number one and a non-mover at number seven. The Prodigy here with Breathe to remind us to exhale, exhale this Christmas. At number six, down two places from number four. It's another former number one. Boizzo moved to a different beat, presumably slipped over as a result and are on their way down.

Into the Christmas Day top five, and at number five, if you add one and one together, you get two. And that's how many places that this one has fallen from number three, it's Robert Miles. At number four, down two places as well, Tony Braxton asks us, Unbreak My Heart, but we've run out of cell the tape after wrapping too many presents

for the kids. A brand new entry jumps right in at number three for Madonna, but while it's not the top spot she reminds us, don't cry for me Argentina, which is weird because we're in England, and at number two, it may have missed out on the Christmas number one spot, but it still achieved its mission. It's done blame with knocking on Heaven's Door, double a side, we throw these guns away, which means the UK number one for Christmas 96 is this. A candlelight and so forever a dream of you and me together Say you believe it Say you believe it

Free your mind of doubt and danger Be for real, don't be a stranger We can achieve it We can achieve it Come a little bit closer, baby Get it on, get it on Because tonight is the night When to become one

Okay, I need love like I never need in love before. I want to make love to you, baby. I had to make love to you, baby. And just to live it free. It's the only way to be. Okay, this is To Become One, by Spice Girls. released as the third single from the group's debut studio album titled Spice To Become One is Spice Girls' third single to be released in the UK

and their third to reach number one and it's not the last time we'll be coming to the Spice Girls during our 90s coverage To Become One went straight in at number one as a brand new entry becoming the Christmas number one during its first week on the chart It stayed at number one for three weeks taking us into 1997. In its first week atop the charts, it sold 462,000 copies beating competition from the songs you just heard about.

In week two, it sold 301,000 copies in a week where there were no new entries in the top 10. And in week three, it sold 113,000 copies beating competition from professional will by Tori Amos, Satan Live by Orbital, Don't Let Go by Unvogue, and I Can Make You Feel Good by Kavana. When it was knocked off the top of the charts, to become one fell five places to number six. By the time it was done on the charts, it had been inside the top 100 for 23 weeks. The song is currently officially certified two times platinum in the UK. As of 2025, Ed, you can bring us in with To Become One.

Well, it's another stunner to finish off a pretty much possibly unparalleled trilogy of opening singles for the Spice Girls. Of course, I love the ballad. I'm just that kind of person. It's even got one of my true loves in terms of songwriting tropes. It's got a big tempestuous 70s, big ballad coda at the end. I do love a ballad with a big coda. Yeah, I mean, it might have been a bit bonkers for me to say last time that this, you know, this was more unusual and idiosyncratic piece of songwriting than say you'll be there. I don't know if that's strictly true.

I mean, this very much falls in kind of swooning 90s ballad territory. However, coming after those. first two and how packed with a vent and sort of zapping they were, this feels like an epiphany because it's so slow and airy and spacious in it, it takes its time. And everything's so restrained. It's a completely different flavour. Even the strings are kind of gentle and sort of, they have shown such a lot of range over these first three. So I'm not. not just in terms of, you know, actual vocal register, but, you know, in terms of delivery, in terms of mood,

in terms of following the beat or actually going against the beat. Yeah, I think this is a wonderful song enhanced again by what really feels like a production team that spent an awful lot of time trying to make it sound as impressive as possible. This is the polar opposite to that shit we were getting from Robson and Jerome. The arrangement of production on this

is absolutely lovely, I think. Yeah, I've not really got much more to add than that. It's a classic ballad, really stately and well-assembled with just the right degree of harmonic surprise, rise, you know, and that lovely coda. And it just adds a further level of majesty, like a hat trick and a victory lap for what's been one of the most impressive pop debuts I can think of.

Andy, what about you with Two Become One? Yeah, I mean, I couldn't agree more, to be honest. I said, I guess two will be becoming one here, because I'll be echoing almost all of what Ed has said. It is just beautiful this. I think beautiful is the word, and I also would like to borrow the word magic. that you use there, Ed, because, yeah, there is something that feels almost on a higher plane about this, to be honest. I think this is a collection of so many different elements

that all just work, that when you put it all together in tandem, you get something that's more than the sum of its parts, that it creates this chemistry where this is something really special to listen to, really something special to baskin. And I think if even one thing was out of place, then it would really, really suffer. It wouldn't work. I'm not saying it wouldn't work at all, but it really would not have the same effect.

If there was anything that was just slightly out of balance in that mix, and I think that's the most impressive thing about it, really. And, you know, I felt the same about pure shores back when we covered that all the way back at the start of our show. And that's one of my favorite pop songs ever, because that has just this unbelievably gorgeous sound that just feels like, a sea washing over here.

