Subscribe to Chart Beats
  • Gavin Scott

This Week In 1990: February 11, 1990

Just when the ARIA chart was starting to look diverse, along comes a big old rock week. Yep, there's not a house synth or rap beat among this week's songs, with rock of all varieties either entering the top 50 or charting lower down the top 100.

Midnight Oil addressed new social issues in 1990

So, spare a thought for me (since I only like three of the 11 songs up for comment this week) as I wade through more guitar-based music than ever before. Of course, it might be a little surprising which of the three songs are the ones that find my favour. Or maybe not.

Finding favour with the Australian record buying public for an eighth and final week was "Love Shack" by The B-52's, which was about to surrender the number 1 spot to... a rock song. 

Off The Chart

Number 100 "Big Bad Moon" by Joe Satriani

Peak: number 100

There's nothing more rock than a guitar solo, and naturally this second single from Flying In A Blue Dream has plenty of those - but it also features vocals and harmonica playing, too.

Number 99 "Too Late To Say Goodbye" by Richard Marx

Peak: number 99

This fourth and long-forgotten single from Repeat Offender was a return to a rockier sound after two ballads. In the US, it was Richard's first single to miss the top 10 (it reached number 12).

Number 93 "I Feel Possessed" by Crowded House

Peak: number 93

Well over a year since the hits from Temple Of Low Men had dried up, Crowded House were still trying to make up for releasing "When You Come" as the album's second single. "I Feel Possessed" is a good song, but it was too little, too late.

Number 86 "House Of Fire" by Alice Cooper

Peak: number 80

It was third time unlucky for comeback kid Alice Cooper, who couldn't follow up "Poison" and "Bed Of Nails" with a third hit from Trash, not even with this track co-written by Joan Jett.

Single Of The Week

"She Bangs The Drums" by The Stone Roses

Peak: number 128

Although I was much more interested in all the dance music hitting the UK chart around the turn of the decade, I did like the odd British indie track as well - and this is one of those songs. The single that turned The Stone Roses into a top 40 act in the UK, "She Bangs The Drums" fell some way short of the mark in Australia but I still think it's the best thing they've ever released. One of the key acts in the burgeoning Madchester scene, the band would eventually make Australia sit up and take notice. 

New Entries

Number 49 "The Love We Make" by Girl Overboard

Peak: number 23

We saw their debut single, "I Can't Believe", sneak into the top 50 in the final chart for 1989, and Girl Overboard did even better with this follow-up. I wasn't particularly a fan of either track - I found the Australian pop/rock band's sound a little dated - but if I had to choose, I'd probably select this song as my favourite. Whether it played a factor in its success or not, the liberal use of the accordion in "The Love We Make" coincided with a resurgence in the presence of that instrument on the chart thanks to Kaoma's "Lambada". Thankfully, the trend didn't last long.

Number 48 "I Go To Extremes" by Billy Joel

Peak: number 48

The third and final of this week's songs that I like is the follow-up to one of my least favourite songs of 1989, "We Didn't Start The Fire". A return to the form he showed in the mid-'80s with the An Innocent Man and The Bridge albums, "I Go To Extremes" sounds possibly a little bit too slick and glossy (in part, thanks to production by Billy and Foreigner's Mick Jones) to adequately reflect the personality shifts the lyrics suggest, but I'll take this over a song as fraught as "Pressure" any day.

Number 47 "Downtown Train" by Rod Stewart

Peak: number 29

He counts as pop/rock, right? Maybe only just - especially with this MOR cover version of the 1985 Tom Waits single. One of two new songs on Rod's first best of collection in a decade, "Downtown Train" was a top 10 hit in the UK and the US, but in Australia, it was the latest in a seven-year run of singles to fall short of that achievement. Not being a fan of this single, I was glad to see it get no further than it did - but little did I know, Rod would enjoy a career resurgence in the next 12 months, with songs I found even more objectionable. 

Number 46 "I'm An Adult Now" by The Pursuit Of Happiness

Peak: number 39

In 1986, an independently released version of this song led to Canadian rock band The Pursuit Of Happiness signing a major label record deal. Re-recorded for their debut album, Love Junk, with legendary rock producer Todd Rundgren, "I'm An Adult Now" became their only song to cross over in Australia. For some reason, I always associate this with D.A.D.'s "Sleeping My Day Away", which we'll see in a few weeks' time - maybe because both have a reasonably catchy chorus tucked away in there somewhere. But not catchy enough for me to like this track.

Number 36 "Love Is" by Alannah Myles

Peak: number 12

"Black Velvet" jumped into the top 10 this week in 1990, and after bouncing around the bottom half of the top 100 since November 1989, Alannah Myles' debut single, "Love Is", finally joined it in the top 50. Spurred on by the success of "Black Velvet", this track probably became a much bigger hit than it would ordinarily have done on its own, since it lacks the killer chorus of its follow-up. Alannah became an FM radio staple throughout the year with the two singles on high rotation - and even made one more fleeting appearance in the top 50 in the months to come.

Number 10 "Blue Sky Mine" by Midnight Oil

Peak: number 8

In the two-and-a-half years since the release of Diesel And Dust, Midnight Oil had been busy touring the world as a result of their new-found international success, and continuing to devote their time and energy to the issues that concerned them at home. In between all that, they recorded a new album, Blue Sky Mining, which followed their two previous LPs to the number 1 spot and won the ARIA Award for Album Of The Year. 

Naturally, the release of this lead single was incredibly well received by the band's legion of Australian fans, becoming their fifth top 10 hit. Written about asbestos mining in Wittenoom, Western Australia, "Blue Sky Mine" was as politically charged as any of Midnight Oil's songs - and despite its very local focus, it even made the top 50 of the Billboard Hot 100.

Listen to this week's new entries on my Spotify playlist of all the top 50 hits from 1990:

Next week: pop's sweet revenge, with two Stock Aitken Waterman-produced new entries and another megamix hitting the top 50. Plus, the arrival of what would end up as 1990's highest-selling single.

Back to: Feb 4, 1990 <<<<<<<<<<<<<<<<  GO  >>>>>>>>>>>>>>>> Forward to: Feb 18, 1990

©2020 by Chart Beats: A Journey Through Pop. Privacy Policy