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Post by SharksFan99 on Dec 13, 2017 8:44:58 GMT 10
Pearl Jam actually made a bit of a comeback in Late 2009 with this song, "The Fixer". It reached #11 in New Zealand, #14 in Canada and #22 in Australia. Despite this, it did not even chart on the Billboard Hot 100.
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Post by #Infinity on Dec 13, 2017 11:41:43 GMT 10
Pearl Jam actually made a bit of a comeback in Late 2009 with this song, "The Fixer". It reached #11 in New Zealand, #14 in Canada and #22 in Australia. Despite this, it did not even chart on the Billboard Hot 100. It actually did chart on the Hot 100, albeit at only #56 (which, for the time, is actually halfway decent for a rock song). It also went to #2 on the Hot Rock Songs chart. Here's a slightly more unusual soccer hit, released in 1997: Unlike the vast majority of songs posted here, I'm actually quite thankful this was never a hit in the United States, as it's definitely one of the weakest gangsta rap songs from the 90s, even if it doesn't suck as badly as "Getto Jam" or "Hay." It has by far one of the most misused samples in rap history, a gentle, oboe-driven excerpt of the Polovstian Dances from the Russian opera Prince Igor incoherently slapped against a gritty garage beat and Warren G edgelessly rhyming about his typical gangbangin' schtick. None of these elements fit together in the least, and yet this was a rather sizable hit in several countries. It did not chart at all, however, in the United States, nor Canada or Australia. "I Shot the Sheriff" and "Smokin' Me Out" did chart here, but those, too, were much more successful in foreign markets than at home and perhaps discouraged Def Jam from promoting "Prince Igor" domestically. Part of the reason, I think, for Warren G's relative failure in 1997 was that by the time Take a Look Over Your Shoulder came out, Master P and his No Limit Soldiers had solidly replaced Los Angeles as the major epicenter of gangsta rap, thereby fracturing a major chunk of Warren G's former audience that had helped him achieve superstar status with Regulate...G Funk Era. Actually, his 1996 song "What's Love Got to Do with It" was also a huge hit globally but only marginally successful in America, and that's frankly probably because it came out the same time that 2Pac was murdered (its single release was four days before the shooting), and since 2Pac was already such a monumental figure in the United States compared to the rest of the world, media coverage and mourning over his passing significantly distracted from Warren G's new song and caused American gangsta rap stations to play more 2Pac instead; a year later, when "Prince Igor" had been released, not only were Americans still not totally over 2Pac's death, but the hip hop world had changed considerably there. By contrast, the story of 2Pac's death, while known globally, was not as impactful to other countries, and so attention towards "What's Love Got to Do with It" and Warren G's subsequent singles was largely undeterred, causing them to chart much higher. Ironically, Warren G did score one more American top 40 hit, "I Want It All," as late as 1999, perhaps due to the fact that No Limit and Bad Boy were both declining at the time, leaving the rap industry in an awkward state of transition, but his only truly massive singles here were "Regulate" and "This D.J.," both from 1994.
