C.J Lewis – Everything Is Alright (Uptight)

Release Date: Jul 94
Chart Position: 10

Our good friend and Neggae consultant SimonOrRushie was teaching part-time at a Sports college when this came out – it was his summer job while preparing to go to University. The staff were a mixture of Student part-timers and Adult permanent staff, and one such grown-up would attempt to “get down wit da yout'” and be accepted by Rushie and the other teens. Whenever he got his paycheque, he would run up to one of the young’uns, waggle said cheque, holler “RIBIDIBIDOBADEH! TINGS DEM ALRIGHT!” and then run off.R-1957841-1254992464
In terms of nonsense pop, that line is up there with the best of them. Do-wah-diddy-diddy-dum-diddy-doshoo-be-doo-be-doo-da-day, sha la la la lee – all songs that are frankly utter boll*cks and CJ can proudly join this pantheon. Unfortunately – that’s about all that is worth writing home about regarding this song. The rest is pretty awful.
It all sounds so cheap – Poundland Neggae. I can’t think of another song that samples STEVIE BLOODY WONDER and does such a bad job.
By the way, have you seen Stevie Wonder’s wife? No? Here’s a picture of her. Beautiful lady.

Stevie_Wonder_Presents_SyreetaCJ Lewis replaces one of the greatest horn refrains of all time with Bontempi keyboard trumpet effects. He switches the original stomping drum and bass break with a bog-standard hip-hop rhythm that I assume came free with the keyboard. The Backing vocals are nondescript, the sort of  rent-a-vox you’d hear in the 90s on anything vaguely dancey. They remind me of this abomination. For no reason whatsoever CJ and the backroom boyz have added crowd noises to the song. And as for his lyrics, they are indecipherable.  Not because of hos heavy patois, but because the song is (in my opinion) badly mixed with far too much going on. In fact it gave me a headache.
I guess the only plus points to  focus on here are the fact that this is standard, middle-of-the-bat Neggae. CJ knew what young Brits wanted, so he packaged it up and it shifted. Compared with last week’s entry China Black trying to be too clever, CJ understands the transitory nature of pop – which he should be applauded for (by way of a two-fingered clap).
Score: 5/10

Any song that starts of Ribeyedibbydibbyboomdahdeh has my attention. This pearler, surely is locked in as a Neggae Hot 90 chart topper right boys?
CJ Lewis comes at us with a strong and faced paced effort that is easy on the ears and gives you a reason to head bob and let your arms move in directions that makes Rodney Trotter seem coordinated. To me, that’s what good music is all about. It gives you the ability to be removed from reality for 3 or 4 minutes.
For some reason, I really like the video. I want one of those boxes that spouts out “Ribeyedibbydibbyboomdahdeh”. I’ve got a sneaky feeling that the Neggae elders may frown upon the karaoke style lyrics floating around the screen. Oh well, If they got the Rodney Trotters, then the vid was a distant blur and didn’t matter, if they didn’t get the Trotters, then that could be a problem for CJ.
In summary, CJ belts out a fun, island style tune with a great mix of island rap and velvet smooth vocals. The background singers really compliment his style well. Overall, a really well constructed song. Fun to listen to, great pace, nice mix of rap and vocals. Fun for all the family, superb bbq music and without a doubt Malibu worthy.
Score: 9/10 for me. Ribeyedibbydibbyboomdahdeh!

Albert Einstein, Isaac Netwon, Stephen Hawking, John Lennon; I am sure if these great men were around tonight for me to discuss it with them they would all tell me that if you take a Steve Wonder Classic such as Uptight (Everything’s Alright) and put it through the neg blender you would create nothing but pure crud. It’s a universal scientific fact. A cheap commercialised rehash of something so great has so little chance of being anything other than noise pollution, and I would not see it differently. Throughout this blog I have openly criticised the use of timeless classics within this genre, often a lazy and disrespectful vehicle to simply make money in the absence of any other creative ideas and I continue to stand by this principle. However…
What CJ Lewis has done with this is close to perfection and a real master piece, proving to us that it can be done as long as you approach it a hint of dignity, an element of fun and overlay it with some ludicrous “Ribidibidibdibdibaheh, Ribidibidibdibdibaheh” wailing. He has not taken the fact that he is dealing with such a great song too seriously and it’s his audacious and maybe arrogant approach to this that make it work so well. Having said that he has clearly thought about it. His strategy of getting the nice looking lady to keep the cover in check by having her deliver the chorus line with him toasting and boasting around the outskirts of the song, combined with an upbeat, fast and fun filled tempo is how it all works and the resulting blend it nothing shy of remarkable.
The fact that the video on you tube is clearly an uploaded VHS tape, with static running across the first few seconds adds further charm to this gem. No expense has been wasted for the video, a few red Stripes followed by 20mins in front of a white screen in the studio, and let the graphics guy do his thing!
Score: A surprising but very satisfactory 9/10 from me.

