# 14

Leona Lewis - Run
(written by Lightbody, Quinn, McClelland, Connolly & Archer; 2003; UK #1; November 2008)

The Live Lounge on Radio 1 started as a concept on The Jo Whiley show at the start of the decade, it took a unique and highly praised cover by Jamie Callum, in 2003, for the segment to start getting noticed. After a few years and several innovative covers by stars such as Will Young ('Hey Ya!), Jamelia ('Numb'), Elbow ('One Thing') and The Zutons ('Take Your Mama'), to name but a few, the feature was elevated to national treasure status. On Halloween 2007 one cover version became the most talked about, and one of the most requested songs in the station's history - that was 'Run' by X Factor alumni Leona Lewis. The aftermath of that performance lead to a renewed interest in the original song. Not to be out done, and never one to miss a money making opportunity, Simon Cowell proceeded to go about sorting an official release for the track. A stunning X Factor performance in November 2008 ensured that two weeks later Lewis was one again sitting pretty a-top the official UK charts. Lewis's version is haunting, emotive and unlike anything else that has been number 1 this year.

Best Lyric: "To think i might not see those eyes/ Makes it so hard not to cry/ And as we say our long goodbye/ I nearly do"

# 15

Sugababes - Girls
(written by MacDonald, Jenkinson, Toussaint & Buchanan; 2008; UK #3; September 2008)

At the time it seemed like a flash of brilliance, and to me it still does, but three months down the line and the fall out of their least successful album of the Heidi Range years, perhaps it was a misjudged attempt to cash in on a kitsch song. Sampling 'Here Comes The Girls' a song that, as we all know, featured heavily in 2007 Boots commercials, the song was brassy, sassy and stomping. The loyal fans, however, appeared to loose interest, this is not what they had come to expect from the same school of thought that had brought us the electro rock of 'About You Now', the slick kiss off that was 'Hole In The Head' and possibly the best thing they've ever done 'Freak Like Me'. So where did it all go wrong? Why did the Sugababes sixth album fail to ignite public interest and struggle to make the top 10 landing at number 8? Perhaps they took the retro trend a step too far, or maybe it was just a case of bad timing (going against the encompassing Girls Aloud).Whilst 'Girls' is not up to their usual standard it is still a whole lot better than a lot of other stuff floating around at the moment. Mark my words, though, they will comeback with something that will blow our minds, if history has taught us anything about the Sugababes - it's that they won't take this lying down.

Best Lyric: "Step aside i got a starring role/ Camera, Action, here we go"

# 16

Beyoncé - If I Were A Boy
(written by Jean & Gad; 2008; UK #1; November 2008)

In the aftermath of those X Factor performances Beyoncé has sealed her position as one of the world's greatest living superstars. It was only two years ago her breakthrough acting role in Dreamgirls was eclipsed by Jennifer Hudson. That now all seems to be firmly in the past, 'If I Were A Boy' proved beyond doubt that Queen B could adapt and evolve in ways we would never have expected of her. Recently she's showed versitility, compassion, style and pure star power. Quite frankly i cannot think of anyone who is as big as she is right now.

Best Lyric: "I swear i'd be a better man"

# 17

Estelle feat. Kanye West - American Boy
(written by West, Will.I.Am, Speir, Lopez & Harris; 2008; UK #1; March 2008)

Probably the second most parodied song of 2008 (after 'I Kissed A Girl), everyone from Chris Moyles to Sam Sparro put their own spin on this track. For years Estelle has been a talent that the industry raved about, but the public were yet to latch onto. 'American Boy' changed that and stormed to the top of the charts, staying there for a month. Proving he has the Midas touch, Kanye helped the song reach the US top 10, where it stalled at number nine and would probably have gone higher were it not for a misjudged marketing effort from her US label that saw the removal of the track from itunes in order to encourage sales of it's parent album. 2008 also saw the soul singer achieve a Mercury Music nomination for the album 'Shine' and don't bet against the odd Brit nomination in the New Year

Best Lyric: "He crazy, i know what ya thinkin'/ Ribena i know what ya drinkin'"

# 18

Coldplay - Viva La Vida
(written by Berryman, Buckland, Champion & Martin; 2008; UK #1; May 2008)

An orchestral dream. Even on first listen it is obvious this song was made to fill stadiums. It's triumphant, it's liberating, it's dynamic, it's historical and it's huge. Working with Brian Eno sure paid off for Coldplay, like Keane before (though not quite as daring) Chris Martin and co. stepped away from soft rock M.O.R. and, successfully, tried something different. Music should always be about experimentation and pushing oneself to be the best.

