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You're listening ad free on Amazon Music.
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Welcome back to Hit Parade, a podcast of pop chart history from Slate Magazine about the hits from coast to coast. I'm Chris Melanphy, chart analyst, pop critic and writer of Slate's why Is this Song Number One series. On our last episode we talked about how a wave of UK indie Manchester and shoegaze rock eventually coalesced into Brit pop through the hits of Suede, Elastica, Pulp and of course Blur and Oasis. We're now heading into the summer of 1995 and those two bands, Blur and Oasis, each coming off a Smash multi platinum 1994 album, are about to put themselves on a summer 95 chart collision course. In April 1995 Oasis scored their first UK number one song, Some Might say was a standalone single that would later appear on Oasis. Still in the works second album. Was all a part of songwriter Noel Gallagher's emergence as British rock royalty. Just weeks later, Gallagher appeared on the chart topping album Stanley Road by Paul Weller, veteran frontman of Maud Punker's the Jam. Noel could be heard playing guitar on Weller's cover of Dr. John's I Walk On Gilded Splinters Walk on Gilded Splinters. Like Morrissey, Weller was an 80s veteran made newly relevant by the emergence of Brit pop. Unlike Madchester or Shoegaze, Britpop was sonically wide ranging and omnivorous. Anything that sounded catchy, guitar based and culturally British could qualify as Britpop. And the movement improved several bands fortunes. For example, Sean Ryder of the now defunct Happy Mondays reinvented himself with a new group, Black Grape, that was not far removed from the old band's baggy sound. But Black Grape climbed higher on the charts than the Mondays ever had. Or consider Lush co led by guitarists and vocalists Emma Anderson and Mickey Bareny. Years before Brit pop, they were leading lights of the shoegaze movement. Lush's late 80s and early 90s music was chiming and dense. In the mid-90s, Anderson and Barenyi rebooted Lush with fewer guitar effects and more hook laden pop songs. Their 96 disc Love Life featuring the hit Lady Killers outsold all their prior albums. The Boo Radleys, a Merseyside quartet for formed around the same time as Lush, also started with a shoe gazy dream pop style in the early 90s. Then in 1995 the Boo Radleys shifted to a punchier take on 60s rock. The old Boo Radleys had never hit the chart's upper reaches. The Britpop Boo Radleys sent a single into the top 10 and their album Wake up to number one. You could even trace the improving fortunes of Brit pop through the singles of one new band. Supergrass. The Oxford trio of Gaz Combs, Mick Quinn and Danny Goffey issued their debut single in the summer of 1999. 1994 caught by the Fuzz was semi autobiographical punk pop. It peaked just outside the top 40 on the UK chart. The next Supergrass single cracked the top 20. Then another made the top 10, each a bit frothier than the last. By the time the trio issued the youth anthem All Right in the summer of 95, Supergrass were a full blown Britpop phenomenon. All Right peaked at number two UK just as their months old album I Should Coco hit number one on the UK album chart. The song even made the soundtrack of the summer 95American teen movie Clueless. Also appearing on the Clueless soundtrack that summer was Radiohead's elliptical torch ballad Fake Plastic Trees, a single from their 1995 sophomore album the Bends. In last month's episode, I called the Kinks and the Yardbirds, reluctant participants in the 60s British Invasion who nonetheless benefited from it. For their time, Radiohead were much the same. Just as The Radiohead of 1993 had nothing to do with grunge, the Radiohead of 1995 wanted nothing to do with Britpop. But they were swept into the movement anyway. The Bends was Radiohead's most anthemic album, perfectly suited to UK radio. In 1995 it spun off five hit singles, the most of any Radiohead album, including the top 20 hits high and Dry, Street Spirit, Fade out and just. Decades later, when Pitchfork magazine ranked the Bends the third greatest Brit pop album ever, critic Jasmine Rowe wrote, quote, radiohead were never a Britpop band. But as Brit pop fever erupted into a Dionysian flood free for all, these Oxford oddballs issued a doomed cry from the party's cellar. Meanwhile, in America, most of Brit pop was bypassing the charts altogether. Supergrass, the Boo Radleys, Pulp, all missing from both the modern rock chart and the Hot 100. A year after Kurt Cobain's death, alternative rock had moved on, but it didn't move onto Brit the mid-90s in America were dominated by pop punk by the likes of Green Day, Ska punk from bands like Rancid. And so called Post Grunge, which could come from anywhere. Ironically, one of the biggest bands of the mid-90s was the British band Bush, fronted by Marylebone