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  • Gavin Scott

This Week In 1994: July 31, 1994

They would come to be two of the most influential and acclaimed bands of the decade (and beyond), but this week in 1994, a British dance act and an American pop/punk band made rather understated debuts on the ARIA top 50.

The Prodigy's debut top 50 appearance was, actually, pretty good

In the case of the former, it was their first hit after a couple of years of much greater success in the UK, while for the latter, it was their first commercially released single from their first major label album.

Speaking of firsts, Wet Wet Wet showed no signs of going anywhere with their first number 1 single. "Love Is All Around" remained on top for a fifth week.

Off The Chart

Number 98 "Trust Me" by Pandora

Peak: number 82

I was a big fan of this debut single by the Swedish Eurodance singer born Anneli Magnusson, but she wouldn't have a hit in Australia until 1998.

Number 92 "Everything Changes" by Take That

Peak: number 58

For the time being, the top 10 success of "Pray" was the exception rather than the rule as the title track from the boy band's second album took them back outside the top 50.

Number 88 "Many Rivers" by 3 The Hard Way

Peak: number 88

As "Hip Hop Holiday" fell out of the top 20 for good this week, the New Zealand act tried their luck with another update - this time of Jimmy Cliff's "Many Rivers To Cross" - but without the same success.

Number 74 "Sweetness And Light" by Itch-E & Scratch-E

Peak: number 65

The debut offering from the duo comprised of Paul Mac and Andy Rantzen, this trance classic won the ARIA Award for Best Dance Release, with Paul famously thanking Sydney's ecstasy dealers in his acceptance speech.

New Entries

Number 48 "Snake Skin Shoes" by The Black Sorrows

Peak: number 16

I can honestly say I have no recollection of this song at all, which is a little surprising given it's the second highest-charting song of The Black Sorrows' career. In my defence, the lead single from the band's eighth album, Lucky Charm, did have a fairly fleeting top 50 appearance, rocketing up to its top 20 peak within three weeks before dropping straight back out of the chart in another four weeks. Still, it's pretty surprising that out of The Black Sorrows' many singles, only "Chained To The Wheel" (which I do quite like) peaked higher.

Number 46 "You Got Me Floatin'" by P.M. Dawn

Peak: number 43

Here's a song I do remember, mostly because I still own it on CD single (granted, that's as a bonus track on upcoming P.M. Dawn single "Sometimes I Miss You So Much"). Lifted from the multi-artist album Stone Free: A Tribute To Jimi Hendrix, this radical reworking of a track from The Jimi Hendrix Experience's second album, Axis: Bold As Love, brought the Cordes brothers back to the top 50 for the first time since "Looking Through Patient Eyes", despite having released a string of excellent singles from The Bliss Album...?, including a collaboration with Boy George and a Beatles cover.

Number 45 "No Good (Start The Dance)" by The Prodigy

Peak: number 45

Since the rave scene had never been as big a thing in Australia as it had in the UK, the first batch of singles by dance act The Prodigy had failed to connect locally. Apart from debut single "Charly", which spawned a host of sound-alikes (including ARIA top 10 single "Sesame's Treet"), I had actually been quite a fan of their output up until this point, with "Out Of Space" and "Wind It Up (Rewound)" particular favourites (thanks, UK Chart Attack). 

On second album Music For The Jilted Generation, The Prodigy started to tweak their sound, heading towards the genre-mashing feel of "Firestarter" and "Breathe". The album's first single, "One Love", had once again missed our chart, but follow-up "No Good (Start The Dance)" finally cracked not only the top 100 but the top 50 as well. Based around a sample of club track "You're No Good For Me" by Kelly Charles, "No Good..." was easily The Prodigy's most accessible track to date, while still retaining the edge that distinguished them from the plethora of Eurodance and he-raps, she-sings techno groups on the chart.

Number 44 "Longview" by Green Day

Peak: number 33

While The Prodigy would be pivotal in the evolution of electronic music in the 1990s, Green Day would open the door for countless pop punk bands that followed where they led with major label debut Dookie. But it was also a slow build for the American trio. Their third album overall, Dookie, would end up as the 10th highest-selling album of 1995 in Australia, but in 1994, it didn't get higher than number 26. And debut single "Longview" was the bigger of two singles released that year. Written about being bored, taking drugs and wanking, the song connected easily with the young disaffected youth of America and Australia, its raucous energy an antidote to the woe is me angst of grunge.

Listen to this week's new entries on my Spotify playlist of all the top 50 hits from 1994:

Next week: another Reality Bites-associated hit arrives, plus the follow-up to one of the year's biggest number 2 hits and a world music star joins forces with a hip-hop singer.

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