Hits 21 - 1999 (9): Geri Halliwell, Robbie Williams, Wamdue Project, Cliff Richard

Episode Date: June 25, 2026

ROB'S ALBUM: https://open.spotify.com/album/6EP0o8wuPnjU5L7saDYuih?si=_COzPN69RQqFMu-oARCHLQHello, 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 HITS21, the 90s, where me, Rob. Me, the Lord are God. And me, Ed, are melting. And looking back at every single UK number one of the 1990s, emailers at Hits21 Podcast at gmail.com, if your keyboard hasn't turned to liquid. And speaking of emails, I thought, because this is our last regular episode of the 90s,

I would actually finish it with an email that was sent to Hits20. podcast at gmail.com from Scott, long-time listener, first-time caller. Not an email subject that Scott thought he would be sending to us, but here we are. It's a few little factoid about the end of the Venger Boys time on the UK charts. Obviously, we've covered two of their number ones this year. So, following on from our discussion in the latest episode, the reason episode about the Venger Boys songs after 99, Their last two songs before their split in 2001 were a definite shift to the sound.

The penultimate song, Chica Bow-Bow, had a computerized voice singing computer-themed sexual innuendos in verse 1 before the computer realizes it has a virus in verse 2. Yes, Venka Boys released a song about STDs in the year 2000. This was shortly followed by their final release, Forever is One, a heartfelt piano ballad complete with emotional montage video of Venga Boys highlights. featuring a blurred out Westlife who refused to appear in the video. It sounds like they went out a bit like Aqua as well, because obviously Aqua's last big hit in the UK was your slow ballad one

with the mid-y-80 saxophone and all that stuff. Yeah, thanks, Scott. I had no idea. Oddly, I feel inclined to check that out now. I mean, call me Doc Brown, because I would describe that as, Great, Scott! So to Scott and everybody, who has listened to us throughout our 90s journey. 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 7th of November and the 18th of December. We are going to take you right up to, but not including the Race for Christmas number one. We'll tell you a little bit more about the shape of next week's episode in a bit. Andy, the UK album charts as the 90s come to an end and we nervously peer at Y2K.

How are the album charts doing? It is the highest selling album of the year and it returned to number one for a further five weeks throughout almost all of December and well into January 2000 as well. So I probably mentioned this in the first episode or maybe Lizzie did. I can't remember. But it is of course, Come On Over by Shania Twain, which went 11 times platinum all told and seized out the 1990s. That's your album, Phil. Okay, so in UK news, Paul Gad, better known by his stage name, Gary Glitter, is Jail. after downloading indecent images of children as charges are brought against him internationally

on child rape offenses. And George Harrison is taken to hospital with stab wounds after being attacked by an intruder at his home in Oxfordshire. In international news, estimates of between 10,000 and 30,000 people are killed during the Vargas flashed floods in Venezuela. In America, JZ is arrested

after stabbing record producer Lance Riviera at a nightclub in New York and in Russia, Vladimir Pug. becomes acting president following the resignation of Boris Yeltsin. The top films in the UK were as follows The Sixth Sense and the World is Not Enough. And, just for a bit of fun, Emma Bunton launches the Don't Mix Alcohol and Fireworks campaign, warning punters ahead of the new year and new millennium that drinking even one glass of champagne could, quote, get you in trouble with festive explosives.

Ed, America, how are they doing? Singles. It's smooth. Forever. We did cover that last week. That will be there for some time to come. But albums are a bit more busy. It's just one more week of smooth Latin grooves and shrewd a platinum guests as Santana's Supernatural racks up one last week at the top.

Then with impressive first week sales of nearly half a million copies, it's everyone's favourite rage against the machine. album, The Battle for Los Angeles. All the hits are here. All of them. There's the one where Zach Dola Rocha goes, and the one where he goes, come on. And then there's one where he wraps non-specifically about police states. Um, wake up, sheep all. Oh no, they went back to sleep after one week. Do your sheep have trouble sleeping, however? Because maybe Faith Hill has the answer with breathe, which suitably is in and out within a single week, before it's corn with issues and a new album as well. All the hits, all of them. Hey, I tell you, though, that rage record,

that's a good record. Testified, Gorilla Radio, Sleep Now in the Fire, Calm Like a Bomb, Some good stuff on that record. Robbie, you might as well be making those titles up because I don't hear Bulls on parade. We are exactly ten years out from Rage having a UK number one single, isn't that fun? Yes.

Do I hear jingling? Because it's all the way with boat lamenting quibiquire chart staple Celine Dion. But will she jingle all the way through to Christmas Day? We shall see. Can I just make a small point of order about Y2K? It's fascinating.

to me that that's like that's what it's called now when it wasn't called that at the time we all called it the millennium bug and then it just gradually became we call it y2k instead and it's weird people probably don't know that now who are growing up now it's like 9-11 that wasn't called that for a couple of years it was september the 11th and now nobody would call it anything different or just the world trade center attacks yeah yeah it's weird how like we've settled on y2k but you will not find any in the uk you'll not find any uk footage of anyone saying that until about 2003 or four. Very strange. Just like the use of K, meaning a thousand.

That was never a really a British thing, was it? But now it's everywhere. Oh well, it's a sort of world community, that sort of thing. So it's to be expected. So the first of four songs this week is this. Okay, this is Lift Me Up by Jerry Halliwell. Released as the third single from her debut studio album titled Schizophrenc. Lift Me Up is Jerry Halleywell's third single to be released in the UK and her second.

To reach number one, it's not her last number one, but it is her last number one of the 90s. Lift Me Up 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 139,000 copies, beating competition from What I Am by Emma Bunton and Tintin Out, waiting for tonight by Jennifer Lopez, bombediggy by another level, and I knew I loved you by Savage Garden.

After one week at the top, Lift Me Up, fell three places to number four. It stayed inside the top 104, 19 weeks. The single is currently officially certified silver in the UK as of 2026, and just a little thing there about what I am with Emma Bunton and Tintin out. Apparently neither Spice Girl was happy about this. They didn't want to be seen going up against.

each other. There was no rivalry behind the scenes and they have apparently both admonished that their labels made them go up against each other for competition that week. Even if it did benefit them sales-wise, I imagine, it didn't, yeah, they're not happy that that was like, you know, the first time the Spice Girls went to war, as it were, they weren't very happy about it. Do you know, if I was to pick two of the Spice Girls who were the least likely to fall out and get catty with each other, I'd probably pick Jerry and Emma, to be honest. Yeah. Yeah. The two most person of all of the five, I would say.