It’s June, the weather’s shit and as I sit at my desk surveying the Orwellian nightmare that Woking’s town planners have seen fit to thrust upon the townsfolk it’s fair to say I’m not my usual chipper self, the only thing that’s going to drag me out of this funk is a serious hit of neggae. CJ Lewis doesn’t disappoint, from the first ‘ribidibidibidobahdeh’ (I actually paused the clip so I could get the correct spelling) and I feel like I’ve double dropped some tropical Prozac. Ribidibidibidobahdeh is a much underused term in today’s society because as the song title suggests it does make everything alright, a couple of examples for you;

“Yes Jamie that is the extremely destructive Japanese knotweed you have in the back garden of your recently purchased house”
“Oh well, no worries, I’ll get it sorted out, fancy a Lilt?”


“I’m sorry to say Mr Gould your entire family has been killed in a house fire caused by the faulty plug you were meant to fix but didn’t bother doing, ribidibidibidobahdeh”
“Oh well, I’ll know for next time, fancy a Lilt?”

Back to the song which sees CJ taking on the Stevie Wonder classic as his neggae surge gathers momentum, CJ felt he could really go for it as he always had ‘Eggheads’ to fall back on if it didn’t work out. The song basically does what it says on the tin, I think it does anyway as I can barely hear it because Vince has seen fit to source a VHS recording of the Chart Show which I think is in mono. He’s kept the chorus and cleverly added his own verses and a big chunk of ribidibidibidobahdeh, it’s a simple formula but it works, the backing singers are decent, it’s no classic but it’s a solid enough effort. The video mainly consists of CJ berking about whilst dressed in the finest clothes Cheapjacks can supply, a man dressed as an Everton mint and a woman with one eye playing at home and the other playing away (still would, natch). This sounds like pretty standard neggae video behaviour but what lifts this into the all time classic music video category are the flying ribidibidibidobahdehs, at one point they even recreate the scene from ‘Raiders of the Lost Ark’ when the Nazis foolishly opened the Ark and cause their own demise.
Score: It’s not groundbreaking but it’s a nice effort, 7/10

Utter Tosh. Its as if Tosh from the bill and John Toshack have had some weird love affair at Peter Tosh’s island retreat and this was the fruit of their sordid encounter. I’m not going to waste much time over this. Although I get the feeling I’ve already spent more time on this review than team Lewis took to murder a classic Stevie Wonder tune.
Its just noise for me. Ribbi dibbi do do dah deh? what the f*ck? Sounds like a frog with parkinson’s that’s choking in a shed after too many buckets. CJ Lewis for me is Feltham’s equivalent of Shabba Ranks.
As if the song wasn’t bad enough, the production team has elected to display the utter nonsense he’s spitting out letter for letter, made up word for made up word. Like a version of Sesame Street recorded specifically for pikey truant kids to make them clap, rock and feel better about their inherent stupidity.
Unlike Incognito and Coolio, I box this with the array of mis-guided bad  jusdgement call’s which have fallen a long way short when trying to  cover Stevie. If it’s not broken don’t try to cash in on it. That goes for you too Celine Dion the Red Hot Chilli Peppers and Blue. I cant tolerate CJ Lewis or his stupid music.
Score: 1 out of 10.  Tings dem not al reet meh.