Best Lyric: "I hear Jerusalem bells a ringing/ Roman cavalry choirs are singing/ Be my mirror, my sword and shield/ My missionaries in a foreign field"

# 19

Keane - Spiralling
(written by Rice-Oxley, Chaplin, Hughes, Quin; 2008; UK #23; August 2008)

Having not really been a fan of Keane's previous work I downloaded this first cut from their third album only because it was free. What it marked was the comeback of the year. It would have been so easy for them to stick to the formula that saw their debut album become the second best seller of 2004 and have another number 1 with album two. What they did, however, was tap into 80's rock and electonica, grab it with both hands and run with it. Spiralling is interesting, vibrant and a completely unexpected tour de force from a band that I, perhaps, once greatly underrated.

Best Lyric: "When we fall in love/ We're just falling in love with ourselves"

# 20

Alphabeat - Boyfriend
(written by Alphabeat; 2007; UK #15; August 2008)

This Danish Europop gem was the third UK mainstream release from Alphabeat. Having broken through with Fascination, they continued in the spirit of quirky indie pop with this warning to fawning girls everwhere - 'Don't you touch my boyfriend, he's not your boyfriend, he's mine'. It required an remix to update it for it's UK release and became all the better for it. Play it loud, play it proud!

Best Lyric: "My friends say i'm uncool/But i let love rule"

2008 - A Year of POP: The Top 20 Singles

Since i am a massive fan of lists, and it's the end of the year, it can only mean one thing (well it could mean a lot of things, but...)...it's my Top 20 Singles from the past twelve months.
To get an idea of what it might look like, here is the best singles of 2007 as of the end of 2007!


20. Groove Armada feat Mutya Buena - Out Of Control (Song 4 Mutya)

19. Booty Luv - Some Kinda Rush

18. Fergie - Big Girls Don't Cry

17. Kelis feat. Cee-Lo - Lil' Star

16. Fall Out Boy - This Ain't A Scene, It's An Arms Race

15. Girls Aloud - Call The Shots

14. Mika -Grace Kelly

13. Kate Nash - Foundations

12. Timbaland - Apologize

11. Nicole Scherzinger feat. Will.I.Am - Baby Love



10. Sugababes - About You Now

9. Leona Lewis - Bleeding Love

8. Girls Aloud - Sexy! No No No

7. Gwen Stefani - 4 In The Morning

6. Kleerup feat. Robyn - With Every Heartbeat

5. Alicia Keys - No One

4. Rihanna feat. Jay-Z - Umbrella

3. Nelly Furtado - Say It Right

2. Ne-Yo - Because Of You

1. Mark Ronson and Amy Winehouse -Valerie

That's what i'm talking 'bout!!

Literally.Amazing.


The final went exactly they way it should have done. I have been supporting Alexandra since the beginning, (see a post further down) and i NEVER pick the winner out at the beginning. The only other time was with Leona.

Anyway, Alexandra blew that competetion apart with ALL her performances. Brilliant

And so the time has come.....to comment on the new Girls Aloud album

I haven't written for a while as i had a technological incident which lead me to have to invest in a new computer. But now I'm back in cyber-space and ready to comment song by song on THE pop album of 2008.

First off 'The Promise' - You all know it and you all love it. We've been whacked over the head with it for months now and that infectious chorus is permanently lodged in our consciousness forever...I wrote about the song a few weeks ago just before it's ascent to the number one spot. It's quirky, it's classy and it sounds like nothing Girls Aloud have ever done before, whilst at the same time being exactly the type of thing they should be coming out with in 2008. Is it their best? Not by a mile, but it still fits perfectly in their 19 single cannon.

'The Loving Kind' - Written with help from The Pet Shop boys and now slated for release as their 20th single in January 2009. After all the hype in reviews about this one, i was left some what underwhelmed. It could be that being 'Call The Shots' younger brother, leaves it open to comparison, but then again i was never a huge fan of that song either. It's light, airy europopness makes it perfect for an all encompassing dance remix for the clubbers of the nation. Maybe it will grow on me, but i feel there is more gold in this album and this is merely a silver effort.

'Rolling Back The River In Time' - Girls Aloud do 'Push The Button', kind of. It starts with a blinding semi accapella solo from Nadine, then descends into what can only be described as strongly reminiscent of the Sugababes hit. This is very much a grower, with a more 'Sweet Charity' esque sixties vibes, rather than the Spector heavy 'The Promise'.