Yeah, it's probably part of why they weren't very happy. So Andy, I'll stay with you. Jerry Halliwell, lift me up. Yes, as the Mercury and the thermometer said in the start of June, 2026, lift me up. And so it did. It's bloody warm, everyone. It's very warm. It's very warm.

Yeah, it's just, I'm viscous right now. I really am. I'm like a slug. This is just awful. Anyway, Jerry Halliwell, lift me up. I'm a little bit underwhelmed by this to be honest because as I've spoken about in the past with Jerry with Machiko Latino and also when we talked about

was in the Nauties the thing I consistently really like about her music and about her as a musician and a personality is just how camp she is and how she's sort of got the soul of a drag queen and the heart of a proper British pop diva and it's a really great combination that just makes her an extremely fun

and extremely likable music personality like put aside anything else, just watching her and listening to her music and seeing what she comes out with, you know, especially bag it up, which I'll never ever forget how wonderful that was to discuss on this show. And you get none of that with this, unfortunately. It's sort of towards the end. I will get to what happens at the end of this song. But for most of it, this is just a sort of, I'm going to say a sort of true colours. That's what friends are for. kind of

you know just very simple kind of oh make me feel better even though things will basically be all right can you make me feel better as well and it's just very sickly sweet and doesn't have the sense of fun or camp that literally all of Jerry's other singles that we've covered have had

and so that's a shame and I've got very little to say about it other than that it's a nice ballad it's weird that this got to number one but look at me didn't because look at me is much more fun than this but it's not bad it's just not very Jerry Halliwell

it feels like a bit of a filler single to be honest there is of course the thing that happens at the end of the song which I'm not going to dwell on too hard because I know from our group chat that Rob has been particularly enjoying that key change that happens at the end of the song because it is massive, it is a really big key change

that stretches Jerry's voice to the limit and it turns it into a different type of song it turns it from a gentle ballad into quite a hoarse anthem, to be honest. And I'm not sure I like that. I think that was a bold, ambitious, applaudable, but ultimately reckless decision to do that at the end of the song. So this is just kind of all right, to be honest.

We've had so much better from Jerry, and this is probably the most forgettable and probably the weakest one that we've had from Jerry, but it's still not bad. Yeah, something I want to mention before I go into talking about the song is that Jerry's song titles have gotten awfully demanding and they get more demanding as it goes on. So many of them have very obvious calls to action in them.

Like, you know, she breaks out with, look at me after leaving the Spice Girls. Then she does this, which is Lift Me Up. Then she goes into Bag It Up. Then it's scream if you want to go faster. And then her last top 10 hit is called Ride It. And it's like, all right, Jerry. You know, stop ordering me around.

With Lift Me Up. I think this has a really promising introduction. There are some lovely harmonies going on in there with the sort of electronic piano that leads us in. It's a pleasant, sunny, kind of huggable instrumental melody, and it kind of sighs a bit and leans into the kind of verse. You'd expect, like, a mid-2000s Corinne Bailey Ray to come and glide into, sounds like the kind of female singer-songwriter stuff

that Terry Wogan would champion about five years from now. But, like a lot of the music that Sir Terry championed, a lot of it was a bit hype over substance for me, and excitement over very little in the way of ideas. that chorus is leisurely and amiable, but it's only just about enough. I think Jerry stumbles a bit awkwardly through the material. She never sounds that comfortable in the range that this song requires. It sounds like it's too deep for her.

You know, she spends a long time really searching for the low notes when she's got to meet them. You're like, it's so wonder, baby like you and I. It's like, you know, things perk up a little bit during the bridge, that middle eight thing, where you can feel it slowly climbing and you know, you feel yourself preparing for it to step up by one or two

because that's all late 90s songwriters seem to be able to do in terms of applying variation to their hits. But then you can feel it climbing higher and higher and it sets you up for a bigger leap and you think surely they're not going to go to like three semitones up here and then the key change drums

and it's five semitones. They just go from one to wah and it's like, oh and I know that in theory it makes sense like you were sort of saying to me Andy in that chat they just moved to the fifth it makes sense but wow that is a that is an unexpected lead I guess it's a difference between like

it's difference between classical music and popular music really like it's difference between instrumental writing and vocal writing because there's nothing at all unusual like to listen to it harmonically it's completely unremarkable for it to go to the fifth yeah but what that does to her voice yeah yeah yeah god I thought, you know, I have no quarrel in principle, but in practice, Jerry going from struggling

in the low ranges to being asked to properly belt this final chorus and also not quite making it, oh, it's tough. It is tough that, oh, that's hard. If they'd gone up instrumentally, but Jerry had followed it down, maybe done it an octave lower, that I think that would have been quite nice. That would have had an unusual effect. Like, you know, like when you're taking off on the plane and then they turn off the thrusters and you just feel your stomach sink. I feel like it would have felt a bit like that. But I think that kind of, the whole thing kind of sums up my issue with it really, which is on paper and instrumentally, I think this is perfectly serviceable and potentially

really lovely. I just think it has the wrong spice girl singing it. I think this actually, ironically, would have been perfect for Emma. Her solo career. Yeah, it was still sort of in the oven at this stage, though. like, you know, she's got the tinted out record and, you know, but we don't get her proper solo breakout until next year. And then you think, like, oh, if she's done this instead of what took you so long,

you know, there might have been something there, which means it's Jerry serving this stuff up for now, which is, you know, it's fine, but it is a step down from Michiko Latino, which itself was a step down from Look at Me. And she never quite finds, I think doing more stuff like Look at Me and Bag It Up would have been a bit of a, you know, lean into the camp a bit more. but she plays it a bit safe with this. It's totally fine.

