England at Euro 2024: The football songs you need to know (and some you don’t)
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1 year agoon
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adminEveryone seems to know the score, they’ve seen it all before…
Or have we? Now England have got through the group stage, it’s time for the nation to start getting its hopes up way too early – yes, there are still a few hurdles to overcome before the Euro 2024 final, but no matter – and think about (whisper it) football possibly, maybe coming home.
We have David Baddiel, Frank Skinner and The Lightning Seeds’ Ian Broudie to thank for that central refrain now synonymous with England and football; a song full of unashamed nostalgia for the days of the World Cup victory (1966, you might have heard of it), perfectly capturing the mix of “oh-so-nears” pessimism since and the cautious hope that comes with being an England fan.
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Released for Euro ’96, back when it was only a mere 30 years of hurt, Three Lions is still the ultimate anthem for English football.
At Euro 2020, the song was everywhere as the men’s team reached its first international tournament final since 1966 – but ended the run with the all-too-familiar agony of defeat by penalties to Italy. In 2022, England were finally crowned champions of Europe after the Lionesses beat Germany in the final – and did indeed bring football home.
So… can it stay here? Can Gareth Southgate’s men make it a double?
From a homage to former England manager Sven-Goran Eriksson to a celebration of baked goods, here are a few official and unofficial songs to add to your Euro 2024 playlist. After Three Lions, of course. And Three Lions ’98, because no one likes change.
We still believe…
This Time (We’ll Get It Right)
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After failing to qualify for the World Cup in 1974 and 1978, 1982 was not only a big year for football but a big year for England in the charts. Frontman Kevin Keegan was no stranger to the Top 40, having released the single Head Over Heels In Love a few years earlier, and he led the squad in their promise to “get it right… this time”. Sadly, it wasn’t to be. Keegan, for his part, missed a sitter (he didn’t get it right) against the hosts and England failed to progress beyond the second group stage, despite remaining unbeaten throughout the tournament in Spain. The song charted at number two though, so every cloud.
We’ve Got The Whole World At Our Feet
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“There’s not a single team that we can’t beat,” sang the England squad ahead of Mexico 1986. Unfortunately, they hadn’t reckoned with Maradona and his Hand of God. To add insult to injury, chart success also eluded them, with We’ve Got The Whole World At Our Feet only reaching number 66 (as if they needed another reminder). However, Gary Lineker did win the tournament’s Golden Boot for top scorer.
All The Way
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For the Euros in West Germany in 1988, Stock, Aitken and Waterman took charge of the music, which led to this upbeat number that epitomised the pop sound of the time. Sadly, it only reached number 64 in the charts – mirroring England’s success in the tournament (they went out early after failing to win any of their games in the group stage).
World In Motion
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England’s second-finest track comes from New Order, includes a magnificent rap from John Barnes and mercifully has minimal input from the rest of the squad. Released for Italia 90, this was the World Cup of Gazza’s tears, of England’s first heartbreaking penalties defeat – losing 4-3 to West Germany in the semi-finals – and of Lineker infamously getting caught short on the pitch. There aren’t many football songs that break out of the novelty bracket but this is just such a track, perfectly encapsulating the hopeful optimism of England fans without, for the most part, really sounding like a football song at all.
Eat My Goal
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Not an official England track but Collapsed Lung’s football anthem Eat My Goal, released in 1996, became the soundtrack to Coca-Cola’s “Eat Football, Sleep Football, Drink Coca-Cola” advertising campaign that tied in with Euro 96.
Vindaloo
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As well as the revived Three Lions, the France 98 World Cup also brought us Fat Les, aka Blur bassist Alex James, actor Keith Allen and artist Damien Hirst. Thanks to its easy to chant “nah nah nahs” and triumphant “We’re! Gonna! Score! One! More! Than! You!”, Vindaloo was an affectionate parody that became the unofficial hit of the tournament. Featuring comedian Paul Kaye (best known as Dennis Pennis) in a video sending up The Verve’s Bittersweet Symphony, also look out for David Walliams and Matt Lucas, and a young Lily Allen, who are in there somewhere.
(How Does It Feel To Be) On Top Of The World
This one was actually the official song for 98, even though it’s Vindaloo you probably remember. Featuring a medley of artists including The Spice Girls, Echo And The Bunnymen, Space and Ocean Colour Scene – aka England United – but no actual England players (apart from a few cameos in the video), the song featured a nice sing-song chorus but wasn’t quite as memorable or rousing as the other offerings that year, and charted at number nine. This was the World Cup of Michael Owen’s incredible goal against Argentina, David Beckham’s infamous red card and defeat by Argentina on penalties – all in the same game.
