"Venus as a Boy" is an ambient and chill-out song by Björk, released as the second single from her 1993 album, “Debut”. Written by Björk and produced by Nellee Hooper, the song incorporates Indian instruments like tablas into its musical ensemble. This track showcases Björk's fascination with Bollywood, influenced by her interactions with individuals of Indian descent in London, notably tabla player Talvin Singh, who later contributed to the song.
Producer Nellee Hooper introduced her to Marius de Vries, a keyboard player and programmer who contributed to the modern style of the album. De Vries recalled how "Venus as a Boy" found its tone during a session at Hooper's house, where he inadvertently played Bollywood-flavored sound files. Reflecting Björk's desire for her album to have an Indian soundtrack vibe, several tracks, including "One Day," "Come to Me," and "Venus as a Boy," incorporate Indian instruments. The strings were recorded by a film studio orchestra in Bombay, facilitated by Singh. The song features a broken bottle sound, discovered by accident during the recording process.
"Venus as a Boy" explores the perspective of a boy who appreciates beauty in everyday moments, beyond superficial appearances. The lyrics delve into the beauty found in simple activities like brushing teeth, waking up in sync with the right rhythm, and engaging in meaningful conversations with others. Björk revealed that she wrote it in her living room in Iceland and recorded it on her dictaphone. Although it is believed to be written about her then-boyfriend, Bristol DJ Dom Thrupp, Björk remains protective of the song's inspiration, preferring to keep such details private.
The music video was directed by Sophie Muller and draws inspiration from one of Björk's favorite books, "Story of the Eye" by Georges Bataille. Known for her work with artists like the Eurythmics and Annie Lennox, Muller showcases Björk in her kitchen, engaging in mundane activities like cooking eggs.
BOMFUNK MC’S - FREESTYLER
Released: October 30, 1999
Charted: UK: #2
"Freestyler" by Finnish hip hop group Bomfunk MC's was released in Finland on October 1999, as the third single from their debut studio album, "In Stereo". It gained international release in February 2000. The song reached number four on the Finnish Singles Chart and topped charts in over 10 countries, including Australia, Germany, Italy, New Zealand, and Sweden. Additionally, it reached the top 10 in Denmark, Iceland, Ireland, and the United Kingdom.
"Freestyler" is characterized as a breakbeat song with strong influences from UK dance culture, electronic dance music, drum and bass, and hip hop. It features sampled slide-guitar, rubbery synth bass, and Caribbean-inflected dance instructions, creating a lively and dynamic old-school track perfect for the dancefloor.
The music video was mainly filmed at the Hakaniemi metro station in Finland, featuring Finnish model and musician Marlo Snellman as the principal character. The video begins with Marlo dancing extravagantly while catching a train and listening to the song on his MiniDisc player. He discovers the ability to manipulate individuals and objects with the remote controller, given to him by Raymond Ebanks, the lead singer of Bomfunk MC's, who appears in the background throughout the video. Marlo uses this power until he accidentally rewinds himself, leading to the video going into backward rewind.
To celebrate the twentieth anniversary in 2019, a new music video was created featuring the original band members and updates reflecting advancements in technology and culture. The central figure in the video is now a girl with a mobile phone, with cameo appearances by various Belgian YouTubers. Filmed at Vukov Spomenik railway station in Belgrade, Serbia, the video maintains the energetic and dynamic spirit of the original while incorporating contemporary elements.
UNDERWORLD - BORN SLIPPY (NUXX)
Publicació: 1 de juliol de 1996
Llistes: Regne Unit: #2
"Born Slippy .NUXX" d'Underworld és una cançó amb lletres fragmentades que descriuen la perspectiva d'un alcohòlic. Inicialment llançada com a cara B d'una altra pista, "Born Slippy", al maig de 1995, va guanyar una atenció significativa després de ser inclosa a la pel·lícula de 1996 "Trainspotting". Després de la seva inclusió a la pel·lícula, "Born Slippy .NUXX" es va llançar com a senzill l’1 de juliol de 1996 i va aconseguir un èxit comercial, arribant al número dos a la UK Singles Chart. Al llarg dels anys, ha estat aclamada com una de les millors pistes de la dècada dels 90 per nombroses publicacions.