It's nowhere near the pie hole. But, yeah, Ed, lift me up. Well, I'll have to come round your house first, but sure. Give me off an hour. Yeah, doing Be True does give me a little bit of a, because we do that all in one big bunch, effectively. There's give me a bit of a skewed idea of where the non-number-one singles fall. And I would assume, given the trajectory she took afterwards,

that look at me was like, oh, that's it. She's found it. She's found the proper course because it is obviously better than the two number ones that she's had. But alas, no, apparently that, as you reminded me, did come before this and Latina Generico, whatever's called. But, yeah, I do realize I do expect a lot from the Spice Girls because they had such kind of high standards in the group. I am somewhat unfairly assuming that they all need to produce.

like a very individual kind of strident and well-constructed pop every single time in their very different environs. And it is quite a lot to expect. But one thing that does shock me a little bit is that while, you know, some of the other group stuff has been underwhelming, not least the Missy Elliott co-lab earlier on this year. But, uh, Like the Latino. Michiko Latino. No, no, originally when I first, because I had forgotten when I was typing my notes, I did put Latina generico and I was like, because I could completely forgot and I was still scrambling for it.

But it's, it's, I don't know if it is just because she's pitched herself too low, Rob, or they have pitched her too low. But it does just sound really flat, not in terms of his missing notes, because she's technically not. but there's not much verven energy to the performance. It sounds sufficient and it lacks requisite perkiness, if you get me. It's like, oh, it feels very much on a level. Then as you say, it just goes up fucking space mountain at the end all of a sudden. It's like, well, that's something of a forced escalation. But, yeah, I do like the song, though.

I think the ingredients are good. It works well. It's a memorable chorus. I always like overlapping melody lines. Work so well for the back street boys just a few weeks back. It doesn't take much, does it? To just add that extra little bit to a chorus. But it is just, it doesn't come to life.

And I felt the same about the other one. But yeah, I don't really have much more to say because that's the problem. It's not a bad song. It really isn't. But it's just, it's so. somewhat limp, unfortunately. And I am very pleased to, you know, get the other side of the coin from doing Be True. And a little bit of a spoiler.

Yes, I agree. Look at me. Is echelons better than this? I really like that song. And I just have not felt either of the two number ones from her so far at all, unfortunately. So we will move on to our second single this week, and that's important, because it's this. She was me, we were three, they're somebody, she's the one, this album, she's the one, she's the one, she's the one, and what you want to say, and what you want to say, and you. Okay, this is, she's the one, double a side with, it's only us, by Robbie Williams. released as the fourth single from his second studio album titled,

I've been expecting you, She's The One and It's Only Us. Is Robbie Williams' 10th single to be released in the UK and his second to reach number one? It's not his last number one overall, but it is his last number one of the 1990s. The A side, She's the One, is a cover of the song originally recorded by World Party in 1997. She's the One with It's Only Us 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 120,000 copies beating competition from Will 2K by Will Smith, Every Time by A1, and Turned by Travis. After one week at the top, she's the one with its only us fell two places to number three. It stayed inside the top 104 for 20 weeks. The single is currently officially certified platinum in the UK. As of 2026, Ed, this AA side from The Bobster.

How are we feeling? I do like Robbie Williams. I always have had a soft spot for Robbie Williams. And I really like this album as well. I, for my money, it might be his most consistent. I've been expecting you, that is. And there's a little bit of, you know, a little bit of a style for everyone. Because to be honest, he was never, you know,

I don't think he would ever pretend to be like a, a boundary pusher, someone who's going to, you know, hybridize genres or anything. He found sounds that he liked, and him in as a collaborators would make a song in that style. And it works, when it works, it works. And on this AA side, on one side, I think it works a bit better than the other, but I do like this as a whole. I think she's the one is actually a really good solid song. it was originally a world party song and I'm sure someone else can go into the whole

tedious bloody copyright back and forth on that which even at one point Robbie apparently bizarrely claimed that he had written it himself which was not even the question to begin with but never mind yeah talk about somewhat safe

you know slightly flat performances that escalate in organically at the end that's kind of my only issue with She's the One, which is a very nice, you know, dynamic tune with a pretty melody and some cool Beatlesy vocal arrangements on it. But it's a little more muted from Robbie than I would like, and I feel the song perhaps deserves, which is odd because he'd already done performances that were a bit more, you know, getting his teeth into them a bit more, even on the previous album. and on the, well, I wouldn't call it the B side, but on the other side, should I say. Which wasn't even going to be included on the album originally. It was originally a song called Jesus in a camper van. And I'll be honest, it wasn't very good.

And that's nothing to do with any potential controversy around the subject matter. I really don't give a shit. It's just the B-side or mooted B-side. they replaced it with, which is, it's only us, is a much, much more enjoyable song. I'll put it simply, this is, it's just Robbie does supergrass. That's what it is. That is all it is, but it's really good at that. The band has so much more energy and verve on this than they do on the other side of the

single, and not just because of the type of song. They really rip into it, and so does Robbie. He sounds like he's having a ball and his voice really suits this kind of material. It's short, it's sweet, it's a lot of fun, as I say, it's not got an original gesture

to its name, but like the best of take that in a way, it's so well put together, it doesn't really matter very much. And yeah, I'm overall satisfied, but to be honest, she's the one, I think, could do with a little bit of a jolt,

because it sounds a bit too clean and a bit too studioy and even the drummer sounds like he's just sort of counting against the click track and I wish it just let go a little bit more like like it's only us is forced to by the nature of its style if that makes sense but yeah I like this this is fun yeah it's only us I think the original recording was supposed to be on like the FIFA 2000 soundtrack or something that's right yes yes it was And then there was, I mean, it's funny because I've always grown up with Jesus in a camper van, because my mum's version of I've been expecting you that she used to play in the car a lot.

Jesus in a camper van was track seven on that album. Oh, the original pressing. Yes. And then it was, yeah, replaced a little bit later. I'll be honest. The weird experience of mine is that I had the halfway house version, which I got off bloody Amazon marketplace for about 50p. But mine has the packaging, which says Jesus in a camper van. But the song is only us.

So I always assume it's like, well, that's a, it's a weird name for that song. But sure, whatever, Robbie, wacky, waky woo-woo. Anyway, sorry, go ahead. And then you Google Jesus in a camper van and it's, oh, that's a different vibe. Very. With, she's the one, I have always liked it. It's not quite angels. Every ballad Robbie does after 98 seems to be trying to redo angels in some way.