And again, I would say the same thing. There's so much going on in that mix that if any of it was out of place, I feel like it really would collapse under its own weight and it would be jarring and nowhere near as lovely as this. And it's not an empty threat

because there are loads of songs that we've covered over the years that I would actually point to and say, this is an example of where one thing being out throws the whole song off. I would point to all those songs that I talked about in the Nauties

where I said there's no mids, there's no mid frequencies. There's loads of highs, there's nodes of loads that all sound gorgeous, but there's nothing in the middle. That's definitely not the case with this one, by the way. And I would specifically point to Hips Don't Lie. I remember talking about that, saying that this is actually gorgeous as a sound, except that Shakira's voice is too high in the mix.

All you need to do is turn her down, and you've got a really lovely overall package of a song there. And I think it would be so easy to get something wrong, especially because you're dealing with five voices. A lot of the time you've got multiple voices in unison or in harmony with each other. They've all got different text. to their voices, like Emma certainly is so much more softly spoken than Mel Sears, for example, that it's just so much to deal with, and it feels like so much care has been taken

to make this absolutely spot-on perfect. The strings, I think, are the real star of the show that in pop music, certainly in the late 90s and in the naughties as well, as we know from all the Simon Cowell, bollocks and a lot of overuse of it by bands like S Club 7 as well. strings can be overused and they can turn things into gloopy, cheesy, corny, mush, to be honest. Whereas there's just a delicateness. There's a sort of softness of touch with those strings where they're very present and they're very noticeable

and they're very much there and they lift for the chorus. But when they need to pull back, they're even more powerful. I'm probably the best part of the song, I think, is that last minute, which is just a very low, cello and double bass that adds a level of it's almost like an ominous feeling but just a sense of maturity

a sense of real character to the song that's not like a big climax is not washing over in that same way it's just to kind of soft leave you on a thought it's like you know send you off out of this year into the new year with just a sort of sense of place just something to sit with

I think that's just such a lovely decision creatively to put that there and I actually think as much as I had I absolutely adore this song, and there's not one thing that I dislike about it. I think the even better version, potentially, which I listen to all the time, is the version that is just the strings and the vocals. I think that is really, really evocative and really just transformative to this era, really. And the whole thing is transformative to this era.

I can't ignore the huge nostalgia that this song stares up in me. Of all Spice Girl songs, we've still not yet reached a one that stares up the most nostalgic. Al Jurymy that instantly sort of Hitchcock Zoom transforms me back to the 90s, you know, but this is one of them. Like, I have a very specific memory that this song conjures up, probably because of the nighttime New York video where they're all in their winter coats.

But I used to remember, like, when it was in the winter, and my mum would go Christmas shopping, and I'd go with her, and it would be freezing cold, and we'd get the train home from Liverpool Central on a Saturday at, like, it was only be like 4 o'clock, but it'd gone pitch black, and so it feels like a thing. It's like the dead of night, and it's blisteringly cold. You can't wait to have, like, a hot drink and your tea when you get in,

and you turn on the music video, and there's the Spice Girls in their lovely warm coats, also singing in the cold there. And it really just takes me back to being a kid in the 90s. And I don't know. There's such a sense of time in place with this, that I can't quite put my finger on, that I just instantly am that kid going home from town on a Saturday in the dark, looking forward to the evening ahead. and I've not talked that much about the song itself

as in melodically as in lyrically as in what the Spice Girls do to it themselves because almost like what do you need to say they just nail this, it's just perfect it really is just perfect there's not many songs I can think of that the most memorable bit of the whole song to the point at which the title comes from it

is the bridge not many songs where the bit that everybody sings is the bridge it's not the verse or the chorus as much as the verse and chorus above great the bit that everybody sings is tonight is the night the two become one well i say the bridge sort of pre-chorus really but like that's rare to not get your big money shot on either the verse or the chorus to just stick it in the middle there that's a level

of confidence and i think that's the thing that's come through in all three of these songs is that they've they've done something completely different each time with these three songs they've never done things the easy way they've always put the work in and made sure that first things first these needs to be absolutely exquisite songs and they've all had their quirks about them they've all been a bit different to what you would expect in some way like I say they've never taken the easy road and I think this is now becoming a pattern of theirs

that assures quality that you kind of feel like they will continue to be this good because they just know how to make fantastic pop music I can listen to this forever there's sort of a hair's breadth between all three of these songs that we've had from the Spice Scale so far and a few more to come after this as well. But I am astonished by the quality of this.

It's one of, again, just like I said about the other two, it's one of the very best number ones that I think we have in the whole 90s. And there is no arguing that these are the queens of pop music at this moment in time. They're just, they are sort of totemic figures in pop music right now, and deservedly so, because who can argue with this, really? It's amazing. I forgot to mention something in mind. When you were talking about the chorus there

and that, you know, it's almost like a, there's so many different catchy sections put together. They do something on this that the Beatles used to do that a lot of people overlooked that is just a fantastic way of making your song feel more complicated and more emotionally dynamic. There it is.