China Black – Searching

Click for video

Release Date: July 94
Chart Position: 4

This is my second review of this song, having just spent an hour and a half to write a considerate and in my opinion, funny narrative of China Black’s “Searching”. I click the send button to get this gem off to Neggae Elder Gouldy, get up breath a sigh of relief, grab a beer to get ready for Game 4 of the NBA finals. I walk in from the garage, glance at the computer to see a message that says Facebook isn’t responding. A couple of mad clicks later, it’s gone, into the cyberworld dumpster. Great, typical, just my luck. I feel like Basil Fawlty right now getting ready to give his unreliable mini a damn good thrashing.
Anyway, I have 2 minutes before tip off so here we go again, the abbreviated version.
Great vocals, nice effort even if does go borderline R&B at stages.
Good background / bassline, blends in well.
It gets a little repetitive towards the end when we are singing “I’ve got a woman who loves me, baby” four times with no significant change of pace. Although, I sang it all four times but felt a little drained towards the end.
Put me down for a solid 7/10 using this reasoning for my points distribution
2 points, Malibu worthy, easy sipping and listening
2 points, my 2 year old Abi said she liked it and had a little dance to it
3 points for content and vocals
Peace out my Neggae brothers, later


What was it with the 90s and male duos? All over the gaff.
Lighthouse Family. McAlmont & Butler. PJ & Duncan. Robson & Jerome. Our very own Chaka and P-Dog. Brian & Tony Gold (more from them later). I honestly cannot name any male duos in the charts right now (maybe because there’s no TOTP any more) – can you? Answers in a tweet to @Modernings please kids.
China Black are another example of Bromance pop. They were our very own Charles & Eddie. Let’s just check those stats:

 Charles & Eddie China Black
One black guy, one non-black guy One black guy, one non-black guy
non-black guy has long hair non-black guy has long hair
black guy has short curly hair black guy has short curly hair
Had one really good song then spooned it Had one really good song then spooned it

But enough of that – let’s talk about the song.
Searching is at the MOR end of Neggae, but it is Neggae nonetheless. Typical of the early 90s, it has a thumping Soul II soul break and is accompained by THAT Funkadelic drum break as used on Kosmos, Safe from Harm and pretty much any mid-tempo groover between 1990 and 1995.
The bass and keys are what make this resolutely Neggae – joyous, sparse, bubbling and digital. It’s interesting that this was released in 92 and did nothing.; two years later with a Neggae-assisted breeze it shifts half a million copies; at least 3 of which sat in Casa del Synan.  Errol Reid’s voice is a delight here – jumping octaves, whispering and hollering but never overdoing it. What’s great about the song is its classic verse/chorus/middle eight structure – what lets it down is that it last for a minute too long.
What’s a shame then is that China Black didn’t hang around. Their follow-up releases Stars and Almost See You (Somewhere) were not Neggae and were frankly naff. They moved in a moribund soul direction when all the UK wanted was Neggae Neggae Neggae. They would have done well to heed the wise words of one A. Partridge regarding giving the people want they want:

Alan Partridge: [Opening a file] Right, OK. Shoestring, Taggart, Spender, Bergerac, Morse. What does that say to you about regional detective series?
Tony Hayers: There’s too many of them?
Alan Partridge: That’s one way of looking at it, another way of looking at it is, people like them, let’s make some more of them.

Like a Neggae Stone Roses, China Black got caught up in legal disputes that halted them from releasing ANYTHING for 3 years. Very sad. Incidentally, one of their last ever gigs was the Radio One roadshow in Eastbourne, and a 12 year old Jamie was present at Neggae’s very own Woodstock moment. It clearly had a Damascene effect on him – when he came home all he did for a week was watch Cool Runnings and drink Lilt.
 Score: A bittersweet 7/10 from me.

This week it’s the turn of Royally Approved Neggaeists China Black to come under the spotlight, Royally Approved because they were the favourite neggae band of Princess Diana who was a regular Choice FM listener. This British Act took their name from the ethnic origin of each of the two members, Simon Finn is British Chinese hence ‘China’ and Errol Reid who has Jamaican roots hence ‘Black’. That must have been one hell of a brainstorming session. I must confess I wasn’t a fan of this when it came out but I listen to it now and it’s surprisingly ok, am I mellowing with age or has my brain broken and I’ve lost all my critical faculties, whichever it is I’m going to sit back and enjoy the ride.
Lyrically this is a pretty straight forward tale of a man’s search for something missing in his life, but as the search goes on there’s a dawning realisation that he had what he’s been looking for all along, the love of a good woman. It’s the neggae equivalent of Willy Fogg, where during Willy’s race round the world he realised the real value of the adventure wasn’t winning the money at the end but winning the love of a good cat and the loyalty and friendship of those couple of berks Rigadon and Tico.
Musically it’s a bit of a mixed bag if I’m honest, the intro is like a budget Massive Attack, Candy Flip basically, weird. Then after around 40 seconds the neggae kicks in and everything’s irie. It then flipmodes between each for the remainder of the song, it’s a bit like the Yowbs have recorded a song with Heaven 17, I find it confusing and I’m not sure I like it.
The video starts off in a whacked out trippy manner, which could be confusing but is quickly explained by the presence of a bonzed out Lou Diamond Phillips playing one note on a synth, the boy’s got form for this kind of behaviour. Then Dwayne Chambers gets in on the act dressed in his Carlton Banks outfit jamming with his band, it all looks like great fun. Then it gets a bit sinister as it cuts to two girls, who’ve clearly been slipped something and dragged to a disused warehouse by four men, I’ve seen Crimewatch and this ain’t going to end well. The video then ends with one of the women closing her eyes to try and escape the chilling scene unfolding in front of her.
It’s a bit confused, a sort of neggae ‘Tears for Fears’, not sure about it, 5/10.

