Hits 21 - 1999 (7): Geri Halliwell, Lou Bega, Vengaboys, Eiffel 65

Episode Date: June 12, 2026

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

Hi there everyone and welcome back to Hits 21, the 90s. Where me, Rob, me, Andy. And me, Captain Football, are looking back at every single UK number one of the 1990s. Email us at Hits21 podcast at gmail.com. Thank you ever so much for joining us again. We are currently looking back at the year 1999 and this week we'll be covering the period between the 23rd of August and the 9th of October. Summer is basically over. Before we get going with this week, I just wanted to say that last week, for some reason,

I credited a version of when you say nothing at all to Edie Brickell, when I actually meant to credit it to Alison Krause, who hasn't performed with Steve Martin, but did do a collaborative album with Robert Plant, and I think that's where my head got mixed up. And for some reason, in my head, I remembered her as Edie Brickell and not Alison Krause. So apologies to Alison. How dare you?

You bastard. God Rob. Wow, we're supposed to be running a professional show here. Andy, the UK album charts from sort of end of August to beginning of October. How are we feeling? How's it looking? We've got four very different things this week and one of them comes right out of left field. Let me tell you that. So, we start with Travis, with The Man Who, finishing off the summer, which went number one for two weeks and went nine times platinum incredibly. Yes, that's a nine times platinum album from Travis.

really were quite popular, weren't they? That's before the highest selling album of 1999 takes over. Any guesses as to what it is? Jerry Halliwell Schizophrenic. It's not that. I love the attempt, but it's not. Ed, any events on that? Oh, God, 99.

It's not Westlife debut or something, is it? It's good, but it's not there. No, it's no, it's no. It's neither of those. It is Shania Twain with Come On Over, which was number one for three weeks for now, and I do mean for now, and ultimately went 11 times platinum,

an absolutely monster hit there. But the next one comes right out of left field, let me tell you. It's rhythm and stealth by left field, which went number one for one week, and only went gold. It's in the gold club. And then finally, we head into October

with Tom Jones, of all people, at number one, with reload, which went number one for one week and went platinum, and I imagine went to number one, because of sex bomb. He had a sort of minor career arrival around this time. So yeah, Travis, Shania Twain, Leftfield and Tom Jones. Not a dinner party I'd attend, but I'm sure it makes many people happy. In the news, 31 people are killed when two trains collide near Paddington

Station in London, while almost 20,000 people die after a 7.8 magnitude earthquake strikes in northwest Turkey. Back in the UK, Norfolk farmer Tony Martin is arrested after killing one burglar and injuring another at his home in Emneth. In Russia, amid the Chechen War, more than 300 people are killed in a series of apartment bombings in major cities, including Moscow. Another earthquake strikes in Athens, claiming the lives of 143 people, and that's before 2,400 people die in another earthquake, this time is 7.7 magnitude in Taiwan. On British TV, several key debuts occur, including between... Spaced Futurama, Family Guy and Loose Women.

The number one films in the UK were as follows. South Park, bigger, longer and uncut, eyes wide shut, the haunting and Big Daddy. Ed, the US, how are they dealing with September? Backstreet boys in the album charts continue to back up chart traffic for another couple of weeks before they finally let Christina Aguilera out for a week to dry wretch by the side of the road. But the redacted chicks planned ahead and decided to fly. A clean two-week trip is disrupted by a rough rider. Eve, apparently the first lady of the rough riders, is at number one for 12 straight weeks. No, I'm kidding. It's a week and done. Finally, Trent Reznor breaks through with the

fragile but can only manage nine-ish sales. So departs after a single week. Speaking of singles, Christina Aguilera or a crag, as the cool kids called her, citation needed. If I was ever cool, it was entirely fluke,

is still being rubbed for luck well into September. And one of the wishes must have been for anodyne treakly twaddle to preoccupy people for an entire fortnight as Enrique Eglasia smoulders tediously. Then TLC go all newspeak with unpretty. Imagine a boot treading on a buster's face for three weeks.

Before finally, its shrewd crossover time as a pottering Mariah Carey meets Jay-Z at the height of his Get My Name Right on the Czech era for the first of two weeks of heartbreaker. Ain't no party like a shrewd crossover party. Rob. Thank you both very much for those reports and we are going to crack on with the first of four songs this week,

which is this. Okay, this is Michiko Latino by Jerry Halliwell. Released as the second single from her debut single, studio album titled Schizophrenic, not the biggest selling album of 1999, Michiko Latino is Jerry Halliwell's second single to chart in the UK and her second to reach number one, and it's not the last time we'll be coming to Miss Halliwell during our 90s coverage. Michiko Latino went straight in at number one as a brand new entry. It stayed at number one for one week.

In its first and only week atop the charts, it sold 100. 32,000 copies, beating competition from Summer Sun by Texas, Unpretty by TLC, and Stop the Rock by Apollo 440. After one week at the top, Michiko Latino fell two places to number three. It stayed inside the top 100 for 15 weeks. The single is currently officially certified gold in the UK. As of 2026, Andy kick us off with Michiko. Latino. Jerry is a lot of things, but Spanish she ain't.

And that's kind of the main elephant in the room with this, because Spanish is, I was going to say questionable, but it's not questionable, because she doesn't even attempt an accent. She just does it in a very strong, vague London accent, Michiko Latino. It's kind of like when you hear a English person on holiday going, like, I love the croissons. Love the Croissens and French fries

La Fritte's Le Fritz, please Yeah, it's a little bit funny and I do think this is going For some really easy points You know, in terms of like Trying to capture a Spanish summer romance It's very base level with that

Like it's, I mean this in the nicest way possible But it kind of sounds like The sort of song that someone from Corey Might write about their summer trip You know, that is on a direct of VHS spin-off or something like it's very tacky and it's very like this year I'm off to sunny Spain kind of vibes that I'm getting from this and that's not a bad thing necessarily but I do think she's going for really easy points but therein lies the camp and that's the key to Jerry's

solo career it's to be honest it was the key to her and the spice girls but certainly her solo career as we've spoken about in the noughties you know she just breeds camp and that's no different here that you know she leans into the silliness of this she leans into the cheesy romance and the really over the top you know latin influences of this that are you know extremely straight down the line and that's you know that that sort of shameless silly quality of it is where the fun lies in this song and i do enjoy this i can totally see why it got to number one because it's frothy it's silly but it really feels like summer it really captures something that's you know like a sort of perennial fantasy of the British person in the rain is imagine I'm off on a Spanish beach being swept up

in the arms of, you know, my Enrique or whatever, you know, that's something that so many people listening to this would have related to. So yeah, I can totally say why this got to number one. She's got good people behind her, Jerry. I do think so. I've not really looked into, you know, who's producing for her and who's writing for her and who's managing her and all of that. But, you know, between this and bag it up and look at me and it's raining men to some extent as well, you know, she's got some good people behind her who were given her the right material who understands what her appeal is. And that said, you know, her appeal basically is, you know, of all the five different careers that came out of the Spice Girls, she's the continuity candidate, essentially. Like, she is the closest to continue in the Spice Girls sound to continuing what the Spice Girls might have done in the early Nauties.