But at some point in the song, this feels like a slightly more emotionally resonant Beatles worship, then don't look back in anger, and then at other points, it doesn't feel that way. But, you know, this is sensitively performed, sensitively played, carefully built from the ground up. You have that revolving piano line that's gentle and soft and evokes images of, you know, stroking somebody's cheek or, you know, or as happened in the Better Man film, you know, a gentle ballroom dance that makes you feel like your emotions will, you know, will have shifted across the duration of the dance. You know, a lot of Robbie's big hits have been big, loud, you know, Brit Pop style declarations, but I think you could tell he was maybe gearing up to do

something more laid back with this, something that he could maybe perhaps sing live on the Christmas 99 Top of the Pops episode, which Lizzie pointed us towards last week and I watched, because that's exactly what he does, lots of miming going on. I was having a discussion with my wife about them all miming and about the current state of the musicians union rules in the 90s. And then Robbie was singing live, singing the song live. And everyone else on the show, yep, mind their way through the performances and in his he looks all sensitive and romantic and boyish and he stares into the camera a lot. And, you know, it delivers an effective ballad, you know, and the same goes for the other A side. It's only us, which is, you know, it's a nice attempt at a sort of continuation of the glam he was

going forward with Let Me Entertain You with a little bit of Supergrass written in. It feels a little underwritten in spots but Robbie's a really charismatic vocalist by this point, which means he can carry off the weaker material, I think, even across, you know, both of the songs. Now, normally, normally, I would honestly put them in the vault. I think as a double A side, it was just about sneak in my estimation because, you know, both tracks have got good variety. Robbie performs them well, but it's always, always rankled me that ownership thing over this, not just the way it came about but the way Robbie seemed to deny for years that it was a cover even if he was joking or not I'm not sure but you know Guy Chambers obviously we all know chief Robbie collaborator and writing

partner and mentor and basically like you know channeled Robbie's gift should we say you know and guy chambers was part of a session group for Carl Wallinger who was in World Party he'd been in the Water Boys but then left the Water Boys after Whole of the Moon and all that to go and do his own thing under the name World Party and it was under the name World Party that Wallinger's wrote, she's the one. They'd kind of been fiddling around with it, apparently, and a version ended up on that World Party album in 97. It actually won an Ivor Novello award at the time,

but Guy Chambers was present for the building of that song, and thought, nah, I can make this better. So he took it away to give to Robbie, which, you know, fair enough. But he did it without telling Carl Wallinger. Now, you know, Wallinger was apparently annoyed about this at first. He apparently performed a live version of it on BBC Radio in 2001, and changed the words to say,

If there's somebody stealing my song, he's the one. And so in the background, Wollinger was being given royalties for this. But in public, Robbie kept saying that it was, oh yeah, best zombie and Guy ever wrote together. And I'd like to give him the benefit of the doubt because it might have just been an in-joke between a group of friends who used to be mad with each other but aren't anymore.

And then in 2019, he did say, Yep, yep, it was a cover and, you know. So I eased off on that a little bit. But then I saw Better Man, the Robbie Biopic from 2024. And like I'll just say, it's a decent movie. And as music biopics go, it's like watching the fucking Godfather.

But there's a scene in the movie that depicts the beginning of his relationship with Nicole Appleton, where they meet each other at a boat party in 1997. And there's a quiet moment during this boat party where they're leaning on the banisters on the deck of the boat and they're having a romantic moment.

And he passes off the lyrics to she's the one as like something he's been writing or he's writing in the moment on the spot. And I just went sour on it again because it feels like he's still trying to protect the legacy of this lie that he's tried to keep hidden for 25 years almost. He's written about it in his autobiography as being like, oh yeah, it was Carl's song and there was a load of back and forth. But in interviews and stuff, or on stage, whenever he gets asked about it, it's like, oh, yeah, it's mine, it's mine and guys.

And then Carl Wallinger died. And as far as I'm aware, Robbie never said anything. He just didn't live a tribute on social media. he didn't seem to give an interview about it. He didn't seem to thank him for the song. And it was just like, and I don't know, the whole things made me feel, over the years, I just feel slightly less

favorable towards him for that. I just feel like it could have approached it with a bit more grace. And I think out of principle, I'm going to give it the score that I would normally give to a song in the vault, but I'm just symbolically, not in the mood. Really?

Andy, this double A side from Robbie. I have mixed feelings about Robbie altogether. you know that I think sometimes he's the most annoying twat in the world and his music is absolutely awful and sometimes I think yeah definitely he's a appeal and I think he's very charming and I get taken him by

I'd say basically all of this stuff from the 90s that is so long stuff from the 90s I hasten to add I like pretty much all of it to be honest love angels love let me entertain you love strong quite liked millennium quite like no regrets don't mind all before I die and there's this

and I've probably forgotten a few there but like yeah basically never really misses in the 90s he doesn't always hit a bullseye he's a very reliable very likable pop star and this is definitely something different for him um but for once he actually sort of centres the vocals rather than the swagger and it's pretty nice but that's kind of where i have to stop with this because it is pretty nice but really everything i like about it i have to say or as harsh as it sounds it's sort of in spite of ruby rather than because of of him. I think I really like the arrangement of the song and I really like

it just as a piece of writing, I just like the song and I really like what the piano is doing where it kind of constantly hits slightly discordant notes with the vocals to add tension to it to add some kind of pain. I think that's really nice. And I love that bridge

structure that really sort of steps it up a level and powers you through from this because not really much of a chorus structure but that refrain, whatever it is, that bridge in the middle the way you know and where you want to go. It's a really nice part of the song. It really lifts it through and gives it some good structure.

And as I've mentioned, once or twice on the show, I'm a karaoke singer, as is Rob. And I've been meaning to do this karaoke because it's quite a nice singer-song. It's a good one for a singer to have a go-a. Because it's quite vocally challenging, and it's quite tender and it involves quite a lot of control. So I think, you know, Asby's music got a hell of a lot of time for this. My problem is that I just think having Robbie sing this, he's just the wrong singer for this song, and he has to adapt himself to suit this rather than adapting this to suit him.

And it kind of gives the game away really about what Robbie's schick is, which is a bit of a showman. And he kind of, you know, he's a little bit of a chameleon where he'll just sort of swagger his way through whatever he's singing. When he gives us something that's kind of pure soul like this, he struggles. he has to put something something extra in and he has that same problem that he had in Never Forget when we all kind of laugh to that

you know the hair when I didn't vent the bottle where we can't resist putting a little bit of Robbie Swagger into it and he does the hair with the She's the wild Like just not necessary

where you put that big American action into it And the wild It just isn't necessary And I think I have an image of him In the recording booth for this Really bored I think he would have been

really bored by doing this. And I'm sure he likes to sing it live. I agree with Robert. I think definitely this was meant to say, look, he can sing. Here he is. Singing it live. I definitely think that was the intent.