I was really excited about this particular review and been looking forward to it for a few weeks, so much that I missed the deadline for completing it on time; causing quite a stir at Neggae Towers I can tell you. For you avid followers out there I can tell you that I really am on thin ice now with the elders and feel I am on my last chance now!
Anyway……after listening to it a few times I am now a little confused by the whole thing.
Firstly the song is not as good as I remembered it. It is very formulaic and the base line sounds as if it is straight from the Casio SK-1 pre set menu; a tactic that would have been slaughtered by any other outfit. Yes it’s relevant, but I can’t pretend that I have never heard it before. It also goes almost nowhere and has very little development other than the break after the intro. So again a little disappointing.
However, I cannot ignore the significance of this track and the important part that it has played in my life and the movement in general. This is another very important stop for the Neg train picking up with it more and more non believers. This track was massive and I remember it playing in bars, clubs and other underage drinking establishments of the mid 90’s. Because of that it stirs up all kinds of fond memories of the summer including my real discovery of drinking and a long list of girls that did not want to talk to me.
Tough to call this one, but in the whole 8/10 I think is fair.

Searching by China Black is an absolute belter.
It truly is an epic slice of soul drenched Neggae. The opening keyboard melody, synths, optimistic bass line and a massive slow break tell you that this is going to be a feel good song. For the first 30 seconds however it could be a slow jam from any number of 90’s soul power houses. CoulourMeBad, The Pasadenas, or even Charles and Eddie. There is no indication that this is going to veer into a Neggae Banger until the Neggae Signature Drum in fill 2* kicks in and wham, dawn has broken.
I have nothing but memories of good times of this song, its an ode to Summer and the soulful bridge containing the “I’ve found a woman who loves me” gives the track a 3rd dimension just as you get to thinking its good enough.
I was lucky enough to catch China Black at the peak of their powers in the Summer of 94.
Being 12 years old in the Summer of July 94 I was still lucky enough to be going on summer Vacations with my Mum and Dad. Vince was earning on the market by this stage so had a valid excuse not to come on the Sun’s 9.50 holiday to Eastbourne and take top bunk.
If you haven’t been to Eastbourne it probably means your under 85 years old, or you don’t go on Sun 9.50 holidays. There wasn’t a great deal to do for a 12 year old. What’s worse is that I had a chin length Undercut and quite a demure frame for a twelve old boy. In green jeans and Sunglasses I looked quite androgynous. My dad did try to tell me this but I wasn’t having it. What did he know?!
This meant that much to my mums amusement any old Vera or Gladys would quite often approach me with an “excuse me young lady” when trying to get my attention. I was quite a stroppy little girl after 3 days of this so as a treat my mum decided to take me the Radio One Road Show.
All in all it was poxy, but it was free. Mark Goodyear creating audience participation out front, a host of other Radio 1 DJ’s no doubt participating in all sorts of wrong out back. Most of the acts were utter muck but somehow Radio One managed to book Carleen Anderson and China Black on the same day, this was all I wanted to see.
At the end of the day the acts were paraded in a press area to the side of one of the Radio one trucks to do autographs and photos for anyone who really felt they needed a memento of such a shambles of a concert. Yes , that included me. I got Autographs on a blue post-it pad I had on my person for some reason. I also got some photos of Carleen Anderson and numerous disposable camera snaps of the sides and back of the head of China Black’s Erol Reid. This was after gleefully shaking both his and the hands of the weird Chinese guy (who still scares me a little bit to this day). This was the highlight of my holiday and possibly my summer.
When September came around I went back to school. For some reason I thought it would be cool to show my mates how action packed my summer was. I brought in my post it note and some photos of a load of complete strangers clambering over a barrier. A clear photo of Carleen Anderson posing wasn’t enough too impress the hard lads in my class as nobody knew who she was.
“Yeah, look at this then…China Black!” I retorted. waggling a photo of the back of a tramline and the weird loooking fellow from CB who really did resemble a triad.
None of my mates believed that this was a photo of China Black, or that I had met them, so naturally I embellished the story in an unnatural attempt to make it more believable.
“It is China Black, I spoke to them and everything” I said.
One of my more stalwart chums replied: “Oh yeah, if you met em what are their first names?” As if Goodyear was on hand to make a formal introduction over a handshake and a mineral water.
I stalled for a moment, I was on the back foot, I needed something fast to back up a crap story, and there it was the worst porkie pie I ever got away with.. “Jimmy China and Johnny Black …..if you must know”.
There was an uncomfortable silence before my chums decided that they couldnt get a read on me and everyone decided that it was plausible. They accepted that the photos were in fact of China Black and parity was restored. I had in fact advanced in social status having been to a “gig” over the Summer. Albeit with my mum and dad and off the back of a holiday which my mum collected vouchers for.
For China Black however it was all downhill from here on out. They will always be known primarily for Searching. A classic piece of Neggae from Start to finish. If that was all they ever did however, there would be no need to embellish their own skills, as Searching has and will be enjoyed by many and for some years yet to come.
10 out of 10 from me
*Rights reserved by Yamaha