And I can totally see the Spice Girls doing something like this and, you know, giving them all kind of different angles on this and some more unusual. and something that kind of builds their characters into it. So I think the Spice Girl spirit is still here, and I think Jerry's doing very well at carrying that torch. But it's tacky as hell. Like, it's really daft, and I'm not going to ignore that. But it's 1999. Daffed, cheesy but fun, is the vibe,

and she's meeting the moment here. And it's just nice, really, because she was definitely one of the more memorable voices in the Spice Girls, and definitely kind of the most camp, most fun one. I think that came out of them. So it's nice that in the short term, at least, she had the biggest solo career out of them. I mean, in the long run, that's Mel C, really.

But in the short term, it was Jerry. She is the Harry Stiles. She is the Ronan Keating. She is, dare I say, the Diana Ross. Although, I bet Jerry Halliwell can score a penalty. Way! Topical. Welcome for you.

Yeah. Do you know, it's a shame. Speaking of, you know, the former lives of the solo spy skills that we've currently, well, that we've come across so far, that Jerry didn't leave a little bit of a reference, a little bit of a tribute to the classic, I want you back from Mel B. You know, she could have said at the start of this, I've had many bloke overseas, but never mind. Look, all I'm going to say at the top of this episode is two words, package, holiday. Yes, I've got that in my notes. I've got that in my notes. The school holidays are in full swing.

Everyone's been off to the east coast of Spain or the Balearic Islands. And now they've returned in that summer mood, aiming to either recapture the holiday feeling or, et cetera, as crowded house said, etc, etc. Add it to the Latin wave that's hit the UK charts in the last few months anyway and that the spy skills haven't been gone that long and that everyone was probably keen to take part in whatever Jerry. was going to do next and this makes total sense as a number one.

And for the most part, I think it's pretty strong. It's quite an evocative and feisty single. Jerry's quite charismatic as a protagonist. And I think there's a link you could make between its lyrics and the story that gets told by Ricky Martin in Living Lovida Loca, you know, like this is the same story but told from the woman's perspective, maybe. Oh, that's interesting. I like that head, Kevin.

Love that. Both, you know, they're both songs about short love affairs that they still care about. and think of. They're both about holiday romances. And I guess with this one, you get the kind of of added bonus of it trying to be something of a spiritual cousin of Laisle Bonita. Only slightly spiritually, though. But comparing it, yeah, to Laisle Bonita does expose a few weaknesses for me. The first is that, like, I just don't think Jerry ever got it completely right post-spyce girls. That was such a huge decision and a big risk to take, leaving the group and look at me, I think was a bratty and confident way to bust out of the gate.

But from that point, a lot of the material gets just, it just gets a bit safer and a bit less interesting. And then when she tried to roar back up with that, scream if you want to go faster, when that one, the wind had kindly, kind of mostly moved out of the sails by then. And something like this is, it's feisty, but it's not fiery. It's evocative, but it's not vivid. It's tempting, but maybe not that sexy. it's confident but maybe not that bold.

I think it's a pretty solid bit of pop writing, but I think it lacks a final flourish, that last 10% to turn it into a bit of a banger. It's earned its place, I think, as a nostalgic little moment in the late 90s when Jerry Halliwell was taking advantage of the charts resembling like a T-Cups ride, where it's like just a revolving door

and you only see things for a second. But look at me and this are about as exciting as it got for me, and I don't know if this is that exciting. really. The thing, the benefit that I get from this episode is that you can kind of track, it was like this at the start of 99 actually, where you can track week by week exactly the kind of mood the British public are in. And at the moment it just seems like, oh, well, we didn't allow Jerry to get to number one with look at me. So we'll give her this one. And then the next one. And then the next one. And then not anymore. But

I do enjoy this. I think it's a bit of a swing so that she can be involved in this kind of Latin wave, and that's fine, because it is a mostly successful swing, I think, only mostly. But Ed, Ed, what about you? Yeah, it's interesting. You mentioned the Coronation Street go on a pointless and arbitrary trip somewhere straight to video release, Andy. Because this is very much, remember when Coronation Street went to the, Equator.

Yeah. I mean, it's Latino in its broadest possible sense, isn't it? I mean, we were chatting, me and Robert Chetton before this, about not only this randomly just drop in La Dolcea, which kind of really skews the cultural compass a bit. I think it might be Mad Dolce Vita, which is even worse, because that just means my sweet life. It sounds like a desperate declaration to the gods. My sweet life, where the hell am I?

I also like the way she says Dondesta as one word. So Dondesta, don't Desta. I remember when I was a kid thinking that she says, where it was a way of her elongating to say, don't to stop. That was what I thought it was when I was a little kid. Don't to stop. But no, Dondes star, I think he was an eastern gangster, wasn't it?

I'm don't understand But yeah It is basically a 70s holiday Advert It has got that You know Cheap and cheerful Package Holiday vibe

As you mentioned Rob And But it's like We've already got We're going to Ibitsa This episode as well So and I don't

I don't think this has quite Got the bite of that And that's not exactly Particularly bity To begin with This is sort of It's got that feel of like vaguely sunny, desperately anywhere sunny, anywhere that isn't faking them, just drinking somewhere that isn't faking them.