born Gavin Rossdale. Mostly ignored in England, Bush were multi platinum chart conquerors in the States. In other words, to Reiterate my second Brit pop blow off Theory. America didn't need Britpop to carry us out of the grunge years. Pop, punk, ska and post grunge did it for us. Oddly, the closest thing to a Brit pop hit on the US charts in 1995 came from Scotland's Edwin Collins, a veteran of the 80s band Orange Juice, whose groovy 60s style hit a Girl you made the soundtrack of the film Empire Records. That exposure got Collins A Girl like you into the Hot 100's top 40 and the modern rock top 10. Otherwise, if you were in America in 1995, you would have had no idea that a chart war was erupting across the Atlantic. Which brings us back to Blur and Oasis. Legend has it that the trouble started when Oasis scored that spring 95 number one hit. Some might say in a goodwill gesture, Blur's Damon Albarn attended a record company party thrown for Oasis to celebrate their success. When Albarn arrived, Noel Gallagher got in his face about the fact that Oasis were, quote, number one, unquote, to that point. For all their success, Blur hadn't gotten higher on the British singles chart than number five, which was where girls and boys had peaked the year before. Quote Noel Gallagher used to take the piss out of me constantly, damon Albarn would later admit in a Blur documentary. And it really, really hurt. At the time, Oasis were like the bullies I had to put up with at school. A few weeks after the party, Albar noticed that Oasis had scheduled a new single for release that summer, another advanced track from Oasis forthcoming second album, a catchy trifle called Roll With It.
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You gotta take it.
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As it happened, Blur were readying the leadoff single from their forthcoming follow up to the Parklife album. Blur's new single was a bit of class system satire called Country House.
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In a tr.
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What you're not going to repay, so game on. Albarn instructed his label to move the release date for country house to Monday, August 14, 1995. The same day as Roll with it, the media went positively mad. A cover story in New Musical Express pushing a British heavyweight championship. Acerbic barbs traded between Albarn and Gallagher in the press. Oasis called Blur, quote, chimney sweep music. Blur called their rivals predictable music quote Oasis quo. Even the BBC got into the act.
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Two of Britain's most popular pop groups have begun the biggest chart war in 30 years. The Manchester band Oasis and their arch rivals Blur, released new singles today. Clive Myre reports.
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The most new music on VMR coming.
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Live from London's Oxford street.
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One of many new releases today, alongside.
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Oasis, it's Blair's Counter House.
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It's been described as the British heavyweight pop music championship. In one corner, four young middle class men from the south of England, collectively known as Blur, and in the other corner, five young working class men from Manchester called Oasis. They're the two most popular bands in Britain, having sold millions of records, and they're currently engaged in a chart war that set the music industry alight.
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To win the chart battle, Blur pulled out all the stops, including a Country House video directed by edgy British artist Damien Hearst and a pair of CD singles with alternate B side tracks. Finally, at the start of the next week, the outcome was revealed. And Blur prevailed. Country House sold 274,000 copies to roll with its 216,000. Critics speculated that Blur had simply been away from the charts a few months longer than Oasis had and benefited from pent up demand. To be sure, Blur had done an.
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Expert job setting up their new new album, the Great Escape, which arrived in September.
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The Great Escape earned universal critical acclaim, entered the UK album chart at number one and would go on to generate four top 10 UK hits, including the Universal and Charmless Man. But the Great Escape was overshadowed just weeks later when Oasis issued their sophomore album, what's the Story Morning Glory, which turned out to be a Wembley sized commercial juggernaut.
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You know you're Chef so I guess you might as well what's the Story Morning Glory?