Dawn Penn – You Don’t Love Me (No,No,No)

Release Date: June 94
Chart Position: 3

Now we’re talking. This is the high point of the Neggae era. At no other time in this universe could this song have taken bronze medal in these islands’ favourite song content. By now Britain was hooked on Neggae like it was some sort if audio catnip; anything that vaguely skanked or bogled was snaffled up and played in back gardens and lidos up and down the land. Noel Gallagher mentioned in an interview how Oasis benefited from the summers of ’94 and ’95 being particularly sunny; I think the clement weather also massively aided the likes of Dawn and co.main_DawnPenn3
I was late on to this actually – the night Dawn made her TOTP debut I was busy windin’ and grindin’ to the likes of She’s Got that Vibe at The Empire Ball, an underage nightclub event in Guildford. Having stayed at a friend’s house, I returned home Friday to Jamie and Dad enthusing about ‘a right game old bird’ on the telly the night before. Intrigued, I checked the line-up from the show on my @TOPT twitter feed and promptly youtubed her.
Sorry, what I am I saying. I didn’t do that – it was 1994.
Intrigued, I played Mario Kart for a bit, watched Speed on VHS, went to bed and then waited for the Chart Show to come on Saturday lunchtime to see what all the fuss was about.
What I heard was frankly a revelation. From the U-Roy looped “”Wake the Town and Tell the People!” sample, to the heavy bass attack of the intro, through to the skanking riddim and Dawn’s sweet pipes – every part of this song dripped with Neggae class. It is 7 or 8 times better than the original version, which although charming enough, lacks the digital punch that Steely & Clevie’s remix brings. I particularly love the repeated “wa-wai-wa-wai”  and other vocal snippets that repeat throughout the entire song. The video is downright filth, which thanks to being videoed on said Chart Show episode got many a repeat viewing in the Synan household.
Score: If I could give it infinity I would but I can’t so 10 will have to do.