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Post by SharksFan99 on Dec 14, 2017 12:41:36 GMT 10
Interestingly enough, "Sucker DJ", the house/hip-hop song known for infamously sampling the I Dream of Jeanie theme song, never even charted on the Billboard Hot 100. It's surprising that the song was never a hit in America, considering the fact that the country was heavily embracing house music at the time of it's release. Elsewhere, "Sucker DJ" topped the charts in Australia, peaked at #2 in New Zealand and #17 in the UK. I honestly don't know how this song managed to top the charts in Australia. It's not that great of a song. Pearl Jam actually made a bit of a comeback in Late 2009 with this song, "The Fixer". It reached #11 in New Zealand, #14 in Canada and #22 in Australia. Despite this, it did not even chart on the Billboard Hot 100. It actually did chart on the Hot 100, albeit at only #56 (which, for the time, is actually halfway decent for a rock song). It also went to #2 on the Hot Rock Songs chart. Ah ok. I must of accidentally misread the chart.  Unlike the vast majority of songs posted here, I'm actually quite thankful this was never a hit in the United States, as it's definitely one of the weakest gangsta rap songs from the 90s, even if it doesn't suck as badly as "Getto Jam" or "Hay." It has by far one of the most misused samples in rap history, a gentle, oboe-driven excerpt of the Polovstian Dances from the Russian opera Prince Igor incoherently slapped against a gritty garage beat and Warren G edgelessly rhyming about his typical gangbangin' schtick. None of these elements fit together in the least, and yet this was a rather sizable hit in several countries. It did not chart at all, however, in the United States, nor Canada or Australia. "I Shot the Sheriff" and "Smokin' Me Out" did chart here, but those, too, were much more successful in foreign markets than at home and perhaps discouraged Def Jam from promoting "Prince Igor" domestically. Part of the reason, I think, for Warren G's relative failure in 1997 was that by the time Take a Look Over Your Shoulder came out, Master P and his No Limit Soldiers had solidly replaced Los Angeles as the major epicenter of gangsta rap, thereby fracturing a major chunk of Warren G's former audience that had helped him achieve superstar status with Regulate...G Funk Era. Actually, his 1996 song "What's Love Got to Do with It" was also a huge hit globally but only marginally successful in America, and that's frankly probably because it came out the same time that 2Pac was murdered (its single release was four days before the shooting), and since 2Pac was already such a monumental figure in the United States compared to the rest of the world, media coverage and mourning over his passing significantly distracted from Warren G's new song and caused American gangsta rap stations to play more 2Pac instead; a year later, when "Prince Igor" had been released, not only were Americans still not totally over 2Pac's death, but the hip hop world had changed considerably there. By contrast, the story of 2Pac's death, while known globally, was not as impactful to other countries, and so attention towards "What's Love Got to Do with It" and Warren G's subsequent singles was largely undeterred, causing them to chart much higher. Ironically, Warren G did score one more American top 40 hit, "I Want It All," as late as 1999, perhaps due to the fact that No Limit and Bad Boy were both declining at the time, leaving the rap industry in an awkward state of transition, but his only truly massive singles here were "Regulate" and "This D.J.," both from 1994. It's interesting how circumstances can play out. Had 2Pac not been murdered, there's a very good chance that "Prince Igor" would have been more successful in the US. I guess that's just what was meant to be.
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Post by SharksFan99 on Dec 29, 2017 14:41:50 GMT 10
I only learnt a few minutes ago that this British song was never a hit in the US. It really surprised me, because here in Australia, it peaked at #5 on the charts and it was one of the biggest hits of 2008. In the UK, it peaked at #7, while in New Zealand, it peaked at #38 on the charts.
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Post by #Infinity on Dec 31, 2017 8:34:38 GMT 10
This was a huge hit in every single country it charted in during late 2003 and early 2004, and it was a hit in a whole bunch of nations, but it did not make any splash whatsoever in the United States or Canada:
The only other First World territory it failed to chart in is Denmark, but that's because the original version from Denmark was already a #1 hit immediately before it was covered. It also sounds virtually identical to the international hit version by Jamelia, which is probably one of the biggest carbon copy remakes of all time. Here's the original, for reference:
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Post by SharksFan99 on Dec 31, 2017 9:08:04 GMT 10
This was a huge hit in every single country it charted in during late 2003 and early 2004, and it was a hit in a whole bunch of nations, but it did not make any splash whatsoever in the United States or Canada: The only other First World territory it failed to chart in is Denmark, but that's because the original version from Denmark was already a #1 hit immediately before it was covered. It also sounds virtually identical to the international hit version by Jamelia, which is probably one of the biggest carbon copy remakes of all time. Here's the original, for reference: They really do sound virtually identical to each other! I know it was intended to be a cover, but i'm a bit surprised that Christine Milton never filed a lawsuit against Jamelia. Jamelia's version sounds a bit too similar for it to truly be a cover, in my opinion.
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Post by #Infinity on Dec 31, 2017 9:24:45 GMT 10
They really do sound virtually identical to each other! I know it was intended to be a cover, but i'm a bit surprised that Christine Milton never filed a lawsuit against Jamelia. Jamelia's version sounds a bit too similar for it to truly be a cover, in my opinion. Milton did not write the song, so my best guess is that Remee, Joe Belmaati, and Mich Hansen licensed the track to Jamelia, since she was already quite famous in the UK and they didn't have as much faith in promoting a Danish teen starlet who was under 18 at the time of the original song's release.