And it's not raining for half the day. Let's say half the day. That's the dream here. And I hate to say it. You know, I'm very fond of the Spice Girls. I think one of the issues here is, she's, Jerry's vocals. aren't great. They've not got a lot of character to them and the problem is because the vocal line, especially in the verses, depends on a lot of repeated repetitions of the same note. It just ends up

sounding rather flat and deflated. It's not as perky or, you know, pointed as it probably should be. So it, yeah, you were kind of on the right lines, but it never becomes vivid. It does evoke something, but it feels a little bit like a, like the air going out of a Lilo or something. I do like the punchy bridge That's very cool It does feel like it's really going somewhere And it changes the Changes the feel a little bit

And I do like the fact It sounds a bit like the Garudo Valley theme From Ocarina of Time But other than that I think this is pretty meh Myself It's so weird Because I just listened to Garudo Valley

On my way home before I'd maybe I subconsciously was thinking about this It has got that vibe, hasn't it? Let's be frank Which again is very It's generic Latino because the Garudos aren't a real people so they can match it all together quite easily. All right, the second song up this week is this.

Ladies and gentlemen, this is Mambo number five. Okay, this is Mambo number five in brackets a little bit of, by Lou Bega. released as the lead single from his debut studio album titled A Little Bit of Mambo, Mambo number five is Lou Beggar's first single to chart in the UK and his first to reach number one. However, as of 2026, it is his last. The single is a reinterpretation of the song, originally recorded by DeMaso Perez Prado in 1949. Mambo number five first entered the UK charts at number 74, reaching number one during

its fifth week. It stayed at number one for two weeks. In its first week atop the charts, it sold 224,000 copies beating competition from Mucho Mambo Sway by Shaft, Sing It Back by Maloko and summertime by another level. And in week two, it sold 175,000 copies beating competition from The Launch by DJ Jean, or Jean, by LaMos by Enrique, Eglés, by Enrique, Eglés, Summertime of Our Lives by A1 and I've Got You by Marty McCutcheon. After two weeks at the top, Mambo No. 5 dropped one place to number two. It stayed inside the top 104, 21 weeks. The single is currently officially certified four times platinum in the UK.

As of 2026, Ed, you can kick us off with Mambo number five. And oddly enough, given its continuing cultural residents, I'm actually surprised it's as low as four times platinum, given how sort of omnipresent this song became. There's not a huge amount to say. There really isn't, at least not from my perspective, I don't know, maybe, and are you going to throw out a sudden heartfelt essay on us this time? There's not a huge amount, and I'm going to be cheeky about it, that's all really. But I I realised I accidentally wrote like a hyper-efficient haiku

for this. I didn't, it's not haiku, it's actually technically 363, but hey, I'm beating the Japanese for economy there. He's charming. It achieves all its goals. It's still fun.

Thank you. Wow, that was brief. Yeah. But I think you covered it, to be honest. I will say it again. Package holidays. Released in April 1999, this was a hit across Europe in the summer of 99, and then the Brits brought it back to Blighty just in time for the summer holidays over here.

Honestly, I've grown a bit tired of this over the last few weeks, and I'll be kind of glad to get a break from it again. Not to say I will never listen to it again, just later in a bit after some quiet time. To me, this is just kind of, and has always been, because I was five years old when it was released, it's kids party music or co-worker music or music you hear rather than listen to. I'm not keen on the electro swing aesthetic, as I've mentioned before when we discussed dupe and as I will discuss again when we do, we speak no Americano. And while this is more bearable than both of those songs, over time, I think any sentimentality, for this that I had has been lost behind its frankly irritating silliness, or Lou Baker's sort of chafing delivery where every last word of almost every single line hits like a fake wall

and comes out sounding like a flat tone than anything is producing with his actual vocal cords. It's not piehole material. The sample flip is successful. Feels like it's picking up from that Waglione thing that got to number two a few years ago. And hey, you know, this has been parodied and remixed and covered a billion times. Lots of DJs at school parties will be forever grateful. It clearly touched the nerve. But like, I can't shake this feeling with a few songs this week that this is like the peak of frivolity in pop

that a lot of the songs we've covered recently have walked an incredibly fine line and have flirted very closely with just being pure novelty. And when we covered the Bob the Builder version of this, I did a skit rather than a review because it's become sort of impossible to say anything about renditions of this. It has become a universally accepted noise

as opposed to like a song made up of individual parts and it feels hard to have much to say or, and it feels hard to have a personal relationship with it because this is the kind of song that you only take in communally with thousands of other people or hundreds of other people or dozens of other people there. It's hard to have a unique reaction to this.

There's almost nothing I could say that would make me the only person to say it. Everyone everywhere has said everything that could possibly have been said about this. I'm kind of just on the fence with it. I'm kind of like, okay, fine. If this was landing in the middle of like,

you know like at the end of 2008, was it 2009, where it was like it was just ballad after ballad after fucking ballad and it was all Simon Cowell and it was all hero and, you know, Leona Lewis doing run and, you know, all this soppy emotional shit that the X Factor puts out at the end of every year.

And then, like, fucking Barry Island in the stream got dropped into it off the Gavin and Stacey thing. And it was like, that's fun, that's silly. That's like, you know, that I like the fact that in the middle of the chart run with these big American-style ballads, we can just drop something like this in as a bit of a laugh.

And if this had punctured a long, self-serious, po-faced run of songs, I may have had more fun with it. But I'm kind of, I'm not losing patience with 1999, definitely not to the extent I did by 2009, but it's just like, it feels like since bring it all back, it's just been like, it's summer all the time. And it will never be autumn. It will never be winter again. It'll just be summer forever. You're always 12 years old.

Panda pops always taste amazing. And fruit shoots, oh my God, nectar of the gods. And I'm just a bit like, ah, I need something darker. and a bit more foreboding and maybe a bit more melancholy, ah, and a bit slower, ah, you know, I didn't go to Ibitha or my orca this summer, and I feel a bit left out, and, you know, that sort of thing, because it has been a bit all like that. And I didn't see Notting Hill this summer either, so, ah, you know, it just feels a little bit like if you're not involved with the absolute very, very, very mainstream top 1% of culture

that does actually seem to dominate quite a lot of what people are taking in at the moment. I imagine this period of pop would have felt incredibly alienating. There is a run, honestly, there's a run of songs that's like next, where I'm like, oh my God, if I was an alternative kid in the late 90s listening to the charts, I think I might have put my head through the radio in a bit to just break it and stop the music. I'll do a chart rundown in a minute, but like, oh my God. But yes, Andy, Lou Bega. Yeah, I mean, just about the Forever Summer 1999 thing,

I really disagree just because this was like, these are really happy memories for me. I wasn't an alternative kid. I was a six-year-old who was just loving life. And, like, you wanted to be Forever Summer when you're at that age. This is the most child-friendly era of pop that I think we've ever had, apart from maybe like the late 50s, early 60s or something. Like, it's incredibly child-friendly at the moment.