Take a shot. Which is after a big major key, you know, pentatonic sort of section, they'll have like a seventh, a bit with like a seventh chord or a seventh mode, if you know what I mean, with the only way to be, but, but, but, whereas, you know, if you look at something like Hard Day's Night, that does a similar sort of turnaround, and it just, it makes the song feel so much more satisfying and so much less twee in a way that it's got the so why and I should I'm on

because when you know it feels all right do you know what I mean it's got that shade to it and it just adds a bit of depth that a lot of people wouldn't think to add adds a bit of emotional resonance and nuance that I think a lot of songwriters wouldn't and again it just it feeds into this impression that they just they really wanted this to hit on every single possible level to make sure it had as many points of penetration and as many things to cling onto and remember as possible, just like the Beatles early stuff, like please, please me, which was a series of fireworks and it worked exceptionally well. And I think this works in a similar sort of way. Yeah, I think I said the last time we covered Spice Girls that want to be, say you'll be

there and this to become one, you know, the kind of form like a little trilogy about a couple who begin dating casually, at which point it gets warned that if it wants to keep, date in the girls or one of the girls, then he's got to understand their friendship. In say he'll be there, he's maybe become on a bit strong and he's kind of being told to calm down, take it easy, just keep it going steady. And then in two become one, he's played by the rules. And I guess this is his reward, you know, the two of them uniting in an endless sea of romance and soft kisses and sensitive touches. And, you know, I guess this is the proper beginning of their relationship the moment that they become exclusive. I think it's a very

beautifully and tenderly told little story about what sex can be if you let it as well, about how genuine new love can enhance that experience as well. For 99% of the population, this feeling of euphoria is what almost everyone's chasing or defining their lives by in one way or another. Sometimes, you know, it makes you lucky to be human, you know, that we realized our mating rituals could have so much more significance added to them with a few changes. You know, we elevated it beyond a rudimentary function to keep the species going. We turned it into a hobby, a spiritual experience, a way to feel deeply connected to other people in the human race.

We even started calling it making love to try to refer to the kind of sex that's more a verbalization of a deep feeling that can't really be explained with words. And I think that's what this song is about. But I think what adds even great a value to it, just in the context of pop up to this point, And after this point, actually, is that it's a song about a kind of nervous guy being asked to come closer by the Spice Girls, you know, so often in pop, songs about this kind of scenario a bit, you know, like, come on, girl, I know you want it. Why don't you let me boo? But in this, it's kind of a gentle coaxing from girl to guy, promising excitement and safety. And I think safety is the key thing that actually sells this to me, actually, now that I've said it, not just to put it on, put it online. I don't just mean that, but I mean just the general atmosphere. They're promising the kind of sex that is elevated by feelings of security, not just in that moment,

but in terms of the relationship in of itself. One tiny criticism is that I have often wondered if it sounds a little polished and a little too perfect, maybe a couple of rough edges would have nudged it up to a full 10, but it's very, very slight. I think the decision to unleash Emma, baby, as the big star of this one is bang on. I know the other girls sing on this too, but when I imagine this song in my head or the video, it's always Emma that comes up. She's the secret weapon of the group. She sells the safe, secure sex that the song wants to communicate. She sings the whole thing like she's got her forehead, gently leaning on yours, and you can see the edges of her smile with her face really close to yours, and you can just see her lips revealing

her teeth ever so slightly. She's so friendly and enticing and soft. She sings like a brand new pillow feels They all do the soft vocals very nicely But Emma really shines above them I think And the best moment in the song And arguably in my opinion The best moment in all of 90s pop Is the bit at the end

Where she just goes up on the two become one With the When To Become One That just have had a bit of variation At the end like that And underneath the girls You've got a very careful instrumental It's pleasant enough initially

but it really rises to my attention as it leaps into the second chorus when that really high string harmony comes in and the key change really strikes your heart on that, you know, just that leap into the chorus and that twirling string that goes and eventually kind of follows the progression but when that first comes in,

it feels like a lightning bolt into your heart. It's beautiful. That's when it goes all Hollywood. Like they've lost a bit of control in a good way and then we get that little acoustic lead detour, you know, just for some sonic variation. And then you go into the final chorus thinking like, oh, lovely, great. What a good number one from the Spice Girls again. And then it arrives.

That fucking coda. Oh, my goodness. My favourite bit of the chorus is when that chord progression kind of shifts again into a new mode, those double-track cellos that come in under, like you mentioned Andy there, it's the only way to be. It gets very brooding and mysterious and provides a really stark, contrast to the lightness of the rest of the song, but then in the code they extend it and they keep extending it until the point where it starts almost teasing the introduction of

what feels like a different song. I listen to it now and I'm just sat there open mouth that the audacity to leave such a romantic and sweeping song on a slightly uneven note just in terms of its emotional cadence. And it still works. Yes, I think this is fantastic. I really, really do. always love that. It's the only way to beat with it. It's very, very cinematic. I love that decision. Yeah. And then with the strings that kick, da, doda, do, and it fades out on such an unusual note. It's the complete package. I love, absolutely love songs. And I've said a million times on this podcast that songs that keep you getting, keep you on your toes, do something different, make you regret skipping the skip button if you're ever tempted to do it you know if you ever listen back to the end of a song you skips and you go ah i was an idiot for doing that those are the songs i love so much and this has that really special outro which i've always really loved but yeah really really really fantastic and i agree with you ed that these three singles want to be say you'll be there and this may be especially by a british act maybe the best opening three singles that any