"Born Slippy .NUXX" va ser inspirada per les experiències de Karl Hyde a Soho, especialment una nit a un pub al carrer Wardour on es va trobar en un estat desorientat i embriagat. La lletra reflecteix aquesta desorientació i va ser influïda per l'àlbum "New York" de Lou Reed i les "Cròniques del Motel" de Sam Shepard. Hyde va fer servir la fotografia amb flaix per observar el seu entorn i capturar moments que la inspiració li va transmetre. Rick Smith va proporcionar el ritme, i Hyde va improvisar les veus en una sola presa, repetint frases com "lager, lager" per transmetre la perspectiva desorientada d'un borratxo. El títol ve d'un gos gris anomenat "Born Slippy" que la banda va veure a la pista de curses de Romford, on havien guanyat diners en una competició. Inicialment pensada com una expressió personal més que com un himne al beure, la cançó va adquirir un significat diferent quan el públic aixecava les seves llaunes de lager durant les actuacions en directe.
La inclusió de "Born Slippy .NUXX" a la pel·lícula "Trainspotting" va jugar un paper important en la seva popularitat. Inicialment reacia a la seva associació amb la cultura de les drogues, Underworld va acabar per permetre que la cançó s'utilitzés a la pel·lícula després de veure que proporcionava una representació matitzada en lloc de glorificar l'abús de substàncies. La darrera escena de la pel·lícula amb la cançó va ajudar a elevar el seu èxit, portant a un augment de les vendes i al seu pic al número 2 de la UK Singles Chart. El context de la pel·lícula va ajudar a redefinir el significat de la cançó, restaurant la seva intenció original com un crit d'ajuda més que com una celebració de l'alcoholisme.
"Born Slippy .NUXX" va rebre una aclamació generalitzada per part de la crítica en el moment del seu llançament, amb molts aclamant-la com un himne per a una generació. Music Week va atorgar a la pista una puntuació perfecta de cinc de cinc, destacant la seva importància cultural i el seu poderós impacte emocional. AllMusic va lloar la cançó com un dels millors exemples d'electrònica, elogiant les seves textures musicals austères però emocionalment captivadores.
UNDERWORLD - BORN SLIPPY (NUXX)
Released: July 1, 1996
Charted: UK: #2
"Born Slippy .NUXX" by Underworld is a song with fragmented lyrics that depict the perspective of an alcoholic. Initially released as the B-side to another track, "Born Slippy," in May 1995, it gained significant attention after being featured in the 1996 film "Trainspotting." Following its inclusion in the film, "Born Slippy .NUXX" was released as a single on July 1, 1996, and achieved commercial success, reaching number two on the UK Singles Chart. Over the years, it has been acclaimed as one of the best tracks of the 1990s by numerous publications.
"Born Slippy .NUXX" was inspired by Karl Hyde's experiences in Soho, particularly a night at a pub on Wardour Street where he found himself in a fragmented and intoxicated state. The lyrics reflect this disorientation and were influenced by Lou Reed's "New York" album and Sam Shepard's "Motel Chronicles." Hyde used flash photography to observe his surroundings and capture moments of inspiration. Rick Smith provided the rhythm, and Hyde improvised the vocals in one take, repeating lines like "lager, lager" to convey the fragmented perspective of a drunk. The song's title comes from a greyhound named "Born Slippy" that the band saw at Romford race track, where they had won money on a race. Initially intended as a personal expression rather than a drinking anthem, the song took on a different meaning when audiences raised their lager cans during live performances.
The inclusion of "Born Slippy .NUXX" in the film "Trainspotting" played a significant role in its popularity. Initially hesitant about its association with drug culture, Underworld eventually agreed to allow the song to be used in the film after realizing that it provided a nuanced portrayal rather than glorifying substance abuse. The final scene of the movie featuring the track helped elevate its profile, leading to a surge in sales and its peak at #2 on the UK Singles Chart. The film's context helped to reframe the song's meaning, restoring its original intent as a cry for help rather than a celebration of alcoholism.