And so this is just party time. This is, you know, now albums, like you say, Panda Pops, school discos just going on forever and ever. And I was just at the right age in 99 for all of this. Definitely, if I was a teenager, I probably would have thought about it very differently. But this is lovely, this is fun, this era of pop for me. But anyway, with regards to this, yeah, I mean, I do quite like it. It's one of those that's, like, become so ubiquitous and such a kids' party standard, and an adult's party standard, actually, that you sort of can't.

look at it from a distance because it's just like a sort of fact of the world it's just around in the same way that the macarena or ymca are like it's in that category really where it's just like yeah this is just one of our standards as a nation and it's hard to look at it at it at the most specific level but with the swing elements and i i like that there's like a bit of a salsa groove to it as well that it's not just like it's not just doing like frank sinatra or something like there's a little bit of something extra to it as well like a little bit of a latin thing and i like i like that I don't find the sound annoying I find it pretty fun to listen to I do think the whole concept is a bit muddled like the whole you know naming different names of

women that you've been with because it's like supposed to make them seem like you know a lad about town a sexy guy who's got women everywhere but for one thing that's like is that really sexy like in modern terms he would be called a fuckboy basically you know and also a lot of the names he uses I remember even at the time people used to joke that some of the names are quite old, they're not really names that young women have. Ethel. Well, he says Mary, you know, and Rita, and

almost everyone in Britain when they hear the name Rita would think of Rita Sullivan and Gary, who was about 70 even then. A little bit of Agnes. It's not all of them, because, like, Jessica's pet fan, and Monaco was a popular name with friends and stuff, but, like, if he'd really wanted to use names that, like, 20 year old women in the late 90s had so like that'd be like late 40s women now it'd be like bit of Lisa you know bit of Jennifer Amy

Zach well I mean presumably they'd all be women but yeah I hadn't really thought that one through it's just like they don't feel like names of the time in the way that you know like every girl born in the early 90s seems to have the middle name Louise you know like there isn't really much of an authentic like oh I'm singing to you 1990s audience. It feels timeless in a bad way. Like it feels like

it comes from a really different era which is just strange. I also think it's really funny what Lou Bega did after this. Have you ever heard I Got a Girl His follow-up single to this? No. Which is, it's this but places instead of women

where he basically spins it on his head and he's like, I got a girl in Paris, got a girl in Rome got a girl in Berlin, got a girl at home. Like it's literally this, but it's places instead. I remember, even as a very undiscerning, very easy to please, six-year-olds at the time, seeing that on the music channels,

and me and my sister being like, what? It's the same. It's just places. It's the same song. And it really is funny. And then he followed up with his third single, Mambo Mambo. So, you know, he's quite the one-trick pony.

Let's be honest. Really wrote this wave. But I have my other hustle. And I do think this is fun. Like, it's, I think it earned its place in the kids party scene and in the kind of silly family party scene because it is just really fun

and it's just got a very simple concept that's easy to sing along too and it's very very catchy and it has a what we call the compliment bit which it says the trumpet love every time he says for no reason the trumpet

I'm just great really really like that and I like that very scratchy vocal as well he sounds a lot older than 24 which is what he is here sounds a lot older than that So yeah, got quite a lot of time for this. Like, it's daft, obviously, and it's a bit muddled, but it's Mambo number five.

You know, and this is the second time we've covered this. It took us from 2001 all the way around the wheel back to 1999 again. We've had a second Mambo. We're one step closer to the Mambo larity. Yeah. Lizzie, if you're listening, there it was, just for you. What you've just said there was actually reminded me of a Spotify playlist I once made, and it was just called The Other.

the song, when one hit wonders, try again. And it's like, that I got a girl, sounds perfect for, like, to go alongside, like, again, another one of Lizzie's favourites that dance the kung fu by Carl Douglas. That is shameless, isn't it? Yeah, jingle, jangle by the archies. Gentleman by Sae is a pretty, like a recent one, but a very obvious one is that. Yeah, Free Loop by Daniel Poutre, girls by Nisloppi. Yeah.

The same, but not the same. So, the third song up this week is this. All right, this is We're Going to Ibiza by Venga Boys. Released as the fourth single from their second studio album titled The Party album, We're Going to Ibiza is Venga Boys, fourth single to chart in the UK, and their second to reach number one. However, as of 2026, it is their last. The single is a reinterpretation of the song Barbados,

originally recorded by typically tropical that reached number one in 1975. We're going to Ibiza first entered the UK chart at number 69, reaching number one during its second week. It stayed at number one for one week. In its first and only week Atop the charts It sold 143 Thousand copies

Beating Competition from And you see what I mean here Mickey by Lolly Friends Forever by Thunderbugs Africa Shocks by Leffield and Africa Bambarta And Moving by Supergrass After one week at the top

We're going to Ibiza fell Three places to number four It stayed inside the top 1004 15 weeks the single is currently officially certified, platinum in the UK. As of 2026, imagine that run. We're going to a pizza followed by Mickey, followed by Friends Forever, by Thunderpugs.

It gets a little bit more alternative as obviously you get left field than supergrass. But like, God, imagine being a kid that's like, you know, about 15 and 16 and something. It's like, oh, I hate pop, oh, I hate pop. And then this is the top 10 of you're like, what dream world am I living in? What nightmare is happening, actually?

Mickey by Rolley The supergracks in the middle of that I know Mickey by Lolly And then friends Forever by fucking I used to love Lolly Yeah I didn't mind her cover of

Mickey to be honest I like Mickey And Viva Radio Viva Radio Viva Radio is a very nice one by her Yeah And you know Tony Basil's you know

Mickey I don't mind it at all It's you know A good bit of teen hormones Via some cheerleader stuff Like it's fun I think it's pretty good But anyway Enough about that

Ed We're going to Ebeza How we feeling It's a cover, as you mentioned And yeah, the worst of their singles At least the singles that I know Did they have any more hits after this?