pop actors arrived with. I said about wannabe that that might be the best debut single ever and I think, I do think it might be, I stand by what I said. However, there are definitely other contenders there. Definitely not everyone will agree with me on that. However, I think I'm absolutely

happy to nail my colours to the mass and say undoubtedly, this is definitely the best trilogy of opening songs. The only one I think that comes close is interesting. We were chatting about this in our group chat. Lizzie put four Frankie goes to Hollywood

which is about as close I think in pop terms as we could get in terms of variety and in terms of popular resonance yeah because with that you get relaxed two tribes is it the power of love that they finished that year with yeah that's a good year it's very

very strong do love all of those songs very very strong but not just not as much as this I definitely definitely in the conversation they're definitely great songs but not as good as this the only other thing I wanted to add was especially about those last, that last minutes with that really interesting, slightly ominous mood that it lands on.

Very unusual for pop music, however, it is an absolute trademark calling card of the Bond movies. Yes, good call. This song came out a year after Golden Eye, which was a massive success of a brand new era of James Bond, and a few months before Tomorrow Never Dies was set to be released.

I don't think it's beyond the realm of possibility that not the Spice Girls themselves but someone in their management wanted to posit the idea of them maybe doing a Bond song whether it would have been this or whether this is just like the kind of look at us we can do Bond themes

kind of thing I think that was definitely in the corner of the mind because you could slap this on any 90s or Nauties Bond movie and it would fit perfectly it's one of the best I think you said this one said actually so I'll give you credit for this it's like the best Bond theme we never has this did I think you know well one of

Kind of you to attribute it to me. I kind of agree with me slash you there. But yeah, as well, when I said it's in broadly the 90s ballad territory, there is a specific strand of 90s ballads. And I'm pretty sure I've mentioned this before on the show. That's the massive, stark sort of English ballad with strings that started with unfinished sympathy really and that has a similar

kind of turn around where the mood sort of fluctuates but it still keeps that sense of grace and unrushed momentum

to it and it also follows through Play Dead by Bjork that has similar sort of gravity without becoming hysterical

if you get my minute at drift but it's a very this is a completely different emotional take to it so it's

it's more a compliment to it than it is anything, you know, any specific derivation, if you get my drift. But Rob, again, thank you for drawing attention more to the lyricism, because often that's the sort of the thing that I can treat as just sibilance. I think, yeah, that's a good point you're making about the safe, reassuring sort of sexual environment. Like, this is the right time, it's a comfortable.

time for this. I also think it's interesting that it does seem to, you know, without drawing attention to itself, turn the, you know, traditional perceived gender roles around where it is the, you know, it's the woman who's inciting the act, which is, you know, there's nothing unusual about that, except there was in the way it was, it was depicted in, in popular culture, maybe, where it would be the guy doing the, you know, come on, Eileen sort of thing, you know, oh, loosen up, you know. And the interesting thing here, and the line that I really love and really hits me here is set your spirit free. It's the only way, because it's like, loosen up, it's like it's okay, you know, let go. I'm here, it's all right, which is exactly the same thing as doing the hey, loosen up thing.

But it rehouses it in something that is actually, it's a union, it's not an act. No, that is exactly it. I mean, it's in the title. I do think, like, there is this idea that to become one, what you've said there, that is exactly it. To become one does communicate this idea that it's like, look, this is a thing that we can do together. Whereas, I feel like in a lot of pop songs where it's, the gender roles are flipped, it's

more, look, here's what I'm going to do to you. You're going to like it. Yes, and you're going to like it, exactly. Promise I'll show you a good time kind of thing. Whereas I think with, like you were saying, with the spice girls, it is more the sense that they are promising that, again, I think they're just promising gentle softness. I think it, you know, it's obviously rooted in the fact that deservedly, I think a lot of people find male sexuality just threatening, just, just male sexuality generally. I think some people do find it threatening, whereas female sexuality is always kind of treated as like, well, nowhere near as threatening. And there would justify reasons for that.

but I think that Pop sometimes does kind of reinforce those stereotypes, but I do think that giving the spy skills a lot of agency and having them be the ones who've got to do a little bit of, they've got to do the sales pitch, basically. Putting them in that position makes this far more interesting. I think with regards to Andy, what you were saying there, or whoever said it, about this being a bond theme, this is definitely perfect for the Brosnan film specifically

because I think it has that specific level of, class and gloss. The Pierce-Brosden and Bond films are very, very glossy. They're very, very classy, but they're very, very glossy as well. Whereas the Daniel Cray bonds are more like rugged. They're more like the Bourne films. There's more explosions, and Daniel Cray's got a beard and a drinking problem, and it's more like the Taken films.