'Love Is The Key' - Picture this, Girls Aloud, at a barn dance, playing the accordion, with accompanyment from the vocoder and lacquered with typical kitsch Xenomania lyrics about opposites and you'll kind of understand what this stellar moment is all about (at about 3.51 is when the hoe-down really kicks off).

'Turn To Stone' - Another track heavily influenced by dance music, it's somewhat forgettable compared to the two songs it's sandwiched in between.

'Untouchable' - The longest Girls Aloud album track to date. Fact. The slow and yearning start, with those lachrymose vocals that have become Nicola Robert trademark, slowly builds up to a faster and more punchier vocal from Nadine. It feels like a journey taking you from the safe confines of earth constricted pop music up through the stars to a place where five pop goddesses float around like the open scene from Barbarella (or Kylie Minogue in 'Put Yourself In My Place, 90's music fans). At 4:50 we are hit with the songs Ace card, that amazing lyric about beautiful robots dancing alone. It's the sprint at the end of a winning race and ends on one final celebratory chorus.....if that made any sense at all. In short the whole 6 minutes and 43 seconds are bloody brilliant.

'Fix Me Up' - Girls Aloud goes Boogie Nights, think Benny Benassi's 'Satisfaction' Video, or the one for 'Outside' by George Michael or any filth by Aguilera. Bringing back the woo-woos from Biology, this song could have slot in any post 'What Will The Neighbours Say' Girls Aloud album. It's not really as sexy as the lyrics will have you believe, but i don't think it was ever supposed to be.

'Love Is Pain' - To be honest this is the one song that i often skip when listening to the album. I just find it dull, and feel that it was only put in because of Cheryl and Ashley. It's quite Human League, but not in a good way. The best bits are by Sarah Harding, which is a rarity for a Girls Aloud album, and Kimberley actually nails her part.

'Miss You Bow Wow' - Guitars have gone hand in hand with Girls aloud since 'Sound of the Underground' and the intro starts on familiar territory before bringing back the funny, cheeky side of the Aloud we haven't seen since the days of 'Love Machine'. It brings together elements of all the best bits of our favourite GA tracks, the mash up of styles like 'Biology', the nutty lyrics like 'Long Hot Summer', the quirkiness of the aforementioned 'Love Machine', the house stylings of 'SOTU' and the ridiculous title (see 'Sexy! No No No'). Looks destine to wind up as one of their great album tracks.

'Revolution In The Head' - Ever wondered what it would have been like if Nadine Coyle's dad had been a rude boi? Well this provides a small insight in what could have been. 'Give me a-ting, gimme a-ting' starts the track off and remains the most memorable lyric off the whole album. Compared to this masterstroke the rest of the song feels like it lags behind. It's the slight bump-n-grind style, however, that saves it as a whole.

'Live In The Country' - So Sarah Harding wants to leave London and live in the country. And from this tune it appears she wants to take the whole of London's drum and bass scene with her. It's a hats off moment to Xenomania, who really have proved they can make anything fit with the GA style. They've taken punk rock, fifties blues, the power-ballad and now the find themselves sing alongside a weird array for animal noises. It's almost like Brian Higgins was watching the 'Friends' episode when Ross is performing his unique keyboard skills and thought 'I wonder what that would sound like if you crossed it with Pendulum'. It's hard not to be in awe of the sheer absurdity this song is.

'We Wanna Party' - I only have one comment on this, it's the most disappointing finish to a Girls Aloud album since 'Sound of the Underground'.

So what of the album as a whole? Well it's better than the debut, not hard. It's similar to 'What Will The Neighbours Say' in that is a complete mash-up of styles and experimentation. It doesn't have the flow of 'Tangled Up' nor the absolute brilliance that was 'Chemistry'. Though i feel it unfair to compare it to 'Chemistry' as it was the album that broke new ground for them and for pop bands in general. Who could have imagine a reality TV formed group turning out a concept album about finding love in London celebrity scene. 'Out of Control' , however, is much better than 99.99% of all albums out there at the moment, that is a fact.

And so for the best part of the whole album, quite simply it's this:

Nadine grabbing her heel on the front cover. Genius.

Hardcore U.S. Rapper samples gay europop.

Exactly what it says on the tin.

Having a slight R'n'B/Hip Hop leaning, i do enjoy the more commercial sides of the genre, i have to say. With 'Live Your Life' rapper T.I. has teamed up with the women of the year (Rihanna) and created a brilliant Hip Hop record based on a cheesy camp pop hook from O-Zone. For those of you who forgot this annoying song from the Moldavians that irritated many and sent joy through others during 2004 I have linked it below.....for comparative purposes, obviously.