My Uncle John from Jamaica But that's about it, really Don't remember that one I only kiss, kiss, kiss when the sun goes down Is that them or is that someone else? Not sure. I vaguely remember that Definitely their last big one though, this

Yeah, of the ones I remember. This is very, very subjective. But yeah, it's, it just feels a bit polite and it feels a bit of an obvious choice. Because, you know, in some ways it's like, oh, you know, they're the party band, the Euro party band. You know, why not cover this? It's a summer here. It's an easy one. But this feels kind of mechanical and obvious in a way that they kind of weren't. There was nothing really that, you know, obvious about. we like to party. It's a little bit demented, that song. They were kind of manic and almost abrasive in their Let's have fun, you fuckbags. Come on, get up, get up, get up. And this is just, you know, this is the first one where you just notice

it's got like holes in it. Like the chorus doesn't sound like it's finished. It's a bit flat. It seems like there's elements missing. Like they abandoned a sketch at some point. And yeah, maybe they just weren't enthusiastic about doing a very, sort of frothy cover of a frothy single because it's got a bit of their more modern varnish to it,

but it's not that dissimilar to the original, which surprises me a little, because they are such a very much a 1999 kind of group, Venger Boys, very much, for a song about Abitha, it's a bit, I don't know. Well, look, it's low effort, let's just put it that way, but it did the job evidently financially. Yeah, a bit disappointing this. It's just, to me, quite obviously, their flattest offering so far. And I enjoyed their first two big singles, to be honest.

What the hell more is there to save them? Andy, you were right. Kiss when the sun don't shine was also them. The kiss, kiss, kiss. Yeah, it's just like that. I've got to number three. So, yeah, it, it, Not quite their last picket because that was in November of 99,

but they're last number one, at least. Yeah. Yeah, Ibiza. Can anyone explain that to me? The pronunciation... It's just that, apparently, it's just the... Specifically, it's a Dutch pronunciation of Ibiza. That's unusual.

Yeah. That's very strange, yeah. It's very international weakness, isn't it? Because we had Michiko Latino, and then we had a song with Mambo in the title, which had a little, tiny little bit of Latin influence. and then this, which is by a Dutch artist. I'll say Lou Bega was a German artist,

and then here we have a Dutch artist singing about Spain. So it's an extremely international week, and in almost all of them, well, I'm not going to let Lou Bega off the hook, but in certainly this and Machiko Latino, we have some very interesting pronunciations of quite easy Spanish words,

but that's not for me to say. Yeah, it's a week of saying the wrong thing overseas. Yeah, we're definitely, we're all trying our best, aren't we, this week, I would say. We're trying our best, but you know, we're lads on tour. Anyway, yes, this is, I'd definitely agree with that this is definitely the most underwhelming thing they've put out so far.

I wouldn't say it's bad, but it's definitely not got either the weird like hype energy that we like to party has where it feels like the sort of start of a big night and it hasn't got the assault on the charts, like straight down the line, smash energy that boom, boom, boom, boom has. This is just another one, really.

and I'm relatively surprised I've got to number one because it's not actually the most commercial thing in the world, to be honest. That mid-tempo thing, both this and we're going to Barbados, I think that mid-tempo is death. I've always thought that's the problem with the tide is high as well. That's like, it's got this weird rhythm that you can't really do anything to,

that it doesn't feel energetic enough and it's not a ballad either. It's just a strange little rhythm to have. And the fly-away on Dengue Airways thing, I think is pushing the brand too far. This is three songs on the run now where they've named checked themselves. I know S Club did S Club Party,

but, you know, they didn't do that in every song. And I feel like this brand and exercise is getting a bit, you know, fly in the flag by Scooch now, to be honest. It's not really giving them any credibility. But credibility is not what they're going for. They know what they're here for, which is to give you frothy lemonade pop,

which, you know, won't really last much beyond the summer, but it will come back every summer. And you do hear this every now and again. I've got nothing else to say about it. It's a lazy cover with... It's a strange choice of cover as well, I think, to be honest. But... Up taking it to Ibiza instead of Barbados,

yeah, that's a fun 90s thing to do. But it's tacky, it's throwaway. It's got that weird animated video as well. Is that because they wanted to do an animated video, or is that because the Vang Boards to turn up to do a video for this one? You know, answers on a postcard. So it's a bit underwhelming this. Yeah, a bit lazy.

Well, one thing I can say for certain that we probably can all agree on, this is definitely better than the typically tropical version, which is essentially Steve and Gary from Accounts, doing a plot line of an episode of Love Thy Neighbor, or till after was part. I know it was the 70s, but goodness me, the amorphous and vague impressions of Barbados natives that they do. The plane company is Coconut Airways, like, yikes.

Thankfully, all of that is gone, and it's just a bunch of Dutch people singing about going on holiday to Ibiza, or singing about their favorite Italian flatbread-based food item. We all remember the joke, don't we? Whoa, we're going to eat pizza. Oh, no, I don't remember that, no. Yeah, we're going to eat pizza. Yeah, it was, yeah, definitely a joke amongst my friends.

Classic comedy, that one. Yeah, that's the kind of shit five-year-olds laugh at. The days must have flown by, yeah. Yeah, the cheese on this is somehow dialed up from the original, the mozzarella cheese, them leaving the opening line as don't want to be a bus driver all my life. That's a nice joke to introduce some continuity and plot progression into the Venger Boy story. It is weird. I thought that's strange. I remember that at the time where it's like this is like a sequel, but it's referencing the previous songs. I remember at the time that blew my mind of like, is there a TV show that I'm not watching or something here? Yeah, S Club gave us unfair expectations about what pop groups should be doing. I think it's funny. It feels like they've tried to reimagine this as if Ace of Bass were redoing it, which is a mostly successful move. You know, I love that they've really turned up that lead instrumental hook as well by sticking it on a source in.

and ramping it up, you know, ramping up the bubble gum, the did-di-da-di-did-did-did-did-did-did-did. Good, but I will say it again, though, package holidays. And I will say again, not in this episode, but I have said it a lot recently, and you've just said it, Andy, things are very frothy right now. Has Pop ever sounded so tacky and cheap and airzats?