But this is not his comfort zone. And I think it really shows. And so, despite the fact, I do really like the song. And I think it's probably one of the better Robbie songs that we've covered that have got number one. I think, like I say,

that's kind of in spite of him rather than because of him. And the best compliment I can give Robbie for this is that he does meet the challenge, it just, I think others would have done better, unfortunately. Yeah, I'm with you on that one, actually. And I think it is his vocals that are the issue here, because it is a lovely song. And yeah, technically his vocals are fine. I don't think it's a bad performance, but it calls for more consistent restraint than I think he feels comfortable or, you know, it's like, I get what you mean by him being bored in the vocal booth.

It's like he's just, you know, he starts fidgeting because he's, you know, he's not, He's got to rain it in around the melody so much. I hate to say this because I know it's the laziest comparison point ever, but Gary Barlow would have nailed this. Yeah, that's true. That's fair. That's fair, actually. He would have been able to pull that off.

I agree. All right, then, so. The third song up this week is this. Okay, this is King of My Castle by the Wandoo Project. Released as the lead single from his debut studio album titled Program Yourself. King of My Castle is the Wandoo Project's first single to chart in the UK and his first to reach number one. However, as of 2026, it is his last. King of My Castle first entered the UK charts at number 96, reaching number one during

its fourth week. It stayed at number one for one week. In its first and only week atop the charts, it sold 148,000 copies beating competition from the Millennium Prayer by Cliff Richard and Why by Glammer Kid. After one week at the top, King of My Castle dropped one place to number two. It stayed inside the top 104, 20 weeks. The single is currently officially certified gold in the UK. As of 2026, Andy, I'm coming back to you for the WAMDU Project. Well, the listener will get to listen to me flail wildly for a couple of minutes and finding anything to say about this one. It's a song.

It was released in 1999. It reached number one. It's called King of the Castle. King of my castle. It's by Wandu Project. It's approximately three and a half minutes in length. It was listened to by me. Andy, it's available on Spotify.

It's not a bad song by any means. It's fine, but it's just like an almost profound emptiness of ideas to the point where I've never heard this happen before, where even when it does get into a something approaching a verse and gets away from that central melody, it uses the same lyrics again. It's really weird that must be a reason. and what, like, just do something else.

It's like it's the only words that the singer knows how to pronounce. It's just really unusual that it just, it really has such a dearth of ideas. And we've had a few like this over the past couple of years, and we'll have a few in the early notice as well. Like, Lady Hear Me Tonight is one, where it's like, that's just the same thing over and over and over again. And we had, what's it called, until I come a few weeks ago as well. And it's basically what you would call a floor filler back in the day, I guess,

where it's like it's not made for any kind of dissection. The cut and paste aspect of it is the appeal that you can just stick it on. You can do it like five more times if you want to if the DJ and the club wants to go and have a piss. Like it's, that's what it's made for and it does a very good job of that. I have no doubt that people picked it up

from those kind of experiences in the club and just really got hooked on that hook. But this is just nothing else going on. It has a relatively nice sound to it. I like that. But it's a bit fun. And that's just, It's almost nothing at all, this song.

Yeah, for the first minute of this, I think it's appropriately moody, sort of sullen in its approach, and makes a bid to stand apart from the kind of frothy bubblegum stuff that we've had quite a portion of recently. It's got the kind of house textures you'd expect around this time,

you know, it sounds cool and slick and laid back on the surface, but there's a hint of like discomfort too, you know, fidgeting, it's kind of buried in a second layer. It feels restless and disturbed in places. and I'm into the atmospheric cultivates on that basis. I can't deny that there must be the reason,

hook thing, is immediately something that sticks to you, and I heard it 25 years ago and haven't really been able to clear it from my head since. But I don't know, I think if we were to compare it to another dance song with the word castle in the title from around this time, Castles in the Sky by Ian Van Dal. I think it sort of exposes why I much prefer the techno and trance side of things around this era,

over the house side of things. House only really comes into life for me as a pop thing in this era when Daph Punk and Kylie Minot get hold of it and use the kind of rough framework to worship disco and bring a lot of life and color to proceedings. You know, whereas trans and techno, those scenes produced hits across an array of artists in a range of different styles,

all within the genre. I feel like trans and techno just wanted and had a bigger inbuilt sense of scope and that lack of a sense of scope really makes itself known here. I think, you know, the house cuts that are getting to number one right now and making the upper reaches of the chart

seem to kind of revolve around one or two ideas and then one idea gets put through a low pass filter for a bit, then it gets put through a high pass filter for a bit, then it gets repeated, then the vocals duck out for a few bars, then the rhythm track stops for a bit, and then they repeat the first idea again, and then the vocals come back in,

and it's like, hey, we're progressing things, we're adding things and removing things, And it's like, yeah, but that's not really writing, though, is it? It's not really developing as a composition when you're doing that. And it's not really rephrasing the idea as a new section either. It just kind of marks time and then picks a random moment to stop. The main vocal hook on this on King of My Castle is really devilish and effective at first, but it's sort of all the track has.

I've lost patience with it a bit over the week, if I'm honest. Like, I agree with you, Wendy. It's kind of like 9pm till I come with that guitar. Like, it's not enough for more than three months. minute, something else does need to happen in that time. The vocalist running the thing through a filter that makes it sound like she's singing through a desk fan. Like, that's not enough. So it's not piehole worthy. I think like the first minute, I'm like, yeah, okay. But yeah, beyond that, stretching it a bit thin. Ed, how about you?