Dawn Penn had relative success with No, No, No when it was First recorded in 1966 as a rocksteady single. After performing her signature tune at a Studio One Reunion gig some 26 years later, she was received greatly by a new audience high on the crest of the Neggae Wave and wanting more. The rehash was made and the comeback was on. Personally I think that No, No, No (you don’t love me) in 1994 is one those rare re releases that improves on the original. The original was slow, incredibly slow, it was rock steady, it was laid back. It was also made on a budget and recorded in real time with studio equipment and instruments true to Jamaica in the mid 1960’s. Yes it had Character but it lacks oomph.
After the toasting, you know your in for something completely different from the 94 version. Everything is amped up, uniformed and crisp. Like an old film that’s been converted into Dolby Sensi Sound. The piano crunches in, the beats are big and the tempo has been pushed forward enough to get you into a half decent skank, or a one foot tap if you are horizontal in the garden. Its BIG.
The vocal loops are a master stroke. ” B..b..b..booow, t tt t t t tell the people. ”  Subtle scratches and stutters are faintly placed behind that hypnotic  piano and guitar melody and DP’s sultry vocals, and that’s it! That’s all this tune needs to do.
Nothing is overstated , the odd drum fill in, the odd  simple cymbal crash and a clever bridge provided by the horn section getting on for 3 minutes.  Yes the bridge featured on the original but it was claggy and slightly out of sync. In keeping with the theme of the remake this has been made tighter and been given more punch. It plays its part and doesn’t hang around any longer than it needs to. The whole project is streamlined for 4.30 down to 3 minute mark and with this is the perfect amount of time for this simple piece of music.
All in all, the makings of a great song were there in 66 but with the addition of 90’s technology the production on this single is amazing. As well as terrifically well judged.  It deserves its place  high on the Neggae podium, one of only few songs at the Height of the Neggae era I would consider awarding full marks to.
Score: Not the full ticket as its a remake. But a 9.5 from me. Classic.

I’ve been worrying about trying to write a review for this song since we started our journey of Neggae. I didn’t like it then and it really hasn’t improved much over the last 20 years. Every Reggae compilation I got had this damn song on it somewhere, either front and center song 3 where they open up with two blinders and then slow it down with this pish or tucked away on a B-side or CD2. Either way, Dawn Penn has followed me around for years like a bad smell, can’t get rid of her. All I can say is thank you lord for the compact disc, allowing me to skip instantly rather that playing the Dawn Penn guessing game on cassette.
Dawn sounds exactly how she looks; take that how you will and draw your own conclusions. This song has two good bits, the introduction from seconds 0-15 and the horns at 2.23 that break up this monotonous pile of cack. I’m sorry, this is me being done. Old jazz club Dawn with a dodgy bouffant just isn’t cutting it.
Score: 2/10. 1 point for the intro, 1 point for the horns

I have mixed feelings on this as I find it a bit weird. It’s like the sum of the parts don’t quite work. A bit like the so called Golden Generation of the English Football, surely it has to deliver more than that? The percussion and piano is beautiful and the vocals are great, but it does not get going at all and I struggle to get excited about it. It’s perfectly pleasant and is totally non offensive, if it were on in the background I’d give it a foot tap, but not much else.I think that it would make a good backing track to a coffee advert or for some kind of premium luxury chocolate brand. A nice slow mo shot of a sexy mature woman lazing around (maybe sliding into a relaxing bath) indulging in said brand…something like that.I could not get hold of the original 1967 version so will pass judgement on whether or not she really added much to it, if she has I don’t want to even think about the original.I like the video, the club they are in seems pretty cool, I think I would fit right in. Although if it played this all night I could only stay for one or two before I got bored.
Score: A disappointing 6/10 from me.

‘No, no, no, Norm don’t love this and will mark low’
It’s with a heavy heart I start this review as in a previous instalment one of the other Neggae elders has already expressed his antipathy towards this song, so in terms of the leaderboard it’s a dead rubber.
This song was originally recorded by Dawn Penn in 1967, after moderate success she disappeared from the music scene in 1970 to take up a position as the Jonas Brothers nanny on the Virgin Islands. She was asked to perform at a Studio One tribute concert in 1992, buoyed by the success she decided to re-record and release this single, the rest is Neggae history.
Right from the initial shout you’re dragged into this song, the stuttering opening bassline then the smooth transition into an easy skanking riddim. It’s a musical endorphin rush. I might be off to a gig in Finsbury Park later in the worst weather we’ve had this week but I’m still smiling because of this song and if you’re not whilst listening then you’re going to live out a bleak and lonely existence my friend.
The lyrics are a wistful lament to the realisation of a one sided relationship, but it’s been 27 years love, get over it, it’s gone. The sepia tinged video is set in what frankly looks like a hell of a pub, live music, no smoking ban and despite being busy there’s still a clear run at the bar, sweet. The landlord could do with taking a tip off the local swimming pool though and invoking a ‘No Heavy Petting’ rule as some of it’s enough to put you off your Red Stripe.
Overall this song is so buoyant it could put a spring in Hoover’s step.
Score: 9/10 – loses a point for basically being a remix.