Pop has this habit of resembling its format, like, you know, the crackle of old records. or the occasional skips of cassette tapes or the expanded scope provided by MP3s and WAV files in the streaming era. And in this era, it's just the thin plastic of CD singles

in and out within a split second meant to be bought, kept for a short time, and then put on the shelves in charity shops for all eternity. The pop of the 2010s, I think, was really trying to capture this spirit, but with more of an American flavour,

rather than a slightly campy European one. But I do get that same feeling. and like it there was this tweet once that was like the music of the early 2010s is like the most deliriously irrationally happy period for poppice and then the the clinching line was Katie Perry had no concept of mental health and I get the same feeling with this where it's like these guys have no concept of mental health whatsoever and pop does not want to pay attention to it right now

but I hate to lay this at this song's door because it's not this song's fault and I don't mind this song, but it does feel a bit like pop at the end of the late 90s as bought into that kind of end of history idea that summer will never end. And even though it's September now, it doesn't matter, as though we Brits were clinging on to the summer holidays,

even now the kids are kind of back at school. You know, the early 2010's got a bit like this as well from memory, but I'll test that theory when we get there. I don't know if it's like, you know, because in the early 2010s, it was like, well, if we're not pretending that we're happy, in pop all the time, then we've got to discuss the recession, and that's awful, and we've got to discuss the credit crunch, and that's awful. And so I don't know with this, where it's kind of

like, you know, the American government's kind of been plunged into crisis because Bill Clinton and Monica Lewinsky and all that. But even in this country, it does feel a little bit like, oh, well, Tony Blair's in charge, and everyone's got a bit of spare cash, public spending's doing okay, you know, and I guess we're kind of turning a bit of a blind eye to things like thousands of people dying in, you know, developing countries because of earthquakes that in this country we would be able to deal with a little bit better. I don't know if I'm thinking about it a little bit too much, but like there is this kind of feeling present that's like, I feel like we are pretending that reality doesn't exist at the moment in pop. And that's fine.

You know, occasionally, I think, you know, if it was like every other song that was like that, I'd be like, yep, great. But these last six or seven songs have been a bit like, whoa, you know, are we trying to, I don't know, paint a picture of the 90s that didn't really exist. Is this why everybody thinks that the 90s were the fuck around period and the 2000s were the find out period? I'm not too sure. But like, you know, I think it's maybe something I'll get into a little bit more in the 2010s because I fucking hate some of those songs and I could really, really go in hard on some of those songs. Whereas with this, I think this is, this is fine. It's definitely not typically tropical, which ironically was on the radio the other day and I'd forgotten that typically

tropical were two white guys. And about 30 seconds into the song, I was like, oh, wait, no, I remember the music video for this. It's just two bloke's making fun. It's not genuine. None of this is genuine. And then I thought about this. And I was like, oh, this is much better. This is like, it takes, they've managed to actually remove quite a lot of, I don't understand how they've managed to keep the bones of the original while removing all of the racism from it. It's done, it's just pretty big feet, I think. It's definitely. better than the 70s original. And I will say that despite what I've just mentioned, trying to cling on to a summer high is a forgivable and entirely understandable action. And a bit of a

human action as well. You know, trying to preserve halcyon days is something that we're not very good at. But it seems like in the 1990s, we actually did quite a good job of it. You know, we remembered that maybe we felt, you know, we're living through good times. Let's try and buy music that reflects that. And so, okay, fair enough. very, very lovely time at the time in terms of, you know, summer lasting well, well beyond the actual summer. And there was a bit of a millennium effect as well, I think, that we were all sort of gearing up for that big, big party that was to come and we're feeling hopeful. I also don't think there's anything wrong with it at all. And I think one of the primary

purposes of music is escapism. And certainly, you know, different people get different things out of music and some people use it to unlock feelings. Other people use it to just get away from things and God knows life can be hard so let people have their Venga boys and their mumbo number five. All right then so the fourth and final song this week is this. Yo, this is the story about how good he sees is just blue like him inside and outside. Blue his house with a blue little window and a blue corrette and everything is blue for him and his self and everybody around

Because he ain't Listen I'm blue Dhabi Okay this is Blue in brackets Dhabi by Eiffel 65

Released as the lead single from the group's debut studio album titled Europop Blue Dabadie is Iful 65's first song to chart in the UK and their first to reach number one However, as a 2026 it is their last

Blue Dabadi first entered the UK charts at number 61, reaching number one during its sixth week. It stayed at number one for three weeks. In its first week atop the charts, it sold 227,000 copies, beaten competition from Sun is Shining by Bob Marley, Get Get Down by Paul Johnson, and Burning Down the House by Tom Jones and the Cardigans. In week two, it sold 165,000 copies, beating competition. competition from S Club Party by S Club 7, Man I Feel Like a Woman by Shania Twain, and You Drive Me Crazy by Britney Spears, and in week three, it sold 141,000 copies, beating competition from Going Down by Mel C, Sunshine by Gabrielle, and I Try by Macy Gray.

After three weeks at the top, Blue Dabadi fell two places to number three. It stayed inside the top 104, 31 weeks. The single is currently officially certified three times platinum in the UK. As of 2026, another big deal. Andy, Blue Dabody. Yo, listen up. Here's my comment about a little song that came out in the 90s, and all day and all night I will talk about this song,

except no, because that would be mental. Anyway, um... Good stuff, very good stuff. Thanks. Classic comedy once again. But anyway, before I get into the song itself, I've got to talk about a few of the ones we skip past there. Quite some big beasts that this managed to fern off.

Pretty impressive, really. Being man, I feel like a woman and Brittany in the same week is quite a shocker. I really, you might have heard me stifle a laugh burning down the house there. It caught me completely off guard because that's a running joke in my family. That's a look because Scouse, the dish,

the Liverpool dish, scouse. My nana used to make it for us. I used to make it every Thursday and when it just used to be a joke between all of a sudden whenever she goes into the kitchen she'd go,

I'm turning down the scales. Oh, happy times. Anyway, oh, that's going to tickle me for the whole rest of this now. Anyway, right, so this, this is a big one. This is the big one, by which I mean, this is the very first

song ever that I can say I helped to get to number one. because this was my first single. Oh! This was my first single, went to Virgin Megastore, and I bought this on cassette. I say I bought. Obviously, I wasn't earning my keep.

My mom and dad bought it for me. But, yeah, this was the first single I said I wanted and was bought for me. And me and my sister both got to buy one. I bought this, and my sister bought two times by Anne Lee, which you might remember. Two times. Do, do, do, do, do, do, do. This is really like,

song actually. So yeah, very vivid memories of this. I just loved it at the time because first of all, I was a big Everton fan, so I'm blue. That was like I've sort of embraced by local Everton fans. And it was just a weird set of lyrics. I think that grabbed

me more than anything really. That's like, what does he mean? I'm blue. Because I didn't have the sense of blue meaning, you know, sad or blue meaning horny or blue meaning anything else. I had no concept of it other than the literal meaning. in blue like I'm a blue person like I'm in the blue band group you know so I just thought it was a

really odd thing I thought it was just really funny and I took it a total face value it was also incredibly catchy and really really musically simple like really as an adult far too simple that's kind of the criticism I would give to it really is that it it doesn't do that much and it does that little sing song do do do do do which is just up and down the hill up and down the hill It just does it a million times and it's quite cloying because of that. But yeah, there was something about it that just really grabbed me and obviously a lot of other people as well.