Oh, if I could just get my notes up here, just make sure they're in the right order. Turn to please, yeah, turn one, two, page 10. Okay. It's a good kind of around the world-esque loop and a good hook But it literally has shot its load within 40 seconds And basically starts to plot as a result Thank you Yeah, gotta be honest I was struggling a bit with this one this week

I'm surprised I managed to get as much out of it as I did And so yeah, I think one line to sum it all up Definitely feels appropriate So yeah, all right then you have we could just move on because our last normal number one of the 1990s is upon us because obviously next week we're going to have the Christmas number one I guess at this point I should probably say that next week our final episode of the 90s it won't just be a summary of 99 it will be a summary of 99 but then we're going to have a bit of a bolt on we're going to make it a bumper

episode we're going to make it like a 90s review show and a 99 review show at the same time so we'll do all the Christmas stuff and then if you're going to have a bit of a ballopor episode and then if you remember our 2000s review show will like do our champion of champions our rankings champion our be true cock uh you know borns runner up champion of champions all that we'll do it all in one episode with that now out of the way we have one last song this week and it is this And lead us not to the time. This is The Millennium Prayer by Cliff Richard. Released as a standalone single,

The Millennium Prayer is Cliff Richards' 136th, single to chart in the UK and his 14th to reach number one. However, as of 26, it is his last. The single is a reinterpretation of the song The Lord's Prayer, originally composed by Paul Field, for the religious musical hopes and dreams, in 1998. The Millennium Prayer first entered the UK charts at number two, reaching number one during its second week. It stayed at number one for three weeks. In its first week atop

the charts, it sold 147,000 copies beating competition from Every Day, I Love You by Boys Zone. Northern Star by Mel C., Back in My Life by Alice DJ, Talking in Your Sleep by Martin McCutcheon and Big Boys Don't Cry by Lolly. In Week 2, it's hold 158,000 copies, beating competition from ReWind by the Artful Dodger and Craig David, communication by Mario Pew, and right now by Atomic Kitten, and in week three, it sold 159,000 copies, beating competition from Kiss by Venger Boys, Barbers Adagio for Strings by William Orbit, everybody by Progress and Steal My Sunshine by Len. How we wish the future days would steal the sunshine right now.

After three weeks at the top, the Millennium Prayer dropped one place to number two. It stayed inside the top 100 for 16 weeks. The single is currently officially certified platinum in the UK. As a 2026, I am sure God is happy about that. Ed, you can kick us off with the Millennium Prayer. This record raised money for Children's Promise, which was, I've discovered after much research and archived web, an alliance of charities, including the NSPCC, Bernardos and Childline, amongst many others, the Children's Society, for instance, and their Millennium Final Hour appeal, asked the public to donate the equivalent of their earnings for the last hour of work in the year 1999 to aid a children's cause.

Decent idea that. Now Cliff's Millennium Prayer raised over a million pounds. for that, so that bit's absolutely fine. No problem there. The question is where the rest of the money went. Not because I think he was embezzling or else. I really don't suspect he was. It's just because this clearly took only 10 minutes of this last hour to conceive and record. It's lazy. It doesn't scan. It's utter shit. Again, at least the money went somewhere decent. It's not even about children or relevant to children either. It's some quarter-ass, portentous mash-up of arcane Christian dogma and perky new year cliche. I don't think Cliff is a bad chap. I really don't. I think he's a solid singer as well. I would struggle to call him an artist and I don't think

he exists on planet Earth. Certainly not by this point. And this track is a so ill-founded, it is kind of unintentionally apocalyptic. It is like an apocalypse of music. It is the death of creativity, and it is totally illogical as a formulation, and a little bit creepy in the confluence of things that it tries to bring together. This is one of the worst things we've ever covered. It really is causing a lot of hassle to Rob's

and Jerome just because of how fucking witlessly pathetic it is. Next. Yeah, Andy, Cliff. If you inserted the words, wants to jump off A, then that would be accurate what you just said there, Rob.

Jesus Christ, at least it was... Jesus Christ, that didn't mean to do that, it was no pun intended. At least it went to charity, to at least some extent, because oh, goodness me, remember when I decided to use our behemian Rhapsody Slot to have a TED talk about injustices for gay people.

And when I went on my soapbooks on all the things she said way back in the day, well, strap in, you're getting one more before the decade is out, because this has pissed me off. I used to see this as just a kind of really cringy novelty, which it is. It's not that, but it's many more things than that. I used to see it as that novelty because it's like, what the fuck?

You know, he's doing a hymn, and it's Cliff Richard of all people. and like he's trying to get Christmas number one and he's doing this godlike figure in the music video what can laughably be called a music video by the way the music video looks more like one of those shopping centre things you get on a DVD to take home where you put your baby and a sleigh and it looks like they're on a mountain like it's that kind of quality music video

and I used to think well that's just stupid and make fun of it but revisiting it as an adult and this is the first time I've ever revisited it as an adult because of course I think this is really kind of disgusting and really gross and really sends a shiver down my spine, to be honest, on multiple levels. I mean, who does he think he is? This is kind of the bottom line for me, really. Like, who do you think you are trying to lecture us all? Like, we're having fun. We're enjoying the millennium. And like, it's not like we've never had anything that's

preachy before, because God knows Band-Aid is pretty preachy. And the Earth song, that is the closest thing we've had to this so far. But at least with the Earth song, it's an original song, and he's doing some very creative musical things. It's this massive epic. It's got a music video that's incredibly expensive and also incredibly epic. Like, okay, you might not like the Earth song, and you might find that cringe, but he's going for something in that, and I'm with what Michael Jackson is doing in that. With this, it's just the Lord's Prayer to the tune of Old Lang Sign, and that's supposed to speak for itself. That's, that's one of the things that bothers me, is that there's no subtext, there's no irony, there's no point being made.

It's just we're singing a hymn, well, not your hymn, we're singing a prayer, basically, and that's enough. And you should just give your money to that. Because, first of all, it's super lazy. Second of all, by using an old lang syne, you're taking a festive song, there's nothing to do with this. That is, as far as I know, a secular song that has pretty universal values that aren't tied to religion, and you're lumping that in with this. So people sometimes will think of this when they sing. Lord Langsign now. And I think the more important point really is that you're sort of assuming Christianity specifically, not religion, you're assuming Christianity as a thing that we all can agree on

and that we all should invest in and use that as our channel to give money to charity. This confluence of Christianity and charity and good British values is a very sinister thing. And the other side of this coin that I really, really hate is that Christmas number one as a thing, like the Christmas number one race and music around Christmas in general, it's very much for kids. Like adults get excited about it and follow it, but you know, adults, they've got like, you know, battle of brick pop and stuff like that. Whereas it's generally a bit of a kid thing. You know, they get excited to see what it's going to be. Or at least it was back in the 90s and, you know, that kind of stopped in around the middle.