Whereas, like, you know, it's all Pierce Brosnan. And that, I think, for me, having not seen every single James Bond film, but having seen about a dozen or so, so maybe just over half, The Brosnan films, to me, are the ones where you get the maximum, like, you know, he's part of the British Secret Service, and he always got a suit, and he only does martinis, and he only holds the martini glass with his thumb and his index finger. He doesn't use his whole hand. He's very delicate and careful, and he's very sensitive with the ladies, but all he knows how to fire a gun, and he drives a suave car. And it feels like they try to play up the suave to the point where it becomes super camp in the Brosnan films. I don't know if that's necessarily your two's characterization of it

because I know you've both seen lots more of them than I think Roger Moore it got to that point certainly yeah I mean Brosnan tones down the camp compared to Roger Moore but I think by that point the camp had become baked in but that was the only way to do it until they did the reset but I think certainly what you said in terms of the music I think definitely holds up I think that not just the scores because the scores most of them done by David Arnold

and that's he's got a very slick you know sweeping style that sounds a lot like to become one, quite frankly. But also, like, the songs as well, like The World is Not Enough, which came out in 99, the title song to that, which I really like, production-wise, sounds a lot like to become one. And has a lot of, like, those sort of string sections

that just kind of leave you on a beat just like this, really. So I think, just sonically, it sounds so much like that. And it would have fit any of those songs like a glove, because I think one of the things I love about the Brosner films is that they are a good. great snapshot of the Cool Britannia period of history, as of course are the Spice Girls. You could argue that the Spice Girls kind of started, kind of caused Cool Britannia to happen. So the two things just seem to go together, as far as I'm concerned.

Yeah, Ed, back to your point about best opening three singles, I think you're absolutely right that in terms of impact, variety, and resonance with the British public, Frankie would be pretty hard to beat. from a sort of an American perspective though maybe sounded like maybe more alternative I do I mean I know I love them anyway but I do genuinely think that undone buddy Holly and say it ain't so

is a pretty incredible opening three from Wieser in the 90s and in the noughties I would say I know that there's a little bit of a thing over weekend wars being like a promo single but time to pretend electric feel and kids by MGMT coming out of the gate

that's a pretty strong great, feel brilliant. Yeah, again, though, it's, you can, I think they're both very good picks and really strong trios of songs, but again, it just doesn't have that level of popular resonance quite. No, no, no, no, no. And also, it's just, you know, they were very much, you know, bands, independent bands in their own lane, as it were. So, although those, there is variety certainly in the, you know, in both groups opening three songs, they are very much, there is a trademark sound. They orbit around, if you,

get what I mean. Whereas, yeah, with these three, you wouldn't really have, you cannot, I think that's what makes them so exciting these three, you cannot pin them down. And it means that with the next single for the Spice Girls to come along, you don't know what it's going to sound like. No. I do think that, we'll get into this, I do think as the 90s go on, the Spice Girls do fall into, they don't necessarily become predictable, but it becomes easier to spot their next

moves in songs that are a bit later down the line, maybe more late 97 into 98, that kind of territory. But we'll get there, I think. But for now, oh, we are on, oh, God, we're on Easy Street talking about these. These are just fantastic. I love all three of them. I firmly agree. All right then, so it's time for just a little move away from the number ones.

For now, we're going to talk about the number two hits of 1990. Andy take it away with Born to Runner Up. Yes, oh, here we go. It's the second most sought after prize of every year of history. It's born to runner up, be true. Set your spirit true. It's the only way to brew. Do?

Let's say that. We had 15 entries this year, 15 songs that got number two that peaked at number two. And we had quite a lot of disagreements this year. We all agreed on the worst songs. of the year. I'll just mention that. The worst number two hit of the year. We all agree with Anything by 3T, which we all thought was rubbish.

Yeah, and we had some consensus at the top, but we also had wild disagreements with our favourites and least favorites, which meant they all landed kind of somewhere in the middle. Very briefly, the bottom vibes was anything, and then it's Freedom by Robbie Williams. No Woman, no Cry, by

the Fugis. Why? By 3T feature of Michael Jackson, that's 3T again. And the theme the X-Files, as it were. Fair enough. Yeah, into our top 10. If You Ever, by East 17, featuring Gabrielle, came in 10th place. Oh, okay, so someone liked that a lot more than I did, I think.

And a lot more than me, Ed put that as one of his absolute favorites, yes. Yeah, I like it. It goes on too long, but I do like it. In ninth place, it's What's Love Got to Do With It by Warren G, featuring Edina Howard. We all said broadly the same. We were all just like, yeah, that's fine. in eighth place we've got slight return by the blue tones which i quite liked and bob quite liked

ed hated it i didn't i think it's i didn't hate anything yes you did you hated it you hate it and in seventh place well what can you say about this except burn up be it up be it do not do it do

I it is of course the macarena by Losto Rio. But I didn't know how to rank that one, to be honest. In sixth place, it's Hey Dude by Coolershaker. That's decent, in it? Yeah, it's okay. And into the top five.