Meat Pie, Sausage Roll
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After the success of Three Lions, football songs were cool again – which meant everyone wanted to release one. Contenders in 1998 also included Granddad Roberts And His Son Elvis, with this ridiculous song that should have been sponsored by Greggs. “Ooh, we got a corner,” is the refrain, while it ends with the bizarre line: “No wonder my wee smells like Sugar Puffs, the stress I’m under.”
We’re On The Ball
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Ant & Dec took over official duties for the 2002 World Cup in South Korea and Japan, hailing then manager Sven-Goran Eriksson as England’s “super Swede” and referencing captain Golden Balls and the 5-1 win over Germany in the qualifiers the previous year. Despite the single essentially being PJ and Duncan’s musical revival, England were not quite ready to rumble and lost 2-1 to eventual winners Brazil in the quarter-finals.
Sven, Sven, Sven
Released a year earlier, Sven, Sven, Sven, by comedy duo Bell & Spurling, was also inspired by the 5-1 victory and the nation’s love for Eriksson at the time. Featuring women in England bikinis and dressed in Bavarian costume, the video is a reminder of how much times have changed in the last 20 years or so. The pair released an updated version, Gareth, Gareth, Gareth, for the World Cup in 2018, but it wasn’t quite as successful as their top 10 debut.
All Together Now
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Written about the Christmas truce in the First World War in 1914, when soldiers from both sides put their weapons down to exchange gifts and play football in No Man’s Land, this song by The Farm was released in 1991 and has been used by numerous football teams since. Re-released for the 2004 Euros in Portugal, England were beaten by the hosts on penalties (naturally) in the quarter-finals.
World At Your Feet
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The official England song for the Germany 2006 World Cup was released by Embrace, best known for hits including All You Good Good People, Come Back To What You Know, Ashes and Gravity in the 1990s and 2000s. “With the world at your feet, there’s no one you can’t beat/Yes it can be done,” sang frontman Danny McNamara. A nice effort that charted at number three and spent six weeks in the Top 40, but England were not so successful. Wayne Rooney was red-carded in the quarter-final against Portugal and Cristiano Ronaldo became known as the winker – oh, and as chance would have it, they were knocked out on penalties.
Shout
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While the only music people really remember from the South Africa World Cup in 2010 is Shakira’s Waka Waka (This Time For Africa) and the deafening sound of vuvuzelas, Dizzee Rascal and James Corden did also team up to release this unofficial song for England. Sampling Tears For Fears’ Shout and including the line “come and have a go if you think you’re hard enough”, the song did top the charts, but it probably won’t be remembered as one of the England greats. England went out 4-1 to Germany in the final 16, so it wasn’t the team’s greatest performance, either.
Sing 4 England
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Chris “Unbelievable, Jeff” Kamara released Sing 4 England for the Euros in 2012, co-hosted in Poland and Ukraine. Harking back to the naff but lovable-sounding typical football songs of the 80s and 90s, it gets full marks for rousing positivity. “Come on and sing for ENG-ER-LAND”. We were all encouraged but sadly, we’d seen it all before, and England lost in the quarter-finals, to Italy, on penalties.
Ole (We Are England 21)
Ole was the Euro 2020 (yes, still Euro 2020, even though the tournament took place in 2021 – blame COVID) effort from Krept & Konan. A contemporary rap track that – ole, ole, oles aside – moved away from the traditional football song but still reflected the mood of the nation. Until they lost the final, to Italy, on penalties.
Sweet Caroline
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Neil Diamond’s 1969 hit Sweet Caroline became a feel-good hit all over again during the pandemic in 2020, and also smashed it at the Euros. DJ Tony Perry made the decision to play the song after England made it through to the quarter-finals thanks to a win over Germany, and a fan favourite was born. In a video message, the US singer-songwriter told The Telegraph he was “thrilled” to see fans belting the song out at Wembley, saying: “Well, I hope you can do it again – here’s to England.” Because good times never seemed so good – so good, so good… until the final, that is.
Whole Again
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This sugary Atomic Kitten hit from 2000 found a new audience thanks to a reworked version paying tribute to Southgate – so much so that Natasha Hamilton and Liz McClarnon went viral after performing it live to football fans watching the quarter-final victory over Ukraine in Croydon, so decided to re-release it as a new single. While some might say they could have put a bit more effort in and changed the rest of the lyrics, now is not the time for nit-picking. Altogether now, positive thoughts: “Southgate, you’re the one, you still turn me on – football’s coming home again.” Well, it was if you were living in Italy.