naughtyies but one of the only things that kind of held me back with killing in the name and why I felt a bit uncomfortable about that at the time is because I was thinking of the kids who were going to have to sit and listen to that and Hugh had done nothing with his X-Factor stuff and I thought it was a bit unfair on them. This though, this is worse because I say this from experience, you know, there are certain kids who grow up in the world who have, I mean all of us in the UK have Christianity forced on us without our consent from an extremely early age. There's not be criticising Christianity because plenty of people will grow up to be Christians and will grow up to really find value in it, found value in it, sorry, and to really,

you know, get a lot of sense of identity, sense of self, really relate to it, really properly believe and see that as something that carries them through life. And I don't criticise that at all. What I do criticise is that that's forced on kids from such an early age. When they, in some cases, will grow up and find that actually Christianity doesn't welcome them or isn't for them. And that is an extremely isolating and excluding thing. You know, if you happen to be gay or trans or, you know, of another nationality, really,

or a massive feminist, you know, there's a lot of different things about a person, about their identity and about their personality that are not particularly compatible of Christianity. And so to have it forced on you at an early age, it creates shame, it creates a need to conform, and it creates a sense of condemnation that's in the... the air. To do this for Christmas, especially they try and get the Millennium Number One, which is like a bigger deal than any other Christmas number one, I think is sinister and I think it's absolutely condemnable, to be honest. Like, let people have fun. Let's keep church and state separate and let's

keep church and music separate. Like, it's not okay to put stuff like this out there in the charts because music is for everyone and religion is not for everyone as far as I'm concerned. So there's that. And then, you know, Cliff Richard himself, this is where I say, who does he think he is? Have to remember that in the mid-50s when he first came out, he was supposed to be R. Elvis. That was his originally USP. It was that he was supposed to be this rebellious rock guy. And I know that never really came off. He was never really R-Elvus. But that was his image, so to speak.

And now here he is with this, which I think is the most kind of anti-music thing that we've ever had. It's the most anti-rock and roll thing that we've ever had, where it's just putting this total downer on the pop charts and basically sort of trumping musical together and appearing kind of above it all with this God complex that he's got. Because it's not about worship God, it's about him trying to

be God and like, where'd you get off on this cliff? So I think he comes out with this really badly. The song is really ill-conceived and just a really horrible thing to do to the pop chart. And I think despite the charity effort, this does far more harm than good. And as much as we laugh at this, rightly,

because it is stupid. It is still a stupid novelty and really cringe. It's not just a thing to laugh at. This is a thing that we should really point at and say, that's not okay. Let's not do this. That's really, really gross. So I guess I finish on the point that, like a kid with an ice cream in their hands who finds that

a bird's just shat on it, I go, oh, this has ruined my 99. Oh, dear. Oh, God, yeah, this is total shite. Jesus, stretching the Lord's prayer over old langsine. Maybe not one of the worst ideas in principle, but in practice this is a bad mistake. It becomes a bad mistake after about 30 seconds and there's a hell of a way to go

before we even get any original lyrics or reach the end. But beyond that, there is something truly, truly abhorrent about this. And I think it's the almost gleefully hubristic way that Cliff manages to like, I don't know, he seems to come across like he's emerging into the song and thinking, wait, maybe I am Jesus. Like, what if I am the Lord's messenger? What if I actually am the second coming? You know, RIP to those killed by the gods for their hubris,

but I'm better than them, maybe even better than the gods to bring that amazing tweet back. No, this is total fucking hoagum. It doesn't even work. Old Langs-Zine, I think, is a really lovely sentimental song. One of the more memorable uses, I think, of the 1564 sequence, and you can just kind of, you know, it's kind of soft and sentimental and sweet and everybody likes to sing it and everybody links arms

and it's about community and friendship and all those things but trying to wrap the lord's prayer around it with all of the unusual emphasis to be generous that that causes and all the work that cliff seems to be doing to try to make some of the lines even half scan uh no but it's positioning here as an attempt to try and sum up the end of a year the end of a century, the end of a millennium, the beginning of a new dawn, is at least valuable for one reason, which is that it explains once again that England and Britain will remain deeply superstitious and deeply religious in times of great confusion. This to me kind of reinforces a very popular theory as to why religion exists in the first place,

why humans came up with it, why it lingers in our society. You know, it's 1990-9. We stand on the precipice of history. We're uncertain about what the 21st century will bring. We're on the brink of great change and potentially tremendous uncertainty. So what do we do? We do what we always do. We become deeply superstitious and God-fearing. We find God's lap and we curl up there and we hope that he'll finally tell us what it all means.

We did the same thing during the Black Plague. We did the same thing when Diana died. We did the same thing during COVID. We did the same when Captain Tom died. We're in the middle of doing it again in the face of. the climate in face of climate change where I think the leaders of the West, no, we are not far away from a climate refugee crisis from Hindu and Muslim nations. And so we are being fed a lot of lines about protecting like, you know, ethnic Judeo-Christians and so on. And on this occasion,

in 1999, Cliff has decided to be the mediator and diplomat and potentially he presumably thinks the prophet in this situation. And no, not, no, not on my watch. No, not going to forgive the sermon on the Mount this time. I was very forgiving of Saviour's Day. I have absolutely no issue with Christian music, Christian pop music being released around Christmas. I totally get it. It's a Christian holiday originally, whatever. If we had an Eid number one and there was a big push from Muslim artists to do something like that, I would not stand against it because I'm all for just, you know, getting as many experiences out of pop as I can. But this is pretentious shite and self-indulgent in a really bad way. I like,

like self-indulgent music. I have an album out basically on the day that this episode comes out that's an over an hour long it's a fucking rock opera about me being obsessed with social media. Don't think I have a problem with self-indulgence because I don't. But on this fucking occasion, I just think

like, it is, it is that, the way that he stands in those fucking top of the pop performances with his arms outspread as if he's some kind of like, yes, imagine a crucifix behind me and like, I'm the one giving the message. And, like, Like, the original idea of the song was that it was going to be at the end of a musical, a big Christian musical, and it was going to be the last number, and Cliff Richard did some guest vocals for it for the soundtrack, which you can find on band camp, actually, which I couldn't believe.

