It’s not the one by Andrew…, LEANN RIMES - "Can't Fight The Moonlight", “Same Old Brand New You” showed that the Max Martin style could be achieved on the cheap - but what happened if you went in the other direction? Agree this sounds like an NSYNC knock off from that year.

Their first single, "Be the First to Believe", entered the UK singles chart at #6 in mid-1999. Good chorus this. Lowlights: But it really does sound cheap in places, certainly the beats, and the breakdown emphasises that cheapness and is painful timewasting on record that feels like it was created to allow for a dance break in the video. First job is to consider Same Old Brand New You which I’ve just listened to on youtube for the first time in ages and is far better than I remembered it. Tom draws a line right back to Meek-era pop, and rightly so. The single was the band's second and final number one single on the UK Singles Chart. You could be one of them! ‘Caught in the Middle’ though, which YT takes you to next, yes I remember that well. Discover releases, reviews, credits, songs, and more about A1 - Same Old Brand New You at Discogs. The production felt infuriatingly cheap, for one. I can’t say I hold it in such high regard as to give it an 8 – there’s still a lack of personality or difference to make it stand out. 8/10 for U2. If you mean Justin Bieber….

And why has nobody mentioned the robot voice thing? They studied the structure of Britney and Backstreet, and decided that was the way to go.

This (and Caught In The Middle, which actually deserves the 8 this got) fits the bill! Two #2s, two #3s, that’s it! A1’s “Take On Me” was a needless re-spray of the prior generation’s classic pop. Is this a ballad?

There was a brief split during which time Ben Adams scored a modest solo hit and then they reformed as a three piece. I don’t want this review to sound like I’m putting SOBNY into the camp of ‘so bad it’s good’ – far from it. For all its counterfeit modern finery, “Same Old Brand New You” lives by the same thing groups like A1 have lived or died by since the sixties at least: the unselfish conviction they can bring to their lies, pleas and promises when cornered.
Compare America’s boybands, and their real-Max uses of the bombastic, percussive-chord style: “Larger Than Life”, “Everybody (Backstreet’s Back)”, “It’s Gonna Be Me”. We won’t be seeing it here unfortunately, but can also we have some appreciation for A1’s last major hit ‘Caught In The Middle’? But…, It had been thirteen months since Billie Piper’s last single. A1 broke their chart topping streak at a relatively modest 6 with their next single no more then, as #3 says, we need to consider Caught In The Middle which was unlucky to miss the top in early 2002; held off by a four week bunny I always hated which eventually gave way to a rare uptempo Westlife bunny which is far inferior to Caught In The Middle. Here the explanation is that few radio programmers would be caught dead playlisting a Bieber song (he has topped the downloads chart). Popular FAQ Just listened to that twice in a row, and it was only just starting to pall. I honestly believe the BSBs and real-Max would have turned this into an 8, but that’s making the unlikely assumption they didn’t do it as a ballad, and it wouldn’t be anywhere near an 8 in that form. more », FAVORITE

And they’re likeable, rough-around-the-edges Popportunists (is that a word?

I don’t like the robot voice thing. An idea presents itself: British boybands often spark most to life when they have to act like losers – when their borrowed moves and practiced lines won’t be enough, and desperation pokes its way through. « WESTLIFE – “My Love”

  (His most recent top-3 hit came just this year, so I wouldn’t rule out a future bunny.

And it’s a boyband performance that makes excellent use of its modest resources. Now their magpie tendency turns to their own times.

I almost think having their name attached to it held it back a tad, I suspect it’d be far more highly regarded if a more “credible” act had released it. A1 came to an end in 2002 when member Marazzi took a break and the band subsequently decided to split. But they really managed to pull it off with that track. The sound’s at once instantly recognisable and formulaic as hell, but the singers do bring something to it – specifically, a nagging, whiny aggression which gives the song some edge. That would have been pretty much my only connection to the chart by this time. Despite all these positives, there is something slightly shoddy about it… plus these boys’ vocals come across as a tad weedy, which means I can’t really go higher than a 7. I don’t like the robo-vocoder either, although it is good silly fun to impersonate so I’ll give it that. #17 I am pleased to say no #1’s on the Hot 100 either. Quirks: I’ve been musing about how most popular music for male voices sits awfully high, noted that my own high singing is basically confined to being either very loud or an erratic falsetto, and then had the bizarre thought that most male-sung pop has other forms of high-pitched singing without me being able to name a single example. While UK success eluded them; ironically as CITM anticipated Beautiful World era Take That by about five years; they had a top ten hit in Norway as recently as 2012. After Billie’s “Day And Night”, this is the year’s second I-can’t-believe-it’s-not-Cheiron number one, a studied and whole-hearted application of the uptempo Swedish style to an English boyband. 6 (Agreed ‘re ‘Caught In The Middle’ – a very superior boy band track). Paul Marazzi, the oldest member took a break from the band in 2002. Get instant explanation for any acronym or abbreviation that hits you anywhere on the web. A bit of a franken-record this one: verses and choruses and robot-bits and middle eight (interestingly led with) more clearly relate to their various models (parts of …Baby One More Time and Larger Than Life and Bye Bye Bye) than they do to each other. Oh, and they get wet in the video. They were managed by band manager Tim Byrne, who also formed Steps. Now their magpie tendency turns to their own times.   The autocue vocal readings that spoiled “Take On Me” are replaced with a song that splits and rejoins its four slightly wheedling voices with real panache: the nervy defiance of the “same old line / one more time” sections, for instance. It was released on 6 November 2000 as the second single from their second album, The A List. Boybands ‘going serious’ is almost always a recipe for disaster, especially groups as frothy as this. In early 2000 I got a job that involved working most Sunday afternoons, so no more Top 40, and by the time I was able to listen again, I really didn’t want to.