In fifth place, it's Tamar Braxton's sister with Unbreak My Heart. Okay, yeah. Which was a much, much bigger hit in the US than it was here from everything that Ed said. I'm not as hot on that as of the same. are, but it's fine. In fourth place, a design for life by Monarch Street Preachers, which again was a source of massive disagreement. Me and Rob rated it very high. Ed put it

very near to the very bottom. I've got to say, there is a small cache of artists. I call them my, oh, we were only joking, artists. On my deathbed, I half expect people to turn around to me, like everyone, just going, we're only joking. They're terrible. In third place It's friend of the podcast

George Michael with Spinning the Wheel Who's not just spinning his wheels here It's a good song It's not his best single off the album No it's good though Yeah I liked it Yeah In second place this year

Just missing out the runner-up Of runner-ups of course It is Children by Robert Miles That's fair I think I was harsh on that It is really good that It's a nice. It's a nice song.

And that can only mean that number one this year, it was in fact a unanimous vote on number one, despite all the disagreements. I'm just going to quickly usher on pulp from last year just to hand over the trophy. Hello, Jarvis. Good to see you. Nice tweed suit you've got on there.

Have you farted Jarvis? Are you waving your hands around your bum into the audience? He's asking me something. Hang on. Oh, oh, it's a documentary about New Zealand and my travels there and how it helped with my mental health recovery. Thanks for asking. Yes, thanks for asking Jarvis.

Yeah. He means he's a film star, you know, he's been in Harry Potter, he's been in fantastic Mr Fox. We're both in cinema, so, you know. But what about elephants, Jarvis? Have they lost trust? Have they lost their trust? They're here to give over the imaginary trophy to

Underworld with Born Slippy, which we all agreed on, was the best of this year. Definitely, definitely a worthy winner of the to runner up trophy, 96. And for fact fans, it's one of two number two singles in the late 1990s to reference drinking whiskey and lager.

Look out for the other one in the future here. I think you'd probably guess what that is already, but we'll leave it on the QT. Did anyone else find that extraordinarily hard? Because I'll be honest, when I said I didn't hate any of them, I mean it. I mean, anything just fails to cultivate any particular focal point.

It's just like a pruned ballad noise. I didn't hate it, but I just was like, what's the point in this? Yeah, there was a lot of really bland-nush. I think it's really stark the difference between the number ones and the number two's this year, because I think we would all agree, wouldn't me, that this has been one of the best years we've ever had for 90-1-1s. Gotcha. Whereas number two, it's been a really beige year,

and I think Bored Slippy might not have won in almost any other year, to be honest. I don't want to take away from its achievements. but most of the other well we'll see when we get to the champion of champions when we get to be true cock as bet lynch calls it we'll discover we'll discover but I think it won't do that well but we'll see yeah

I love like mid 90s underworld I think they really had something there that's still pretty unique and still stands up and yeah I love that track but anyway yeah I am very glad that I didn't come of age in the mid

90s because I think if I listen to the nooks like born Slippy if I listen to the opening minute of that I think I might break down in tears every single time I heard it because those those opening lines that opening minute or so until the the heavy kind of compressed you know thick gainy drums kind of take over those sins sound like an incredible but bittersweet past that you cannot return to that it's it's a It sounds like someone has made a mistake and they're trying to reverse that mistake by remembering when times before they made that mistake and they can't go back.

They have to live with the consequences either of just getting older or making that mistake. And I think, you know, Born Slippy really does... I mean, I know the song is more about alcoholism and substance abuse and wanting to turn your life around and wanting to get back to when it was just a recreational thing and like, you can't do that and every time you attempt it you finish the night shouting la la la la la la la la but if i'd turned 18 in 1996 and i'd started going clubbing and then my life had been a mess in the 30 years since if i heard this i don't think i could make it through the day i think that's how powerful that first minute is you get the rave section and the tribal drums and all that but i think that's why

they do it they pick that specifically at the end of train spotting because It's their lives have gone down such a bad path because of everything that happens and they've wronged so many people and they've wronged themselves and then they play that as the big philosophical message gets, you know, as read aloud by Eum McGregor over the end of the movie. And it's, yeah, I really think it's marvellous. I prefer the shorter version, the four minute version. You don't need the four seven minutes. I think the impact is just a strong edit. I don't know if you want to, you know, give your kind of tuppence about it, you two. As I say, I'm a bit older than you folk. This was already, you know, I was not out clubbing in 96 because I was 10. But it was still, you know, a fairly recent touchpoint. And so was train spotting by the time I got to uni in Glasgow.

And this track, I don't know what it's like for you, kids now. This track was just, it would be on every. night. It would get put on every night. It would be this. It would be brown-eyed girl by Van Morrison. And they would be the two regulars. But this would just, it always hits in a club. And the thing is, though, it doesn't have that melancholy feeling when everybody's together, oddly. That opening really cuts through with a sense of

almost, you know, of euphoria. Yeah. Of time slowing. Again, this was something that I think you're Lizzie were talking about on the chat, this idea of the time slows down. And that, that does track with my, my recollections of having a few, you know, pints of tenants and shitty alco pops. And then the whole thing, ding, ding, ding, ding. It's like, this is what's all about, you know, oh, mate. And then everybody just literally shouting, laager, laager, laager.