And then he re-recorded it for this and reframed it and sort of turned it into like, with Saviars Day, it kind of felt a bit more communal to me. It was a bit like, look, let's all, you know, remember that December 25th, there was somebody very special born on that day. We all love him. Let's have some nice, you know, nice fun with some crappy midi pipes and some Christian contemporary stuff. And we'll have a blast. Whereas with this, it does feel a little bit like, no, no, no, no, no, you're going to listen and I'm going to perform the Lord's Prayer. And that is the thing that I really struggled to get over because a song this boring would always go in the pie hole. but it would only slip in, you know, whereas, oh, it's just that added element of Cliff

thinking that he's above us all somehow on this occasion. I feel like if you pressed him on this, he would say, no, no, I wanted it to be about, you know, the same thing that Savi's Day was about, but I don't think he realizes how he comes across with this, and I tend to really, really dislike stuff that, like, we've actually just had, me and Andy have had in our little music league that we do online with all of our friends, kind of a worst songs round where we put forward songs that we we hate more than any in the universe and so many of them i actually either liked or at least could see that like you know their aesthetic intentions were met sort of things the ones that i really didn't like and the ones i put

forward myself are the ones where the aesthetic intentions have not been reached they have been a failure and i think that this is this is an artistic failure no matter what the 600 000 people who ever however many bought it at the time. It doesn't really matter what they think because they're still the massive minority. Most of the country did not buy this. The overwhelming majority of the country did not buy this song. And I'm glad to be on that side of history, to be honest. Yeah, this is really, yeah, this really took the biscuit. And I put at the end of my notes, thank God for Westlife. And you know what that, you know how bad something has to be for me to say that. Because imagine this being the Christmas number one.

Oh, bloody hell. It's like someone rubbed a monkeys' paw and said, oh, let's stop Cliff getting Christmas number one in 1999. But if I may jump on one of your points there, because I think you were holding back from doing a full promo. May I say that self-indulgence can indeed be fun, just like on Dream Machine and a happy end monument to a computer keyboard by Colourful Sevens.

That's Colorful Sevens. which is available now on Spotify and other streaming services, isn't it? Is it just Spotify? Yes, no, it is on. And also, I've made up some CDs that people can buy if they want to. I made 50 of them. They're going to be about £8.50, I think, in order to work out, like, you know, I had to pay for them to be made and sent,

and then I've got to pay for loads of envelopes and stuff. And I think I start to make a profit when I start to charge $8.50. So I'm going to go with $8.5.000. pound 50, I think. The lowest possible amount. Yeah, I know that stuff ain't cheap. I've had to look into it before and I actually nixed the idea. So credit to you for going through with it. Thank you. Yeah. I'll talk about it a little bit more, I think, in maybe our Christmas episode, when it's actually out in the world and mention it a little bit more, maybe at the top of the show. But I guess, you know, that hopefully sometime in the future as well, the three of us will sit down and I'll be able to have a conversation about it with you, with you both. Maybe during the downtime before we start the 20. tens or something. Maybe. Who knows? I've promised things before on this podcast that they've not

happened. So, you know, who remembers rewind when I was going to interview all my friends about their favorite albums? Didn't fucking happen. Hey, you did. You did one. With you. That was it. With me. Yeah. Yeah. I know. Yeah. I had all these ideas and they just fizzle out. Surely just a coincidence on going after an ADD diagnosis. Anyway, before we derail the end of this episode, Andy, before we go, lift me up. She's the one and it's only us. King of my castle and the Millennium Prayer. Well, I'm not going to be lifting Jerry up into the vault, but I'm certainly not going to be dropping her with a thud into the pie hole either.

She's just staying level where she started. No matter how much she demands it, like she does in her all of her song titles. No, Jerry, I won't lift you up. Just no, say where you are. As for Robbie, well, she might be the one, but the vault's not the one, or the piehole. Stick with her, not the vault or pie hole, Robbie. Just stay there. Yeah. King of my castle, you're not going up to the castle where the vault is, but you're not going into the dungeon where the pie hole is. So stay where you are, Wandoo project. Just stay there. And as for you, Cliff, who art in hell? That song just, oh, I'm going to say it, it's the worst thing we've ever covered, I think, ever. And maybe the worst thing to ever get number one in the history of the UK charts. It's the second song that I've ever given a straight zero.

too on our secret scoring system. And the first one was if tomorrow never comes by Ronan Keaton, and I might have been slightly harsh on that. So, yeah, you are not only going into the pie hole, you're going below the crust, you're going past the tinfoil at the bottom of the pie,

you're just going on to the floor underneath the table. You can only look up and hope that you would be in the pie hole for this cliff, but alas, you are not. This song is a footnote in the history of failure. Ed, Jerry Robbie, the Wandoo Project, and Cliff. That's my name. Don't wear it out. Jerry Halley. Well, in this case it's more like

Jerry Hallie poorly, but not quite Jerry Halley dead. Pretty limp, but not fatally floppy this time. Robbie, you're not so high you're flying, perhaps, but you're at a fair altitude. Close, but it doesn't quite build enough to reach the vault. King of my castle stands firm. Conservative so, holding its ground. Too firm, if you ask me, inertia characterises both the song and its vault pie-hole orientation. Oh, cliff. Cliff, cliff, cliff, cliff, cliff, cliff. Thank God Robson and Jerome's last wasn't a charity single. Or you'd be compacted so far down the bottom of the pie-hole, the Earth's core would be singeing your nuts. This is

rotten anus. Yeah. Oh yeah, by the way, I'm putting it in the pie hole. Yeah. For me, Jerry, lifting her nowhere and not pushing her anywhere either. She's the one and it's only us. It's only missing out on the vault on principle. King of my castle,

well, you can have the entire domain that rests between the pie hole and the vault if you want. And the Millennium Prayer, yep, it's funny that we've all come up with, hell or center of the earth imagery for this, isn't it? Very appropriate. When we come back, we will be concluding our journey through 99 and the 90s as a whole.

Those who have been listening to us from the beginning, when we finished the 2000s, we obviously did that episode to wrap up 2009, but then we did that whole other episode to wrap up the 2000s. But as I've said, we're going to put them both together, give you a bumper episode. Thank you for listening to the 90s and thank you for listening to us from the beginning. and we will see you for Christmas next week when it might be a little cooler and it might not be so long. We'll see you then.

Bye. I'm praying for snow. Bye.