In The Quantity Ones, I’m reviewing each single #1 single within the historical past of the Billboard Sizzling 100, beginning with the chart’s starting, in 1958, and dealing my method up into the current.
In September 2000, simply earlier than “Come On Over Child (All I Need Is You)” grew to become her third #1 hit, Christina Aguilera’s first headlining tour took her to the New York State Fairgrounds in Syracuse. The opening act was Future’s Youngster, a bunch that’s been on this column a few occasions already. The evening earlier than the present, Christina’s tour bus was parked at a lodge close to Syracuse College, the place I used to be simply beginning my junior yr. Apparently, a few faculty college students received onto that tour bus and spent the night partying with Christina’s crew. I don’t know the way one thing like that occurs, however some issues are simply not for us to know.
That evening, the celebration ended round 3AM, and because the crew guys staggered off to mattress, they left the tour bus unlocked. Later that evening, the 2 faculty college students snuck again onto the Christina Aguilera tour bus and stole a bunch of stuff. The New York Occasions report on the theft claims that the scholars had been in search of “souvenirs,” whereas Pollstar claimed that they received “golf golf equipment, a gymnasium bag, and pyrotechnics price greater than $1,000.” These two college students had been shortly arrested, and I don’t know what occurred to them after that.
The Christina Aguilera tour-bus break-in didn’t change into some large nationwide story, however in Syracuse, that shit immediately reworked into native oral-tradition legend. The widespread perception, which I really feel like I need to’ve seen reported someplace, was that the thieves had been frat boys who had been in search of Christina Aguilera’s underwear. Gross! Additionally, believable! Inside a few days, although, I used to be listening to tales that had been far more outlandish. The perfect tall story was that these two yahoos had stolen Christina Aguilera’s total tour bus and that they had been driving it round to completely different frat events.
Christina Aguilera didn’t make it to the stage on the New York State Truthful that evening. As a substitute, she postponed that tour date, blaming laryngitis. Possibly she actually was sick, or possibly she simply wanted to take that day to determine who wanted to be fired. Regardless of the case, that complete episode says one thing concerning the maintain that Christina Aguilera had over the younger American collective creativeness in 2000. Christina Aguilera was promoting tens of millions of albums, however numbers are one factor. If you’ve received collegiate dickheads prepared to danger arrest and prosecution to smell your drawers, that’s one thing else solely.
In July of 2000, Christina Aguilera had positioned herself, alongside her former Mickey Mouse Membership castmate Britney Spears, as one of many largest stars of a cresting teen-pop wave. Christina didn’t essentially wish to be a part of that wave; she needed to be seen as a poppy R&B singer. However you may’t all the time struggle a wave. Christina had received the Grammy for Greatest New Artist, beating Britney, and her self-titled debut album had offered six million copies. Two of her singles, “Genie In A Bottle” and “What A Woman Desires,” had topped the Sizzling 100. She’d adopted these songs with the extra conventional R&B ballad “I Flip To You,” a canopy of a Diane Warren composition that the former Quantity Ones artists All-4-One had initially recorded a couple of years earlier. That ballad had gotten so far as #3. (It’s a 4.)
By the point she’d gotten via these first three singles, Christina Aguilera had different issues on the horizon. Earlier than 2000 was over, she would launch two extra albums, a Spanish-language report known as Mi Reflejo and a vacation LP known as My Sort Of Christmas. However Ron Truthful, Christina’s A&R rep, figured that the self-titled album nonetheless had some pop-chart juice left in it. He thought the album had yet one more hit, however that hit would want a whole overhaul earlier than it was prepared for the pop charts.
One of many tracks on the Christina Aguilera album was “Come On Over (All I Need Is You),” a bubbly and flirty uptempo monitor from the Swedish songwriting crew of Paul Rein and Johan Åberg. Paul Rein had been a minor dance-pop star in Sweden within the ’80s, and he’d ultimately gone to work at Eclectic Studios, a Stockholm songwriting manufacturing facility that was making an attempt to do the identical form of factor that Denniz Pop and Max Martin had achieved with Cheiron Studios. Eclectic founder Anders Hansson paired Rein with producer Johan Åberg, and “Come On Over (All I Need Is You)” was the primary track that the 2 of them wrote collectively.