I think it just sounds a little bit different for the time. It's sort of maybe in the same kind of world as Spaceman by Babylon Zoo. Like it feels a little bit like that to me. It feels a bit alien and strange. Also, everyone in school used to think that the lyrics went, I'm blue da-da-da-da-da-di-di. If I was green, I would die. I don't know why

don't know why yeah another inexplicable one there but yeah I do think that there's something about this that I'm trying to think of a better word than catchy but it is just so catchy like it really gets in your head

this probably because of the kind of nursery rhyme nature of it but also some really nice production in the background I like that little and non no no no no no and those verses the only variation we really do get is those verses with a

I have a blow, how can I blow in down? That vocal style is really interesting to me as well. I think that's like, again, just a little bit unhinged, a little bit strange in a way that you wouldn't really expect from something like this. So yeah, I'll say right now I'm putting in the vault because the first song I ever bought, this is like the start of my pop chart journey. So it has to get in just for that. And I do think this pretty nice. It's probably my favourite of this week overall, not that that's particularly high competition. Yeah, really like this.

Ed, what about you? Yeah, I've got to say to start with, I mean, this sounded like a joke when I wrote it, but I do mean it, the best vocal performance this week, which considering it's absolutely sort of drenched deliberately in auto tune, seems a bit of a facetious thing to say. But I mean it. He has a lot of character, admittedly, as you indicated, Andy, he sort of dragged around somewhat by the linear movement of the melody in the choruses. However, his, his, his strange intonations and sort of cadence choices in the verse, they're fantastic, they're so unusual. And I think it really sticks in the head just as much as the chorus. As you say, I have a blue house where the blue window. Blue is the color all that I wear. Yeah. I have a girlfriend, and she is all blue.

It's like that, what is that word? Is it all that I were? Because it's like that word of it, that land, and all that I wear? It's like what I wear? It's all wearing. Such a strange little vocal turn he does on that, yeah. It does, but it opens as well. I mean, there's multiple sort of hooks that are entirely based on his mixing the delivery up more than anything else.

I mean, it opens up with that nobody, I don't think, who had written this in their first language. I mean, maybe I'm wrong, and I certainly don't mean this as a demerit, would have delivered that opening spiel he gives, as if it was like an unwilling press statement or it's like an office armistice, you know, when there's been some rumours like there's a buyout or something going on in the office and somebody at the office is like, right, everyone, listen up, okay, damage control, you know.

There's a rumour about the consultation period being a layoff. Rest assured that you, yourself and everybody else will be alerted as soon as we hear more, hear more, hear more. It is kind of iconic though Tell you what, tell you what shows that it's effective That it really does like feel like 1999 So the film Ironman 3 Opens in

It opens in 1999 It has to set the opening scene in 99 And it depicts that by Over the Paramount logo As the sort of studio logos are coming in It just does that opening spoken word bit And then it cuts before the actual song It's just that

And then we're into 99 and it tells you instantly Like it's like that kind of If you were to set a scene in this year thing, you know, you might choose that. It's like if you were to set a scene in 2002, that would be like heaven by DJ Sammy for me. That was a set a scene in 99. I think that opening to do you have a day is a pretty good way to locate it. It's probably the most insidious and bizarre hit in a year full of insidious, if not quite as bizarre hits. So yeah, I think that makes sense.

I've totally forgotten that. But I mean, yeah, this, like, it's basically a minor key dance sing-along. and clap along that is ostensibly very broadly and very basically about kind of clinical depression. And yeah, I still really like this. It is daft, but as always, like these European acts come in and they lean into it and they know and they're not embarrassed. They're not trying to turn it into like a, you know, a knowing and nod and a wink or make it matter. they just go full in with all of the novelty, all of the wackiness, all the sound effects, and it's irresistible.

And I think this still largely is for a time. Because it does need like a middle eight or fucking something. Because it is literally all over after two and a half minutes. Even the very short radio edit version, it is just a direct cut and copy, as in I don't even think that the verse that's repeated is a different performance. I think it's literally been cut and copied and dragged over to create the full extent of the single... This would have been fine at two and a half minutes.

It's perfectly catchy enough at two and a half minutes, but no, in the 1990s, three and a half minutes were seen as skimpy, and now looking back, it seems a complete indulgence. Maybe the 90s were very, very indulgent, looking back with our modern eyes. But I do like... this. I do think it's very cool. And there's a reason it's lasted. And there's still nothing that

really sounds like it because the choices made are so bizarre. Anyway, Rob. Well, you know, I was wondering before whether summer would ever end, well, this is it. Summer's over. The package holidays are already a memory. Everybody's back to the grind. Everything is blue for him and himself. It's autumn now. The leaves are turning brown. The nights are growing darker. And, hey, maybe some people are sad. I don't know why, but this song's sense of melancholy suddenly feels really substantial and meaty after the last few songs.

I've mostly enjoyed the fact that the record buying public were really committed to making 1990 and an extended summer. But like I say, I did have the feeling this week that it kind of needs to come to an end. And then this lands at the top of the charts for three weeks, indicating that the public probably felt the same. One summer, I will never forget, is 2018, when the UK went about 50 or 60 days

without more than a millimeter of rain falling anywhere in the country. And all the grass was brown and England were doing really well in the World Cup. They got all the way to the semi-final. And everyone was outside having a great time in the bars and pubs and songs like Shotgun by George Ezra and obviously three lions were going number one

back to back to back. And then England lost the semi-final to Croatia. And a Drake song went to number one. and it fucking threw it down the next day. I remember the very next day after England got knocked out of the World Cup, the rain just right, like it'd been waiting all summer. And this feels like a similar mood shift where summer is over

and we're maybe on the hunt to reflect that. You know, we're going to find something that reflects that. And we get this, which may have come, you know, it probably came across Europe, but it's just landed a little bit later.

