British pop – Page 3 – My (life in) music lists

Best tunes of 1992: #30 Shakespears Sister “Stay”

One list ends and another begins. And for 1992, we’re starting things off with “Stay”, the biggest and best known single by Shakespears Sister.

The duo was formed when Siobhan Fahey asked songwriting collaborator Marcella Detroit to join her solo project as a full-time gig. Fahey, a founding member of 80s girl group Bananarama, sang lead on the majority of the group’s songs with Detroit contributing backing vocals. “Stay”, the second single to be released off the group’s sophomore release, “Hormonally yours”, was the one anomaly. On this one track, Detroit sang the verses and chorus and Fahey added a darker tone with a combatative bridge. The results are a beautiful song that showcases the differences between their vocal styles, a push and pull, a tug and a scream. However, it was never meant to be released as a single, at least in the eyes of Fahey, which was reportedly the cause of tension between the two when “Stay” actually became a massive hit. It spent a number of consecutive weeks at the top of the UK singles chart and climbed quite high in many international charts as well.

I definitely remember my first exposure to the song being its music video, which got more than a bit of play on MuchMusic and not just on the top 30 countdown. The narrative of the video had a supernatural bent and was one that stuck with many people, the two vocalists representing different factions fighting over the fate of a comatose man, good and evil, light and dark, love and hate, life and death, and perhaps a case of art imitating life. Teenaged me had a crush on both women, a slightly heavier one on Detroit, but back then, I didn’t know about Fahey’s girl group pedigree.

Detroit acrimoniously left the group in 1993, effectively ending things, while Fahey continued on with her solo career. She resurrected the Shakespears Sister name and continued performing under it 2009. And just this year, a reconciliation was announced and Detroit was welcomed back into the fold. Tours have since been plotted out and a new album is in the works.

It’ll be interesting to see how long this lasts.

For the rest of the Best tunes of 1992 list, click here.

Best tunes of 1990: #15 The Beautiful South “A little time”

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Being that I grew up in small-town Southern Ontario, Canada, in an age before the wonders of the Internet, it often happened that I came upon a band’s more popular and successful material, long after I did their less successful work. I discovered The Beautiful South’s “A little time” and their second album, “Choke”, years after their debut and third albums had become close friends. Truly, by the time I came across this song and the album on which it appears, I had listened to “0898” countless times (had written all my first year university essays to it), was intimate with each song, and knew most of the lyrics therein, like I knew every acne scar on my young twenty-something face. I never knew then that their third record was seen as a bit of a letdown after “Choke” and that none of its singles had reached as high on the UK singles charts as did “A little time”, their only tune to reach the number one position.

None of this is really surprising given that the band never achieved the same success here in North America. However, I was super eager to follow them as soon as I learned that they were an offshoot of 80s indie pop group, The Housemartins. Formed around the vocals of Paul Heaton and Dave Hemingway, The Beautiful South added Briana Corrigan as a third vocalist for “Choke” after she had guested successfully on their debut, “Welcome to the Beautiful South”. And it was the interplay between the three vocalists, especially the male/female sparring, that marked the group’s sound, set them apart, and along with their smart and jarring lyrics, was the likely reason for the modicum of success they achieved over their nine-album career.

“A little time” is a perfect illustration of the band’s magic. Featuring Hemingway and Corrigan on vocals, it jingles and jangles and tells the story of a relationship that sours after the male decides he needs “a little time” to, as he puts it, “think things over” and “find himself”. But when he decides he’s ready to settle down, he learns that the female didn’t sit by the phone to wait for him.

You had a little time
And you had a little fun
Didn’t you, didn’t you
While you had yours
Do you think I had none?

It’s not a little. It’s lots of fun. “A little time” plays the Brechtian-irony card well, pitting the dark and cynical vocals against the rays of the sunshine in the instrumentation.