It was this, it was a hair above insomnia by faithless at the time, which was another, one of those, everybody knows the fucking words. Nobody really cared what the words meant or what the words were actually describing because it got you pumped and because there's such a contrast between the bookending

euphoric sort of elegiac maybe sections and just the relentless barrage in the middle, it sucks you in completely. It's a very full on emotional experience especially when it's played very

very loud in a club when maybe people are a little chemically overwrought should I say. Andy, what about you? I don't have too much to add really, just except that this really resonates that it's extremely evocative of a certain

path that life might take and the regret as you say, Rob, that would come with it and there are certain people in my life that this makes me think about that the thing is, right, I can say it because they won't know that I'm talking about them. guarantee you, the whole issue, the whole problem is that they won't know that it's them

that I'm talking about. The people who are on this path, who like, you know, in my friendship groups, it's all like people in our thirties now, maybe a little bit older, maybe a little bit younger, but like a little bit of a crooks point where it's like actually you could stay on this path, which you've sort of been on since your early 20s where you just go out clubbing all the time where you do drink, drugs, live a hedonistic lifestyle, and you could just do that forever potentially forever potentially not being that long or you could kind of draw a line under it now

and take a look at things and think actually I should be settling down making roots in life I should be kind of you know making something of things and yeah it's there are there are definitely figures I can think of in my life who are like oh god you're the protagonist of this song and it's a sad thing to think about because like I often have the sort of opposite worry I get regretful sometimes about like it was maybe not live enough when I was young

but then you listen to destiny and you think oh god that's not all it's cracks up to be you know that you would be full of regret there are many people who live the life of the protagonist in this song and yeah it's evocative to say the least yeah so yeah oddly very apart despite the fact it's just a good song

and just a bit of a banger and ironically and I'll probably get loads of airplay in the kind of clubs that habitual drinkers like that frequent but it's yeah it is actually genuinely quite moving in its own way It's very evocative. I'm all for an ironic banger. You know, the amazing, like,

everybody getting up and coming out of their cage to a song about jealousy on a night out. Yeah. Do you know what I mean? And if I was like, coming out of my cage, you know, it's like,

why is everybody having such a riotous time? This sounds like the protagonist is having a horrible time. But, yeah, it's the same, you know, again, faithless insomnia. I can't get no sleep. Everyone's got the hands up, like, yeah!

He's not. slept in weeks he's fucked but anyway it's you know it I do like that it's always a bit of a PC music thing isn't it it's like it's got a twist of irony it's a bit of commentary

but it also just wants to give you the full blast of the genre do you know what I mean? Oh god yeah so this is where we turn towards the negative stuff for a bit Andy, what are our bottom five songs of the year? Yes, the sort of, I'm not going to call it the Hall of Shame, that's a bit harsh, but the

Hall of Not So Famous. Bit of a weird one, because we would have had a different beat by Boyzone in the bottom five for this year, if not for the fact that Ed broke the system entirely by refusing to score, a different beat by Boyzone, which meant it just about escaped it because No, Boyzone refused to release a scoreable song. That's how I'm framing it. It also means that, unfortunately, the unlucky victim of Boyzone's comparable success is take that, who slip into the bottom five with an average score of 4.5 for how deep is your love.

Doesn't that feel like ages ago? Yeah. Our fourth worst song of the year, it is Boyzone. they didn't get away with it altogether. Putting the pie hole by me and Ed with an average score of 4.2. It's words. It's only words.

The emphasis on only. And then the bottom three beckons for Mr. Andre with I feel you with an average score of four and pie holed. Again, by me and Ed. Yes. He may feel us, but we're not feeling this.

No. Our second word, song of the year pie holed by all three of us with an average score of 3.6 It's Forever Love by Gary Barlow which feels like I'm quite surprised by that to be honest

I forgot it existed as like is it that bad but sure it's that bad to be honest but do you know what isn't bad Rob's accidental banging remix on the episode with the breathing I was like

I was like, fuck me. When I listen to the episode, I was like, how did I not notice this when I was listening to it before? Does anyone else noticed that on this really like unprepossessing ballad

there's like this like iron lung breathing going on perpetually in the background like this looped sample? I'm like, why did he do that? That's creepy. But at least it's something interesting. And Rob put his hand up and said, uh,

who actually, thank you though. You made the song more interesting. You added a half star to a piss poor song so well done Rob and you weren't even intending to So what's number one then?

Oh I mean I think this is The zero tension in this reveal With an average score of 1.8 A clear 1.8 points lower Than anything else Piehold by all three of us And given a clean one by me and Ed It's what becomes the broken hearted

Saturday night at the movies And He'll Never Walk Alone by Rob's Oh, God. A triple shit. Just shit. Utterly shit. I am so glad to see the back of the Robson and Jerome era of number ones, because

fucking hell, that's meagre. What's the good stuff? Well, like I say, the reason I brought this up earlier, that, you know, what a year this has been, we've had so many vaultings, we've had so many fantastic songs. This top ten is just stacked. It's really, like, incredible, really.

and just to put into some context about what a difficult year this was to get anywhere and what an achievement it is to get into this top 10 at all, just to pick a random example. Well, not so random an example, but just to compare, you know, quiet years to busy years. In 1993, no limit by two unlimited, won the year, the score that it got that it won with would be enough to get it into 12 place in this year's child. Oh, my God.