Paul Rein and Johan Åberg had been attempting to put in writing a sunny uptempo jam for former Quantity Ones artists the Spice Women, however their monitor as an alternative discovered its technique to Ron Truthful, who was choosing out songs for Christina Aguilera’s album. Paul Rein had sung on the demo model of the monitor, and when Christina recorded the monitor for her album, she simply used Rein and Åberg’s instrumental with Rein’s vocals taken off. That was effective when “Come On Over” was an album monitor. However when Ron Truthful determined that he needed to make “Come On Over” a single, he determined that the track wanted to be reworked.
Christina Aguilera had already gotten to #1 with a remixed and re-recorded model of “What A Woman Desires,” so Truthful had been vindicated in his perception that he ought to attempt to promote the world a distinct model of a Christina Aguilera track that had already been out for greater than a yr. Right here’s how Truthful describes his considering in Fred Bronson’s Billboard E-book Of No 1 Hits: “The unique model was too ultra-pop for the place Christina wanted and needed to go. She was feeling her legs in additional of an R&B sense and singing extra aggressive riffs, however we couldn’t deny the hook.”
This complete factor appears actually bizarre to me. You don’t go to the Swedish songwriting factories until you’re in search of one thing that’s definitionally ultra-pop. And anyway, the unique “Come On Over” was a complete banger, a fantastic instance of the form of giddily direct factor that Swedish songwriters all appear to take action properly. The refrain is large. It’s hooks stacked on prime of hooks till all these hooks kind the form of 1 huge hook. It’s joyful and propulsive and energetic. There’s electrical energy within the hammering piano riff, the staccato string-stabs, and the booming, mechanistic drum sounds. That album model additionally presents Christina loads of possibilities to wail her face off, and all of the showy singing by no means will get in the way in which of the melody itself. The track wasn’t broke, however Ron Truthful needed to repair it anyway.
Studying between the strains, I feel Ron Truthful actually simply needed to make “Come On Over” hornier. Within the Bronson e book, Paul Rein talks about how excited he was to listen to that “Come On Over” was about to change into a single, “however Ron needed to replace the music manufacturing and needed the lyrics to be sexier.” Rein and Johan Åberg tried to rewrite the lyrics to swimsuit Truthful’s specs, “however we didn’t provide you with something good.” As a substitute, Rein introduced in a manufacturing trio known as Celeb Standing to remix the monitor. “What A Woman Desires” writers Shelly Reiken and Man Roche additionally took one other move on the lyrics, and Christina Aguilera and Ron Truthful themselves additionally received songwriting credit. Truthful had himself credited as a co-producer, too.
Within the Bronson e book, Ron Truthful says, “When you take a look at the manufacturing credit, there are 9 writers. And also you wish to know one thing? That may be a factual, true illustration of who actually wrote that report. All 9 of us had a little bit hand in it.” Truthful doesn’t say who had the thought so as to add a superfluous “Child” to the title — as in “Come On Over Child (All I Need Is You)” — which completed the marginally baffling process of taking a track title that was already method too lengthy and making it only a tiny bit longer. Bizarre alternative! I don’t get it!
The track might’ve had much more credited writers. The unique “Come On Over” didn’t have a bridge. When Christina Aguilera had sung “Come On Over” reside, she’d converted to Cheryl Lynn’s 1978 disco traditional “Obtained To Be Actual” the place the bridge would’ve been. Truthful cherished the way in which that sounded, and he needed the only to be a medley of “Come On Over” and “Obtained To Be Actual,” however he couldn’t clear the Cheryl Lynn monitor. (“Obtained To Be Actual,” which Cheryl Lynn co-wrote with David Foster and Toto’s David Paich, peaked at #12. I ponder which of the rights-holders mentioned no to the interpolation request.)