"Born Slippy .NUXX" received widespread acclaim from critics upon its release, with many hailing it as an anthem for a generation. Music Week awarded the track a perfect score of five out of five, emphasizing its cultural significance and powerful emotional impact. AllMusic lauded the song as one of the finest examples of electronica, praising its austere yet emotionally resonant musical textures.
ACE OF BASE - ALL THAT SHE WANTS
Estrenada: 31 d'agost de 1992
Llistes: EUA: #2 Regne Unit: #1 (3 setmanes)
"All That She Wants" d'Ace of Base va ser llançada a Escandinàvia l’agost de 1992 com el segon single del seu àlbum debut, "Happy Nation". Produïda per Denniz Pop, amb lletra escrita per Jonas Berggren i Ulf Ekberg, el ritme de bateria de la cançó va estar inspirat en la cançó de Kayo "Another Mother". La cançó va passar per diverses revisions abans del seu llançament oficial el 1992. A Amèrica del Nord, es va llançar com a senzill principal de l'àlbum "The Sign" el 1993.
La cançó va gaudir d'un immens èxit a tot el món, encapçalant les llistes de tretze països, incloent-hi Austràlia, Àustria, Dinamarca, Alemanya, Regne Unit, Grècia, Itàlia i Espanya. Al Regne Unit, va passar tres setmanes en el primer lloc després de debutar en el número cinc a la llista UK Singles Chart. La cançó també va arribar a les tres primeres posicions en molts altres països on es va llançar. Als Estats Units, va assolir el número u a la llista Billboard Top 40 Mainstream i va arribar al número dos a les llistes Billboard Hot 100 i Cash Box Top 100, darrere de Janet Jackson i Meat Loaf respectivament.
"All That She Wants" és una cançó reggae-pop d'Ace of Base que retracta una dona sexualment promíscua, utilitzant "baby" com a sinònim de "parella". Tot i que la lletra pot suggerir una narrativa particular, l'origen suec de la banda va provocar alguns malentesos amb l’idioma anglès. Malgrat això, l'ús poc convencional de l'anglès podria haver funcionat a favor seu, permetent-los centrar-se més en la melodia.
Tot i que inicialment no li va agradar la demo d'Ace of Base, el productor suec Denniz Pop no podia escapar-se de la melodia enganxossa que no deixava de sonar al cassette del seu cotxe. A contracor, va acordar treballar en la cançó, que en aquell moment es deia "Mr. Ace". L'experiència de Pop residia en simplificar pistes, i va eliminar aproximadament la meitat de la instrumentació per netejar el so. També va fer un canvi clau en traslladar la melodia del xiulet del final de la cançó a la introducció, fent-la instantàniament més reconeixible.
El videoclip va ser dirigit pel director suec Matt Broadley al novembre de 1992. Té com a protagonista l'actriu i cantautora danesa Christiane Bjørg Nielsen en el paper principal. Filmada en tons sepia, el vídeo mostra els membres de la banda actuant en un apartament petit, intercalat amb escenes d'una dona que es prepara per sortir. Es troba amb un home en un bar, i finalment se’n van a casa junts. Tot i que a la cançó no té veu, Nielsen fa playback de les vocals durant la tornada.
ACE OF BASE - ALL THAT SHE WANTS
Released: August 31, 1992
Charted: US: #2 UK: #1 ( 3 wks)
"All That She Wants" by Ace of Base was released in Scandinavia in August 1992 as the second single from their debut album, "Happy Nation." Produced by Denniz Pop, with lyrics written by Jonas Berggren and Ulf Ekberg, the song's drum beat was inspired by the Kayo song "Another Mother." The song underwent several revisions before its official release in 1992. In North America, it was released as the lead single from the album "The Sign" in 1993.