I’m with Weej on this one. But there’s something about “Same Old” that recalls Joe Meek and the wounded urgency of his productions for the Honeycombs and John Leyton. While playing this again as I wrote this, the next song that Spotify threw up on shuffle was “Lay Your Love On Me” by BWO. 6 for me. The echoey chords at the start of the video for this remind me of something – possibly the surprisingly unbunnied Butterfly by Crazy Town? I'm writing about every UK number one single, in order. It does have a big, satisfying faux-Max chorus that it builds itself around very effectively – everything in the track teasing and cranking up towards the dramatic “gone, gone, gone” refrain that ignites the chorus hook. The album that “Caught In The Middle” came from was pretty solid too.
I can only assume that they were chasing a few different audiences without being able to latch on to any of them. It's taken a while, it'll take a while longer.   Re 15: Incredibly, he’s not bunnied! Index of reviews and scores so far Those boys do get vulnerable, of course, but they do it ballad style. Honesely, I can hear what everyone else is describing, it just doesn’t sound particularly coherent or memorable. Plasticky British…, THE BACKSTREET BOYS - "I Want It That Way", With Westlife, Simon Cowell was finding a way to broaden the appeal of male vocal groups, and create something more stable than the firework appeal of the traditional boyband. They were originally made up of Christian Ingebrigtsen, Mark Read, and Ben Adams. I can still remember the time you were there When I needed to hold you, feel you Everytime I ask you to find a new way You lie a new … A1’s “Take On Me” was a needless re-spray of the prior generation’s classic pop. Lyrics to 'Same Old Brand New You' by A1.

It’s perfect.

Thus I can’t give this less than a: The result sounds fine and even a little exciting while you listen to it because it lurches somewhat unpredictably from one section to another, but once the track ends its capriciousness means it doesn’t stick in my memory the way its mighty models definitely do.

A quick look at their discography shows Caught in the Middle as the only non-cover I could possibly hum, and that’s a great song as well. The wounded unlucky lover trope is oddly reminiscent of “Runaway” and the robotic coda is a direct contrast to Meek’s shrill proto-electronica.

A1 is an English-Norwegian pop group. This is bang in my glory years as well – I was nearly 17 at the time and spent a lot of time listening to Radio 1 and watching The Box so I’ve no idea how it passed over me (I was in prime indie snob stage I suppose) as it’s pretty good for a boy band record, and really well produced compared to the tacky stuff you’d expect. STANDS4 LLC, 2020. That’s a good bit more recent, and BWO aren’t a boy band, but it’s musically in much the same area of pop, and it does it a good bit better. If this was number 1 when you were born paste [stork-boy] or [stork-girl] into the start of your comment :), MailRequired (Your email address will not be published).

And the hook, that bouncy hook that makes the sung title and especially the “gone, gone, gone, gone, gone” so…memorable. Was the ITV Chart Show still airing on Saturday morning when this was out? They achieved success in the UK and other parts of the world in the late 1990s and early 2000s. A1 – “Same Old Brand New You” Tom • Popular • 23 comments • 3,232 views #881, 18th November 2000 . With all that being said, this was a lucky number one – it tumbled to #8 the following week and was gone from the top 20 two weeks later. But somehow it’s not – “Same Old Brand New You” is a minor gem, a song that never fails to sweep me up with it, and the best boyband track since Five’s “Keep On Movin’” at least. Although sailing very close to Britney in places, I can also hear a little bit of Michael Jackson in the pained lead vocal. 8/10 for A1. This is the first song on Popular since around the mid 1980s that I don’t know – there have been a few I’ve not known the title of but a quick youtube has got me right back. Rest of it is a bit tepid, but it tries its best to raise itself a little bit above the sum of its parts.


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