It ought to’ve been an excessive amount of tinkering. For me, the remixed and re-recorded model of “What A Woman Desires” is method an excessive amount of, and the track will get misplaced in all of the stuff that will get piled in there. However I don’t assume that ever occurs with “Come On Over Child.” The one model of the track is certainly extra cluttered, however the litter works. No person tries to sluggish the track down, and no person messes with the bubblegum immediacy of that refrain. You’ll be able to positively hear all the assorted collaborators attempting to get their shit in, however their shit by no means will get in the way in which of the track’s sugar-rush pleasure.
“Come On Over Child” is certainly a hornier track than simply plain “Come On Over.” On the unique, Christina Aguilera howls, “I would like you to know you may be the one for me/ You bought all I’m lookin’ for, you bought character.” On the re-recorded “Come On Over Child,” these strains change considerably: “I’m not simply talkin’ about your sexuali-tayyy/ However I can’t assist myself whenever you put your arms on me.” So she form of is simply speaking about this individual’s sexuali-tayyy. She’s not speaking about their character, anyway. Christina additionally provides some ad-libbed whisper-grunts, in case we didn’t get the thought. That’s how a crush track turns into a booty-call track. Truthful sufficient! For many of us, a crush that turns right into a booty name is a pure development, or possibly a great consequence.
The remix provides an entire lot extra enterprise to the monitor, too. There’s uneven drum-machine stuff that sounds a bit like DJ scratches. There’s a strutting, funked-out bassline that is available in on the second verse. There’s a screaming guitar solo. There’s a bridge the place Christina Aguilera does a mumbly talk-sing that would nearly be thought-about rapping. There’s a fast call-back to “What A Woman Desires.” Christina additionally does extra show-offy vocal-run stuff, however she by no means loses monitor of the track’s melody. On each variations of the track, the very best vocal second arrives when Christina uncorks a juicy, joyous disco excessive notice, stretching it out lengthy sufficient to correctly convey the ebullience that the track wants. I don’t assume all these additional touches enhance the track, essentially, however they don’t fuck it up, both. No matter method you hear it, “Come On Over” is a complete blast.
The “Come On Over Child” video matches the intense silliness of the track completely. Christina made the video with future Bulletproof Monk director Paul Hunter, and the clip works as a fantastic little time capsule of a really explicit period. The brilliant-white background, the belly-button jewellery state of affairs, the H&M-ad design sensibility — it’s all firmly anchored in a selected second. The video options eye-bleeding neon shades of inexperienced and blue and yellow that principally ceased to exist someday round 2002. I find it irresistible. The entire thing has a frisky sense of movement and power, and I by no means have a nasty time when it’s on.
In a method, “Come On Over Child” is the final we’d hear of teen-pop Christina Aguilera. Christina didn’t all of the sudden change into a full-on grand dame after that first album, however she did change her type up a little bit, leaning more durable into intercourse and R&B. She didn’t appear too concerned about working with Swedish songwriting groups after that first album. However Christina by no means disowned “Come On Over Child.” When she launched her Spanish album Mi Reflejo per week after that ill-fated Syracuse present, she included a Spanish-language model of “Come On Over Child.” “Ven Conmigo (Solamente Tú)” grew to become Christina’s first #1 hit on the Billboard Latin Songs chart.
After the “Come On Over Child” single got here out, Christina Aguilera’s self-titled debut offered one other 2 million copies, going platinum for an eighth time. Mi Reflejo and the Christmas album offered loads of copies, too. Christina had all of the momentum on the planet, and we’ll see her on this column once more. Curiously, although, “Come On Over Child” is the final time we’ll see Christina by herself, barring some form of comeback. When Christina reveals up once more on this area, she’ll both be a featured visitor, or she’ll be a part of a pop-star posse minimize.