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In its first week, what's the Story Morning Glory sold a record breaking 345,000 copies in the UK, roughly double that of Blur's first week. Though the Oasis album had been preceded by two advanced singles, Noel Gallagher had clearly saved the best tracks for later. The title track, Morning Glory, echoed the sound of 80s REM and included lyrical references to cocaine and waking up with morning wood. It was typically lyrically obtuse, yet bracing. But the album's most indelible single was even more inscrutable. Noel Gallagher had named it for a very obscure bit of Beatles arcana. This is a track from a 1968 instrumental solo album by George Harrison titled Wonderwall Music, which doubled as the soundtrack to a psychedelic film also called Wonderwall. In the film, the word Wonderwall refers to a literal wall through which the protagonist peers at his glamorous neighbors. To George Harrison, the word held no particular meaning. And what did the word Wonderwall mean to Noel Gallagher? Your guess is as good as any, but the song he attached it to certainly was pretty. Commercially and culturally, Wonderwall is the closest Oasis came to producing their own Beatles level blockbuster. Echoing the sound of the Fast 4 circa their help period. Video director Nigel Dick even styled the video to resemble that 1965 Beatles movie. Wonderwall contains Noel Gallagher's most unabashedly heartfelt lyrics about being saved by love and a plaintive Liam Gallagher vocal, it remains the single for which Oasis are best known. In a British chart quirk, Wonderwall only peaked at number two, stuck behind a number one single by the then hot English pop crooner duo Robeson and Jerome. However, Wonderwall went on to sell more than 3 million copies in the UK alone, by far Oasis bestseller in a way. What was more impressive was what Wonderwall did for Oasis in America. Breaking the blockade on Britpop because maybe.
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You'Re gonna be the one that saves me.
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And after on the US modern rock chart, Wonderwall climbed to number one in December 1995 and stayed there an unprecedented 10 weeks on the Hot 100, where no single associated with Britpop had so much as cracked the top 40. Wonderwall made the top 10, climbing to number eight by March 96. The what's the Story? Morning Glory album had by then entered the US top five and gone platinum. Morning Glory was packed with hits in the uk. The next single, Don't Look Back In Anger, with a rare lead vocal by Noel Not Liam Gallagher, became Oasis second ever number one hit in March 96. And in America, the follow up to Wonderwall, the anthemic and equally nonsensically titled Champagne Supernova, also reached number one at Modern Rock for five weeks. In a way, Oasis themselves were now the Champagne Supernova. By the end of 1996, what's the story? Morning Glory would be certified quadruple platinum in America for sales of 4 million copies, nearly as much as it sold in the United Kingdom. Improbably, but perhaps inevitably, understandably, given Noel Gallagher's stadium size quest, Oasis were the top Brit pop band in the world. Back in England, Britpop remained at fever pitch. It even had a run in with the self proclaimed King of pop at the 1996 Brit Awards. Michael Jackson's Earth song had been a smash in the uk, spending six weeks at number one just weeks before the Brit Awards ceremony. Invited to perform on the telecast, Jackson took the stage surrounded by children for a melodramatic Earth song performance. With the singer striking Christ like savior poses standing in the wings of the stage, Pulp's Jarvis Cocker decided he'd had enough of Jackson's messianic performance. Cocker ran out on stage to disrupt the spectacle making fart gestures and flashing his bare chest at Jackson. In a later interview, Cocker explained his intent.
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I was just sat there, you know, and watching it and feeling a bit ill because he's there doing his Jesus act. And I could kind of see. It seemed to me that there was quite a lot of other people who found it quite distasteful as well. And I just thought, you know, stage is there, I'm here. You could actually do something about it and say, this is a load of rubs if you want.
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In essence, it was Brit pop puncturing American pop excess and retaking the home turf. By 96, Brit Pop had spawned a whole constellation of bands, several tiers below Oasis, Blur, Pulp and Elastica in popularity that nonetheless scored plenty of hits.
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These included the short lived menswear Breathe Deeper, daydreamer.
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Sleeper, who racked up eight UK top 40 hits in just three years, And Liverpool's Cast, whose album All Changed kicked off a run of 10 straight top 20 hits. Brit pop was now so popular that the beleaguered Suede managed a major comeback with a new lineup. 1996's Coming up album returned Suede to number one and generated five top ten hits.
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You and Me.
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As with Radiohead, bands that had little interest in the Brit pop movement nonetheless saw their fortunes rise. Welsh band Manic Street Preachers actively loathed Britpop and only changed their sound on 1996's Everything Must Go album. Due to the disappearance and presumed death of guitarist Richie Edwards, the album was nonetheless a smash, filled with soaring anthems that fit right alongside the Britpop hits of the day. Then, in the summer of 96, Britpop had its own cinematic artifacts. A film that did for 90s Cool Britannia what Saturday Night Fever had done for 70s disco. Only this movie was thematically even bleaker.
