reaching No. 23 on the UK Singles Chart in March 1994), "Sowing the Seeds of Hatred" (UK #72) and "Hear No Bullshit, See No Bullshit, Say No Bullshit" (which was, in live performance, dedicated mockingly to acts like Kris Kross and East 17). While the band's placings in the mainstream charts remained disappointing, all of these singles reached the No. 1 position in the independent charts in Melody Maker and NME – at the time, an unheard-of achievement for a rap group. During 1994, Credit to the Nation would also make high-profile British festival appearances at The Glastonbury NME stage, the Reading Festival Melody Maker Stage and the Phoenix Festival (to which they would also return in 1995). While he continued to receive plenty of attention from the indie rock press, Hanson was less fortunate in achieving a mainstream breakthrough in the hip hop world. His trenchant criticisms of the sexism, materialism and fetishisation of violence expressed by hardcore hip hop by acts such as Onyx and Ice-T led to backlash and rejection and his own youth and talent level were subject to attack. Even the indie-rock press sometimes questioned Hanson's position. One memorable critical assault from reviewer Neil Kulkarni (in the usually supportive Melody Maker) directly accused him of selling out to the expectations and tastes of white audiences. 1995–96 – Daddy Always Wanted Me To Grow A Pair of Wings Preparing for a follow-up to Take Dis proved difficult. Hanson's outspokenness (and his continued closeness to Chumbawamba and their own political confrontations) had made him the target of enmity and intimidation in his home region. These eventually forced him to move out of his home following death threats. Hanson found these conflicts (and his own growing celebrity) difficult to deal with. In subsequent interviews, he would confess to having had problems with cannabis addiction during this time, and even to having spent time sectioned in a psychiatric hospital. Due to these factors, the completion of the band's second album, Daddy Always Wanted Me To Grow A Pair of Wings was delayed by a year. It was preceded by two singles: the self-flagellating "Liar Liar" (which charted at No. 60) and a follow-up, "Mad Dog", which failed to chart. As with Take Dis, the album was produced by and featured various Chumbawamba members. Daddy Always Wanted Me to Grow a Pair of Wings was eventually released in 1996. It