Yeah, it's been a hell of a year. Yeah. Wow. And there's a few things that just missed out. There's a few songs that got vaulted. didn't make it into our top 10. The lowest of which, UR just a little bit, by G&J,

I vaulted that, and that lands in 14th place. Bloody out. Setting Sun, three lions and Space Man also got vaulted, none of them made it into the top 10. So, let's see what did make it.

Ooh. And all of the top 10 are vaulted by all three of us. Really? That's the first as well. A solid wall of vaultings for the entire top 10. In 10th place,

with an average score of 8. It's don't look back in anger by Oasis. Okay, yeah, good, happy. I'm kind of happy that's in the top 10 at least, but not too high. So yeah, okay. Oh, yeah, that's fair. In ninth place, just a shade higher with an average score of 8.2. It's ready or not by Fugees.

I think we decided ready. Yes, definitely. And then they went off the boil a bit for the next one, but anyway. Yes, they did, yeah. And with the same score and the same score from all three of us, means that this is a tie break decided by Lizzie, as ever thank you Lizzie for that. In 8th place,

eighth place for a song that we loved this much. It's Return of the Mac by Mark Morrison. It only makes it too. It's a great song. What a year we've asked. Bunkers, yeah. Just to say, by the way, the whole seven songs remaining are all by the same three artists.

Oh shit, yeah. Yeah. So Ian's 7th place, with an average score of 8.5, they're fire starters, they're twisted fire starters. It's the prodigy. Nice. It's fire starter. Of course. Happy with that. Happy with that. Getting that into the top seven. Yeah.

In sixth place, I mean, it feels scandalous to me at this in sixth place. With an average score of 8.7, it's fast love by George Michael. Yeah, that's... Just for the top five just feel a little harsh. I mean, this top five, we loved all of them. We all loved all

of them. So let's get into that top five. In fifth place, with an average score of 8.8. It's Breathe by the Prodigy. Goodness me, this would have streaked away from the competition in basically every previous year, apart from like, 1991. But they're not even making it to the top five of this year. In fourth place, with an average score of 8.8 again, it's Jesus to a Child by George

Michael again. It's gorgeous. Wonderful ballad. Love that one. Happy. Three songs left, and there's someone we've not heard from in this chart at all, the Spice Girls have won all three. of the top three spots in this

greatest of years that we've covered. What an achievement for them. It's a hell of a hall of fame. In third place with an average score of 9.5, it's Say You'll Be There by the Spider-Girls. How was that third? I know. It's like, it makes sense, given the competition, but in what year it's that third?

Jesus. 9.5, and it doesn't even come second this year. It's fantastic. It's astounding. In second place, with an average score of 9.7. It's two become one by Spice Girls. Yeah, okay.

Wow. And so, I mean, all tension has been broken, obviously, but I am still going to welcome on Culeo, of all people, last year. That is fucking odd. Hello, Cooleo. Yeah, how you doing? You're right.

It's about New Zealand, actually. Yeah, I'll tell you more about it another time. Yes. So Culeo is here to hand. over the crown, well, the crown's going to have to be broken into five pieces. So here you go, girls. Just do your best with it. Yeah. Make five become one. Oh, well, one become five, I guess, really, isn't it?

Yeah, no, but they can reattach it if they want to, unless they want to just sell it to take a little bit of it to their heads. I don't know. So that means, of course, with a stonking average score of 9.8. Jesus. The best number one of 1996, our record of the year. Is wannabe by Spice Girls. Oh, that is what we really, really want. It is what we really, really want.

Do you think, just, I can't think quite what's ahead. Do you, just as a rough prediction, is there any chance that that will be, that score will be topped for the rest of the 90s? Maybe, maybe. I can't think, I don't know. There's one of the very, very, very close, maybe two. Interesting.

I gave all three of those Spice Girls. songs are 10 out of 10 because I genuinely just like yeah they're all tens to me there are four or five more songs in the rest of the 90s that I'm going to give tens to so it will depend if you too like them as much as me yeah there are some possible competitors coming up I think yeah I'm interested to see what how I feel retroactively like close listening to the following spice girl singles um because it's just there's something about that first three that the the spice three as it were that are just there's something so impressive about that I don't know. I don't know. I'll see. I'll see how I feel.

I mean, there's good stuff to come. I know, but I don't know. All right then. So, that's it for 1996. Thank you very much for listening to all of our episodes about it. When we come back, we will be jumping for the first time into 1997. And we will see you for it. Bye-bye now. Bye-bye. You love me again Undue this hurts you

Cause when you walked out the door And walked out of my life Unpride these tears I've cried so many nights Unbreak my heart Bye.