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The Stone Roses bassist Gary “Mani” Mounfield has died at the age of 63, his family has said.
Mani’s brother, Greg, said in a post on Facebook: “It is with the heaviest of hearts that I have to announce the sad passing of my brother.”
“RIP RKID,” he added.
Gary “Mani” Mounfield and his wife Imelda at the world premiere of “The Stone Roses : Made Of Stone” in 2013. Pic: Reuters
Formed in 1983, The Stone Roses were a mainstay of the “Madchester” scene.
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Oasis singer Liam Gallagher said he was “in total shock and absolutely devastated”, describing the bassist as “my hero”.
“RIP Mani – my heartfelt condolences to his twin boys and all of his family,” wrote the Happy Mondays’ Shaun Ryder, whose bandmate Rowetta added: “Back with your Imelda, Mani. Going to miss you so much. All my love to the boys, the family & all those who knew & loved him.”
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The Charlatans frontman, Tim Burgess, shared a photo of himself with Mani, writing alongside it: “I shared this photo a week or so ago on Mani’s birthday.
“It never failed to bring a smile to my face – and that was exactly the same for the man himself.
“One of the absolute best in every way – such a beautiful friend.”
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Echo & the Bunnymen vocalist Ian McCulloch said Mani was someone “who I have always loved and always will love, deeply and forever. Like a brother”.
He continued: “I am in shock to be honest. Please tell me I’m just having a bad, bad dream. My thoughts and feelings and Mani. Love to all of his family from me”.
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Tracy Chevalier, the bestselling author of Girl With A Pearl Earring and The Glassmaker, shares that concern.
“I worry that a book industry driven mainly by profit will be tempted to use AI more and more to generate books,” she said in response to the survey.
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Why authors are so worried
The University of Cambridge’s Minderoo Centre for Technology and Democracy asked 258 published novelists and 74 industry insiders how AI is viewed and used in the world of British fiction.
Alongside existential fears about the wholesale replacement of the novel, many authors reported a loss of income from AI, which they attributed to “competition from AI-generated books and the loss of jobs which provide supplementary streams of income, such as copywriting”.
Some respondents reported finding “rip-off AI-generated imitations” of their own books, as well books “written under their name which they haven’t produced”.
Last year, the Authors Guild warned that “the growing access to AI is driving a new surge of low-quality sham ‘books’ on Amazon”, which has limited the number of publications per day on its Kindle self-publishing platform to combat the influx of AI-generated books.
The median income for a novelist is currently £7,000 and many make ends meet by doing related work, such as audiobook narration, copywriting or ghost-writing.
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Could the AI bubble burst?
These tasks, authors feared, were already being supplanted by AI, although little evidence was provided for this claim, which was not possible to verify independently.
Copyright was also a big concern, with 59% of novelists reporting that they knew their work had been used to train AI models.
Of these, 99% said they did not give permission and 100% said they were not remunerated for this use.
Earlier this year, AI firm Anthropic agreed to pay authors $1.5bn (£1.2bn) to settle a lawsuit which claimed the company stole their work.
The judge in the US court case ruled that Anthropic had downloaded more than seven million digital copies of books it “knew had been pirated” and ordered the firm to pay authors compensation.
However, the judge sided with Anthropic over the question of copyright, saying that the AI model was doing something akin to when a human reads a book to inspire new work, rather than simply copying.
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Most novelists – 67% – never used it for creative work, although a few said they found it very useful for speeding up drafting or editing.
One case study featured in the report is Lizbeth Crawford, a novelist in multiple genres, including fantasy and romance. She describes working with AI as a writing partner, using it to spot plot holes and trim adjectives.
“Lizbeth used to write about one novel per year, but now she can do three per year, and her target is five,” notes the author of the report, Dr Clementine Collett.
Is there a role for government?
Despite this, the report’s foreword urges the government to slow down the spread of AI by strengthening copyright law to protect authors and other creatives.
The government has proposed making an exception to UK copyright law for “text and data mining”, which might make authors and other copyright holders opt out to stop their work being used to train AI models.
“That approach prioritises access to data for the world’s technology companies at the cost to the UK’s own creative industries,” writes Professor Gina Neff, executive director of the Minderoo Centre for Technology and Democracy.
“It is both bad economics and a betrayal of the very cultural assets of British soft power.”
A government spokesperson said: “Throughout this process we have, and always will, put the interests of the UK’s citizens and businesses first.
“We’ve always been clear on the need to work with both the creative industries and AI sector to drive AI innovation and ensure robust protections for creators.
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