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Choose life. Choose a job. Choose a career. Choose a family. Choose a fucking big television.
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Choose Washing Train Spotting. Director Danny Boyle's filmic adaptation of Irvine Welsh's novel about Scottish heroin addicts. Scoring and Scheming, starring a young Ewan McGregor, was the top grossing British film of 1996, and its soundtrack was an instant classic. Boyle eschewed movie score in favor of a parade of needle drops, no pun intended. He juxtaposed proto punk 70s classics like Iggy Pop's Lust for Life and 80s post punk like New Order's Temptation, with a whole lot of 90s Brit pop. Featured on the soundtrack were such Brit pop leading lights as Blur and Elastic. Sleeper, who contributed a cover of Blondie's Punk era classic Atomic. And Pulp, who contributed Mile End, a brand new song written specifically for the film. The most indelible song appeared last both on the Trainspotting soundtrack and in the movie. It got swept up in the Britpop fervor, even though strictly speaking, it was not Britpop. If anything, this song's success was a sign that Britpop's days were numbered. Born Slippy by the Welsh band Underworld was pounding electronic dance music played with rock fervor. The fragmented lyrics by vocalist Carl Hyde depict an addiction addict, in this case an alcoholic drowning in lager, lager, lager. Its recurring echoing keyboard riff behaved like a rock song's guitar riff. It was a spine tingling hook. The song came off as a working class elegy for passing youth.
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That you.
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A number two UK chart hit, Born Slippy was the biggest song on the Train Spotting soundtrack. Years later, in an interview with the Guardian, Underworld's Carl Hyde acknowledged Born Slippy's loose affiliation with Britpop, but said when they performed it at that year's Reading Festival in it felt like the passing of something and the coming of something else. Britpop, as guitar centric as it was, had not shied away from dance music or synth pop. Hits by Blur and Pulp, among others, made ample use of 80s style synthesizers. But Underworld's born Slippy was where British music was going next. Not back to the acid house of Madchester, but toward the harder club rhythms of techno, drum and bass jungle and the catch all movement dubbed electronica. Born Slippy alluded to Brit pop's past while neutralizing Britpop. To his credit, in 1996, Noel Gallagher of Oasis got ahead of this electronic dance trend by guesting on the Chemical Brothers psychedelic Big Beat dance record setting sun, a UK number one in October of 96. You said your body as 1996 turned to 97, the Brit pop bands were trying to stave off their obsolescence. There were still new bands breaking, some of them widening the lane of the movement. Corner Shop, a British band led by the Indian heritage to Gender Singh, broke the single Brimful of Asha, an homage to Indian film culture. In the summer of 97. A remix by Norman Cook of Fatboy Slim fame would hit number one the following year. Blur, for their part, were trying some new moves of their own. Or maybe some new old moves. Beetle Bum, the lead off track to their 1997 self titled album, was a more overt Beatles homage than anything Oasis had tried lately. All music critic Stephen Thomas Erlewine called the druggie Diddy a run through The White Album. In the space of five minutes, it became Blur's second UK number one single in February 1997. Elsewhere on the Blur album, the band ranged even farther afield. The album's second single was a kind of parody song. It was track two on the CD and ran two minutes, two seconds long, hence lacking a better title. Blur dubbed this song Song two. Guitarist Graham Coxon claimed they wrote Song two as a kind of gag on their record company, a piss take to demonstrate how dopey a single could sound. But the record company wasn't laughing. To them, it sounded like a hit. Song two, which many listeners to this day, especially in sports stadiums think of as the Woohoo song, is an interesting anomaly in Blur's catalog. It sounds more American than any other single Blur recorded. Critics debate whether the song is a parody of grunge pop punk or, as Damon Albarn sings on the chorus, heavy metal. It is also ironically or perhaps inevitably, Blur's biggest unit US Hit. Though never issued as a US single, hence it was ineligible for the Hot 100. Song 2 rose to number 55 on Billboard's Hot 100 airplay chart. It reached number six on the Modern rock chart and spent half a year on that list. It even reached number 25 on mainstream rock stations, alongside the likes of Sammy Hagar and Aerosmith. The album that Song two came from, Blur is the band's only gold album in America and spent more weeks on the Billboard 200 than all of Blur's other albums combined. To me, what Song two exemplifies is my Brit pop blow off theory. Number three Even when Americans liked the music, Brit pop didn't feel to us like a movement. We cherry picked a very small handful of hits we liked from the wave and they charted as one offs. Further evidence of this came from another British act that broke in America in 1997. 7. Ask the average American to name a Brit pop act from the 1990s and they are liable to name the Spice Girls. Which is funny, because in England Spice Girls were totally massive. But. But they weren't regarded as Britpop. The very word Brit pop is something of a misnomer to the Brits. It's meant to indicate mid-90s UK guitar rock with catchy songs, not English pop boy bands or girl groups. But Spice Girls had the biggest album of 1997 in the U. S. Five weeks at number one, over 6 million sold for the year. They sang with British accents, celebrated British culture, Jerry Ginger, Spice, Halliwell even performed in a Union Jack mini truck to us. This was Brit pop and the Spice Girls so called Girl power slogan felt more like a movement to young Americans than Brit pop ever did. In a way, Spice Girl's massive success killed the last hope that Britpop would be a thing in America. The sound of US pop by 1997 was dominated by boy bands like Backstreet.