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Post by longaotian on Dec 31, 2017 9:29:18 GMT 10
This was a huge hit in every single country it charted in during late 2003 and early 2004, and it was a hit in a whole bunch of nations, but it did not make any splash whatsoever in the United States or Canada: The only other First World territory it failed to chart in is Denmark, but that's because the original version from Denmark was already a #1 hit immediately before it was covered. It also sounds virtually identical to the international hit version by Jamelia, which is probably one of the biggest carbon copy remakes of all time. Here's the original, for reference: That song is a throwback! I remember it being everywhere when I was at Preschool. It still seems to be a big hit in NZ 13 years later lol, I heard it three times on the radio the other day! 
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Post by SharksFan99 on Dec 31, 2017 9:54:55 GMT 10
Milton did not write the song, so my best guess is that Remee, Joe Belmaati, and Mich Hansen licensed the track to Jamelia, since she was already quite famous in the UK and they didn't have as much faith in promoting a Danish teen starlet who was under 18 at the time of the original song's release. Ah ok, that makes sense. It's still surprising how identical the two songs are though, even with the song being licensed to Jamelia. I definitely agree that it would have to be one of the most carbon-copy remakes of all time. That song is a throwback! I remember it being everywhere when I was at Preschool. It still seems to be a big hit in NZ 13 years later lol, I heard it three times on the radio the other day! With the exception of listening to the song this morning, I can't even remember the last time I heard it! Our radio stations simply never play it, for some reason.
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Post by #Infinity on Jan 8, 2018 6:12:01 GMT 10
This was the #1 song of 2001 in the UK, and it topped the charts of numerous other countries that same year. Despite coming out before the Y2K era of manufactured bubblegum pop had ended, however, it's completely and utterly unknown in the United States. As an American, the only Atomic Kitten song I knew for awhile was "Right Now," since it was featured in Dance Dance Revolution 5th Mix. I knew they were a popular British girl group, but I had never heard their signature song until I purchased Now 48.
For reasons I honestly cannot explain, the United States has been completely and utterly resistant to UK girl groups ever since the demise of the Spice Girls, no matter how popular they were at home and elsewhere. There have still been plenty of American girl groups that have scored hits since then, like Cherish, Danity Kane, and Fifth Harmony, but to this day, not a single UK girl group has had a legitimate hit in the United States since the Spice Girls' "Goodbye" in 1999. The closest we've ever gotten is Mis-Teeq's "Scandalous" reaching #35 in 2004. There are some fans of Little Mix here, enough that their albums have sold decently, but not even the advent of social media has given them any serious success in the American top 40.
The reason I find this all so peculiar is that back in the 80s and 90s, the United States did allow UK girl groups a decent level of success, just like the rest of the world. The Spice Girls in the late 90s are the most obvious example of this, but beyond that, Bananarama were extremely popular here during the 1980s, while groups such as Shakespears Sister, All Saints, Cleopatra, and Eternal all earned at least one or two solid hits during the 1990s. You would think the rise of imported British pop since the early 2010s, plus nostalgia for the Spice Girls, would signal a legitimate return of UK girl groups in the United States, but alas, they seem to remain the primary producers of soccer hits to this day. This upsets me because a pretty large chunk of my favourite pop songs this decade have come from UK girl groups. If One Direction can be such megastars in the United States, why couldn't the Saturdays or Little Mix? I suppose it's all because we need more room on our charts for crappy trap music...sigh.