The song enjoyed immense success worldwide, topping the charts in thirteen countries including Australia, Austria, Denmark, Germany, Greece, Italy, Spain and the United Kingdom. In the UK, it spent three weeks at the number one spot after debuting at number five on the UK Singles Chart. The song also reached the top three positions in many other countries where it was released. In the United States, it peaked at number one on the Billboard Top 40 Mainstream chart and reached number two on both the Billboard Hot 100 and Cash Box Top 100, behind Janet Jackson and Meat Loaf respectively.
"All That She Wants" is a reggae-pop song by Ace of Base that depicts a sexually promiscuous woman, using "baby" as a synonym for "boyfriend." While the lyrics may suggest a particular narrative, the band's Swedish background led to some misunderstandings of English idioms. Despite this, the unconventional use of English may have worked in their favor, allowing them to focus more on melody.
In defiance of initially disliking Ace of Base's demo tape, Swedish producer Denniz Pop couldn't escape the catchy tune, as it was stuck in his car's tape deck. Reluctantly, he agreed to work on the song, titled "Mr. Ace" at the time. Pop's expertise lay in simplifying tracks, and he removed about half of the instrumentation to clean up the sound. He also made a pivotal change by moving the whistling melody from the end of the song to the introduction, instantly making it more memorable and recognizable.
The music video was directed by Swedish director Matt Broadley in November 1992. It features Danish actress and singer-songwriter Christiane Bjørg Nielsen as the title character. Shot in sepia tone, the video depicts the band members performing in a cramped apartment, interspersed with scenes of a woman getting ready to go out. She meets a man at a bar, and they eventually go home together. Despite not having vocals in the song, Nielsen lip syncs the vocals during the chorus.
11.6.24
REDNEX - COTTON EYE JOE
Released: August 12, 1994
Charted: US: #25 UK: #1 ( 3 wks)
"Cotton Eye Joe" is a Eurodance track by Swedish group Rednex, released in 1994 as the lead single from their debut album, "Sex & Violins". Adapted from the traditional American folk song "Cotton-Eyed Joe", it infuses Eurodance elements with traditional American instruments like banjos and fiddles. Written by Janne Ericsson, Örjan Öban Öberg, and Pat Reiniz, the song features vocal verses by Annika Ljungberg and the iconic "Cotton Eye Joe" chorus by Göran Danielsson.
"Cotton Eye Joe" depicts the titular character as a troublemaker who charms and manipulates women, causing chaos in relationships. The song reflects on the consequences of his actions, with lyrics lamenting missed opportunities for marriage due to his interference. Originating in the American South in the 1800s, the song gained popularity in country bars for line dancing. As a traditional folk song, it has been recorded by many country artists over the years.
Rednex, a group of Swedish producers, reimagined "Cotton Eye Joe" as a techno dance track, complete with a country bumpkin theme. They cleverly adopted the name Rednex, a play on "redneck," and concocted a fictional backstory for the band, claiming they were rescued from an uncivilized village in Idaho and brought to Sweden. The group's members were portrayed as stereotypical hillbillies, with tattered clothes and unkempt appearances. Their refusal to grant interviews added to the intrigue, and the fabricated tale generated significant press attention across Europe. Anyhow, it was eventually revealed that Rednex was a local creation, and their backstory was a fabricated marketing strategy.
Rednex's portrayal of American podunk culture in "Cotton Eye Joe" was not intended to be derogatory or disrespectful. Pat Reiniz explained that their initial understanding of the American hillbilly/redneck culture was limited to stereotypes. For the group, the redneck image aligned with the energy and simplicity of the music, reflecting a raw and party-centric vibe. Over time, they gained more insight into the culture but maintained that their portrayal was a blend of tribute and parody, with their image remaining unchanged as a 50/50 homage to that lifestyle.
The music video for "Cotton Eye Joe," directed by Stefan Berg, received the award for the best Swedish dance video at the 1995 Swedish Dance Music Awards. Set in a barn during a lively hoedown, the video showcases the band performing while guests engage in various activities like dancing, playing, and splashing in old wild west baths. A mechanical bull adds to the festive atmosphere. Throughout the barn, signs with humorous inscriptions contribute to the playful vibe. However, Göran Danielsson, the vocalist for the "Cotton Eye Joe" chorus, does not make an appearance in the video.