It's still taken some time to get to number one, but it's taken most of the, of September to do that rather than August, like Mambo number five, you know, spent most of the summer getting here. And we get this, you know, that this simultaneous, I think, peak and sort of end, beginning of the death of Europop, dominating the UK charts. You know, you obviously get Europop acts after this doing well, like A1, DJ Otsey, last catch up, but they're sort of spread out, and it's French house that becomes the dominant sound for a while, which is much cooler and sleeker. And apart from the odd moment, it never quite has the country in its grasp again

until Despacito. You know, this week, as you've said, Andy, has featured acts from Germany, the Netherlands, and now Italy, and even the one British act this week tried in earnest to sing in Spanish and Italian on her hit, but the sort of gimmicky and slightly patronising eye of the British public when it comes to foreign music and pop from elsewhere. It goes a bit further east from this point with things like Kiss Kiss by Holly Valance coming from a Turkish song and you know you get Mundi Antabachikei and Hussein by Bangra Knights or even Oasis doing the Hindu times and all that stuff so like you know this wave of bubblegum Europop that Aqua probably kicked off with Barbic Girl you know this is the you know this

is sort of the end of it as number ones go you know them calling the album Europop feels kind of coincidentally significant as well and I guess that's you know it's sort of appropriate for a song to come from this scene, but remind us all that, yeah, sometimes existence is blue and sometimes you can end up feeling alone and blue, and that you can do as much as dabber-deeing and dabber-dying as you want, but that blue feeling might still be lingering somewhere, which is something in the song that I find to be, you know, really interesting, like you were saying, Ed, like it's a minor key sing-along, really interesting. The song itself, I think, has a kind of an unusual structure as well, because you're sort of.

of get a prolog at the beginning that establishes the wider narrative, then it does the chorus once. But then when it comes out of that chorus, it goes into a new melodic section for the vocals that feels like that is the first verse, because it kind of goes from a third person narration. You know, here's a little story about a guy that lives in a blue world and all day and all night, everything is blue for him and himself and all that. But then in the second verse, it jumps to the first person. Like, I have a blue house with a blue window. Blue is. the color of all that I you know

and everything you've heard beforehand just feels like an extended introduction all of a sudden which buys it a bit of time and every line has a really unusual cadence as we've all established with the of the color of all that way

of course all of this is contributed to by that bizarre use of like the harmonizer slash autotune thing as a kind of standing for the default digital auto tune software this is how I expected it to sound on Believe by Share. You know, when you hear that like,

oh, this is the first prominent example of something being used. You know, you expect it to sound like the equivalent of the skeletons in Jason and the Argonauts, where it's like, you look at it. It's like, wow, that looks fucking amazing for the 1960s kind of thing. And, you know, it's, yeah, you know, it's still pretty scary and still pretty cool. But, like, it's still like, oh, you can see how this would be refined. later. Where we believe it doesn't really feel like that. It feels like, whoa, you've kind of mastered this by pushing it into the extremes. With this, it feels very rough around the edges in a way that

suggests that it felt futuristic at the time, but now makes it seem much older than it probably is. But then all that kind of drops away in the chorus for, I think, for what is a razor sharp, kind of revolving, almost palindromic kind of nursery rhyme melody, which has been recycled and remixed and re-performed about a billion times and why not because it fucking rules you know we will come back to basically to this very song in twenty twenty three because david guetta of course thought oh why'd you know what'll be a great idea just have this bit and repeat it for two and a half minutes get bae bea rexer or b b b bhexer whoever that is to come in and go I'm good, yeah, I'm feeling all right,

and I'm going to have the best fucking night of my life. And that gets the number one. It was an easy book, and he did that. And, yeah, that's David Gwetta's career, really, just finding easy books and low-hanging fruit and then going, hey, let's shout for a bit. This isn't a Volta for me. I think it runs out of things to do

after about two minutes and 50 seconds, which is when it should stop. Admittedly, that is when the David Gretta version does stop, but like, this one keeps copying and pasting sections until we reach nearly four minutes and the effects are minimized in the last minute or so. But for two minutes and 50 seconds, this has me firmly in the palm of its hand, firmly in its front left pocket on its shirt, like just, yep, happy, along for the ride until I'm a bit like, yeah, I need to kind of get off the ride now, which is funny and slightly ironic because I feel like this coming along is like, yep, okay,

the summer's over, it probably needed to end, and then the last minute of the song is a bit, yep, it's probably over, probably needs to end. But it has been good, and it is my favourite song of the week. Michiko Latino, it's not exactly close to the vault, but it's not going in, definitely not going in. Manbo number five is staying dead center, dead in the middle. We're going to Ibiza, Ibiza,

is probably between those two for how much I like it. And then blue, dabbardy, that's just missing the vault, just missing the vault, but only just. Andy, Michiko Latino, Mambo number five, we're going to Ibitha, Blue. How are we feeling? Well, my chico Latino certainly isn't my Votto Latino, but neither is it my payo Latino. Pialloa hole. Yeah. As for Mambo number number five, you can talk about the trumpet, all you want.

but you'll just be hearing the trumpets from the middle rather than the vault or the piehole. Which one of I forgotten? We did Mamma number five. Oh, we're going to Ibiza. Doesn't that say a lot that I forgot that one this week? Well, it may be going to Ibiza, but it's not going to the pie hole or the vault. And as for blue down the day, well, don't be blue. Don't be blue, Peter.

Anyway, don't be blue because you're going into the vault. A lovely shade of green. Aw. Ed, Jerry Halliwell, Lou Bega, Venger Boys and Eiffel 65. Well, as Tompix cook packages go, Jerry's isn't the best. The hotel food is distinctly thawed, and there's a rumor someone died in the water tank on the roof. But, El Tilsley sounded foreign, and you can get a pint of Moretti with your tapas. So, yeah, it's not going anywhere.

Well, it's not quite Viva Lou Bega. Oh! But it's better than a wet weekend in Begadley. You could so easily have said Luton. That's true. I could have done. But I wanted the added effort for more failure.

I'm a sucker for that kind of thing. But yeah, that's a nowhere as well. But it is a decent nowhere. like Gunthorpe. Anyway, the Venga boys. Oh, they're going to Nebraska. Sort of bang, middle stuff really. I think the Vengar Bus has a flat at the moment.

And Eiffel 65 might not tower quite high enough to reach the vault, but it certainly ain't Watkins Tower either. Look it up. We will see you next time. Can you believe we only have three episodes left of the whole 90s? I can. I can. I feel like we've been in 1999, basically as live. We've been reliving it, I think so. Yeah, the rest of the 90s zoomed past, but we're caught in this sort of endless summer here.

So yeah. Fucking CD singles. All right, so we will see you next time. Bye-bye. Bye-bye.