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Post by longaotian on Jan 8, 2018 6:21:07 GMT 10
Yes, "Whole Again" was the #3 song for 2001 here in NZ. I actually remember Atomic Kitten being big here in the early 2000s. My family had their album lol
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Post by SharksFan99 on Jan 9, 2018 20:45:42 GMT 10
This was the #1 song of 2001 in the UK, and it topped the charts of numerous other countries that same year. Despite coming out before the Y2K era of manufactured bubblegum pop had ended, however, it's completely and utterly unknown in the United States. As an American, the only Atomic Kitten song I knew for awhile was "Right Now," since it was featured in Dance Dance Revolution 5th Mix. I knew they were a popular British girl group, but I had never heard their signature song until I purchased Now 48. For reasons I honestly cannot explain, the United States has been completely and utterly resistant to UK girl groups ever since the demise of the Spice Girls, no matter how popular they were at home and elsewhere. There have still been plenty of American girl groups that have scored hits since then, like Cherish, Danity Kane, and Fifth Harmony, but to this day, not a single UK girl group has had a legitimate hit in the United States since the Spice Girls' "Goodbye" in 1999. The closest we've ever gotten is Mis-Teeq's "Scandalous" reaching #35 in 2004. There are some fans of Little Mix here, enough that their albums have sold decently, but not even the advent of social media has given them any serious success in the American top 40. The reason I find this all so peculiar is that back in the 80s and 90s, the United States did allow UK girl groups a decent level of success, just like the rest of the world. The Spice Girls in the late 90s are the most obvious example of this, but beyond that, Bananarama were extremely popular here during the 1980s, while groups such as Shakespears Sister, All Saints, Cleopatra, and Eternal all earned at least one or two solid hits during the 1990s. You would think the rise of imported British pop since the early 2010s, plus nostalgia for the Spice Girls, would signal a legitimate return of UK girl groups in the United States, but alas, they seem to remain the primary producers of soccer hits to this day. This upsets me because a pretty large chunk of my favourite pop songs this decade have come from UK girl groups. If One Direction can be such megastars in the United States, why couldn't the Saturdays or Little Mix? I suppose it's all because we need more room on our charts for crappy trap music...sigh. I believe the US record labels are simply unwilling to market a British girl group to American listeners. Given the success of British girl groups in the '80s and '90s, I think it's unlikely that the lack of chart success would be as a result of a backlash against them. In addition to the groups you mentioned, the Pussycat Dolls were very popular during the Mid-Late 2000s, so it's fair to suggest that Americans are indeed willing to embrace girl groups...as long as they're American.  Again, this most likely just refers back to the theory that Americans are simply not as accepting of overseas talent. I know the US record labels are primarily to blame for this, but there's really no excuse for successful overseas talent not to achieve some form of success in the States. We are more interconnected than ever before. Someone can easily go onto a site such as Spotify and stream a song from any country in the world. Yet, so many successful songs worldwide fail to replicate the same amount of success in the United States. It boggles the mind.
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Post by #Infinity on Jan 29, 2018 5:47:04 GMT 10
Boyzone are similar to East 17 and Take That in that their hindsight legacy is severely diminished compared to the Backstreet Boys and *NSYNC due to their near-complete inability to achieve success in the massive market that is the US, despite being a serious deal in most countries. They broke out in the mid-90s and were huge since their cover of "Love Me For a Reason," but they reached the height of their popularity in the late 90s, when their third album came out. They were actually slated to be the featured pop group for Disney's Hercules' proposed pop single, "Shooting Star," but that song was ultimately scrapped in favour of Michael Bolton, who, despite being at the tip end of his pop career, had already been huge in the early '90s in the US while still being internationally recognizable. The above video is for Boyzone's signature song. It was arguably bigger than any other boyband song from 1998, even those by *NSYNC and the Backstreet Boys, but it was never well-known in America. Actually, it did manage to reach #35 on the Mainstream Top 40 in the US and also chart fairly well on the Adult Contemporary chart, but that's only because it was featured on the soundtrack to Notting Hill, which was one of the biggest movies of 1999. On another note, SharksFan99 is it possible to move this thread to the Music sub-board of the Entertainment section of this forum? I'm kind of annoyed that I accidentally posted the topic in the section's general hub instead.
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Post by SharksFan99 on Jan 29, 2018 6:00:58 GMT 10
#Infinity. Sure! I'm a bit busy at the moment, but I will get a chance to move the thread and properly respond to your post in about an hours time. 
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Post by #Infinity on Jan 29, 2018 13:03:35 GMT 10
#Infinity . Sure! I'm a bit busy at the moment, but I will get a chance to move the thread and properly respond to your post in about an hours time. Thanks a lot! 
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