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Boys, Quit playing games with my heart.
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Frilly alt pop a la matchbox 20 or third eye blind. And flossy hip hop from the likes of of Puff Daddy and his stable of acts. There was little chance of Brit pop breaking through that hit parade. That said Oasis, their egos inflated to monstrous proportions. Were going to try anyway, don't look.
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Back Cause you know what.
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In England, Oasis third album and its leadoff single were given a hero's welcome. The press made much of the fact that the eagerly anticipated disc landed just weeks after Tony Blair's victory as the new UK Prime Minister. The spirit song, do youo Know what I Mean? Was Noel Gallagher's imperial move, a single reveling in its own bigness. It was more than seven minutes long, loud as an air raid, its chorus a meaningless rally for popularity. All my people, right here, right now, do you know what I mean? Quote Critic Tom Ewing would later call the song, quote the victory, the hangover, or both at once. That chorus translates as Vote Oasis. Predictably, do you Know what I mean opened at number one on the UK chart, and one month later, so did the album Be Here Now. It sold more than 400,000 copies on its first day and nearly 700,000 in its first week, the fastest selling album in British history, a record, by the way. It would hold until 2015 and the release of Adele's 2025. In America, Be Here now debuted at number two on the Billboard 200 album chart, fairly remarkable for any Brit pop band in the States and in typical AC DC rule fashion, a referendum on the US popularity of its predecessor, what's the Story, Morning Glory? But the single in America only reached number 49 on the Hot 100 airplay chart, and the album began slipping almost immediately. The press quickly soured on Be Here now, calling it a monument to come cocaine fueled excess filled with interminably long songs. It was out of the US album charts top 10 in just two weeks, never to return. It went platinum, but even after a follow up single, Don't Go Away did better on the charts than do youo Know what I Mean had Americans did just that, they went away way. A half decade later, looking back on the Brit pop moment, famed English Music critic John Savage identified Oasis Be Here now as the moment where the movement ended. Not only not only did the album fall short of expectations both critically and commercially, it indicated that Britpop had grown indulgent and was no longer at the vanguard of British rock. That vanguard was now better represented by Radiohead, who came into their own in 1997 with their innovative album OK Computer. OK Computer left Britpop in the dust and even eventually outsold Oasis. Latest in America among bands that could still be labeled Brit pop, there was one last masterwork that gave the movement a more fitting conclusion. Through two prior albums, A Storm in Heaven and A Northern Soul, the Verve, a band from Wigan, Greater Manchester, had refined their sound from psychedelic rock and shoegaze to more accessible Brit pop. Verve leader Richard Ashcroft struggled with the songs on their third album, Urban Hymns, which finally arrived in the fall of 1997, led off by a majestic single that became a big hit on both sides of the Atlantic.
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The only road I.
