their promotion of "No alla violenza" anti-hooligan T-shirts during Italia 90 helped to raise their profile further. The Farm's first song to reach the top part of the UK Singles Chart was "Groovy Train", which reached the Top 10 in September 1990. During the summer that year they played in Ibiza and were a key feature in the film A Short Film About Chilling. In late November that year, they released their most memorable song, "All Together Now", which instantly became a hit and peaked at number three in the charts in December 1990. It was on the crest of this wave that their album Spartacus reached No. 1 in the UK the following year. In 1991, the Farm teamed up with Pete Wylie of Wah! (The Mongrel), to re-record his 1986 hit "Sinful" in the indie-dance 'baggy' style and followed it up with three smaller hits on the Produce record label. With the success of Spartacus, the band signed a major label deal with Sony Records, who gave them their own End Product record label (which played on the name of their former independent record company Produce). However their success was to be short-lived due to changes in the indie music scene and the move to a major. Their first single for Sony, "Rising Sun" (1992), moved away from the baggy sound and did not perform well, peaking at Number 48 in the UK Top 75. At this point the band had split from producers Pete Heller and Terry Farley and had joined up with Mark Saunders, who had produced Erasure and The Cure. In October 1992 they reached the Top 20 with a cover version of The Human League's "Don't You Want Me", recorded for charity album Ruby Trax - The NME's Roaring Forty (a follow-up to the NME's Sgt. Pepper Knew My Father). The Farm's last 'new' top 40 under their own name was a re-recorded version of "Love See No Colour", now used as the title track of their 1992 album. The Sony Music version dispensed of the 'Scally-baggy' rhythms of the original Produce release (which had got 'lost in the Christmas chart rush' at the end of 1991), for a slower more synthpop sound with gospel overtones and a big budget video using classical and religious imagery. However, this song only reached Number 35 in the UK charts while the parent album did not chart