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As I noted in our One Hit Wonders episode of Hit Parade, Bittersweet Symphony was built out of a sample of an orchestral cover of The Rolling Stones 1965 hit the last Time. That meant that songwriter Richard Ashcroft had to give up all his royal royalties to the song to former Stones manager Alan Klein, who owned the copyright to the Stones 60s output. As bittersweet as that was for Ashcroft, when the song reached number two in the UK and number 12 on the Hot 100, that success fueled sales of the Verve's full Urban Hymns CD. Packed with moving and elegiac Britpop classics, Urban Hymns sold more than 3 million copies in the UK and nearly 1 1/2 million in the US a rare American platinum success for Brit pop. And songs like the aptly titled the Drugs Don't Work seemed to bid farewell to the heady Brit pop years. The afterlife of Brit pop has been remarkably checkered. Pulp delivered two more albums, including the critically acclaimed this Is Hardcore, which has joined different class in the pantheon of 90s British rock classics. Pulp went on hiatus in 2001 and returned to tour only briefly in the early 2010s. Oasis soldiered on for another decade to diminishing returns, churning out several more solid selling UK albums through the mid 2000s before breaking up in acrimony in 2009 after the umpteenth feud between Noel and Liam Gallagher. Elastica took more than half a decade to follow their acclaimed 1995 debut as Drug addictions racked multiple members of the group, including Justine Frischman, a revamped Elastica lineup finally released a second album in 2000 to respectful reviews and much lower sales. Drug abuse also beset Suede through their rise and fall, though, the band was generating top 10 UK hits right through 1999. Brett Anderson finally announced Suede's breakup in 2003, although the band would return in triumph a decade later to sell out tours and respectable music sales, Blur had perhaps the most interesting afterlife. The band soldiered through two more albums in 1999 and 2003 which found Blur embracing sounds miles removed from their Brit pop peak.
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Come on, Come on, Come on get through it Come on, come on, come on.
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In between those two Blur albums, Damon Albarn formed a virtual band with comic book artist Jamie Hewlett that he called Gorillaz. The band are presented by animated characters and the gorillas sound leans much closer to American hip hop than Brit pop. Gorillaz sold far better in the States than Blur ever did, generating multiple platinum album. The Legacy of Brit Pop is Mixed Once Radiohead pulled away from traditional guitar based rock at the turn of the millennium, A new generation of UK bands rushed in to fill the void, blending Radiohead sound circa the Bends with the tunefulness of Brit pop, including such acts as Travis. And the monstrously successful Coldplay. In the early aughts, rock fans in England seemed to turn away from British bands toward a new generation of American garage style bands. Led by the Strokes, they captured the laddish excitement formerly presented by Brit pop. Meanwhile, on the American charts, the fortunes of British acts continued to diminish. In April 2002, Billboard's Chart Beat columnist noted a sad passage on the Hot 100 one week after a former top 10 hit by R B and UK garage singer Craig Davis dropped off the.
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List.
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The American pop chart was devoid of British acts for the first time in 38 years, since before the Beatles had kicked off the British invasion in 1964. This finally was the American legacy of Brit pop, a movement that passed Yanks by to such an extent we momentarily got used to life without British music. More positively, by the mid aughts, acts that were descended from Brit pop began making landfall again, whether the latter hits of Damon Albarn's Gorilla. Or the UK indie rock breakthrough of Arctic Monkeys. This episode of Hit Parade is coming out just a few few weeks after the 2023 edition of the Coachella Music Festival, and I must say I was touched to see 90s British rock veterans Underworld were included on this year's Coachella. A quarter century after the rise and fall of Brit pop, it is perhaps appropriate that the band that sang Brit Pop's swan song is the one left standing today. Delivering the anthem Born Slippy to a crowd in a tent in Indio, California Underworld were living a more celebratory version of of park life. I hope you enjoyed this episode of Hit Parade. Our show was written, edited and narrated by Chris Melanfi. That's me. My producer is Kevin Bendis. Kevin also produced the latest installment of our monthly Hit Parade trade, the Bridge shows, which are available exclusively to Slate plus members. In our latest Bridge episode, I talk to both Kevin Bendis himself about his band and their favorite Brit Pop covers, and to all music critic Stephen Thomas Erlewine, who schools us on the breadth and boundaries of Brit pop. To sign up for Slate plus and hear not only the Bridge but all our shows shows the day they drop, visit slate.com hitparadeplus Derek John is Executive Producer of Narrative Podcasts and Alicia Montgomery is VP of Audio for Slate Podcasts. Check out their roster of shows@slate.com podcasts. You can subscribe to Hit Parade wherever you get your podcasts, in addition to finding it in the Slate Culture feed. If you're subscribing on Apple Podcasts, please rate and review us while you're there. It helps other listeners find the show. Thanks for listening and I look forward to leading the Hit Parade back your way. Until then, keep on marching on the one. I'm Chris Melanvi. Sam.