Now i was never a fan of that song, but T.I. has taken the record and made it his declaration that we should just live our life. End of. I mean, the lyrics hardly break new ground, but still the message will resound. He hands Rihanna an addictive chorus, that makes excellent use of her out of space vocals, which takes place over a military beat - again nothing new in Hip Hop. It is, bizzarely, the sample that ends up making the song a revelation.

2008 has been an even better year than 2007 for the Barbadian, with 3 US number 1's (including this effort) and an album that is turning into something of a 'Thriller' for the Facebook generation (if for the mere blatant multiple single releases and epic videos alone). For she is the true star of this record, whilst most of her contemporaries shout and scream about how amazing they are (hello Beyonce, Justin), or ensure that their private lives are splashed across every imitation of Heat your money can buy (please stand up Britney), Rihanna, as a person, seems to fly under the radar of public: general, but the music she is involved in is slowly seeping into popular culture and could well be the sort that in fifteen years time is lauded......Who knows?!

Anyway here is the song, and here is the sample.....enjoy at your peril?!



T.I. ft Rihanna Live Your Life
Uploaded by thunder12051988

O Zone - Dragostea din tei
Uploaded by djoik

The Promise I made?? hmmmmm

Initially i was going to write a glorified piece about how brilliant this week was turning out to be for Girls Aloud. It occurred to me that 'The Promise' (which is more than likely going to be Number 1 on Sunday) would be their forth Number 1, yes, but there first without 'a gimmick'. No culmination of a reality TV show, no Children in Need, no Comic Relief, no Sugababes. This would, for me, be the first PROPER Number 1 for the band. A Number 1 based on the quality of the song rather than some other highly influential extrinsic medium.

Then it dawned on me, this could quite possibly be the band's MOST gimmicky release to date. What with Cheryl riding high from the X Factor, the girls performing on the show and the obvious stylised nods to the sixties effect that has been sweeping Britain post-Winehouse, post-Duffy. Is 'The Promise' the biggest sell out of their career? Whilst one cannot deny the catchings of the hook, or the continued high standard quirky lyrics, i still find myself pinning for the mixed reception of the epic Sexy! No No No or the lacklustre chart performance of Long Hot Summer. Is this the way AC/DC fans felt when everyone started to wear the band's T-Shirts?

Don't get me wrong i LOVE Girls Aloud, but i think i loved them more when everyone else didn't. Saying that, i am pleased they can still get Number 1s. I just hope that if Cheryl does decide to go her own way that the band will carry on. Like i said before, for me the band is really all about Nadine. I watched a bit of the Chemistry Tour DVD yesterday and she really is phenomenal.

Here come the Girls indeed!

The Autumn to Winter music season 2008 looks set to be dominated by female acts. Fact. Currently sitting pretty at the top of this week's chart is Pink with her single 'So What', the mid weeks are pointing to Girls Aloud's fourth number one single and the X Factor is being dominated by Cheryl Cole's 14-24yr old Girl category.

That's not the half of it. Some of my favourite songs of the year are being released soon.

Alesha Dixon has comeback with an absolute corker in the shape of 'The Boy Does Nothing', whilst Beyonce replicates 'Irreplaceable' with one side of her new double a-side 'If I Were a Boy', and finally Britney and Christina has upped their games and released potenital chart toppers.

I also got the new Sugababes album this week, and i have to say i think it's their best album since 'Three'. Whilst there aren't the immediate tracks in the vain of 'Hole in the Head', 'Red Dress' and 'Freak Like Me', the album as a whole fits together better than any of the previous releases. There is definate sound that is consistant throughout the whole collection. Something i don't think they've had since the early days of 'One Touch'.

Strictly Come X Factor....Tonight

So it's the start of the X Factor live shows tonight.

This is by far my favourite part of this show, because it's the part when they get good.
I, unlike the rest of the nation, hate the auditions shows with all the contrived and pre-meditated shockingly bad performers.

It's the good ones i like.

My favourite, for this year, at the moment has to be Alexandra Burke.
But i like all the girls in Cheryl's category this year.

As for the others, i think i'm going to say Ruth, from the Overs. I always like the ones that don't have too much exposure, and i hope that she really pulls out some knock out performances to secure herself in the competition

I think Louis will be the first to loose an artist, as the groups just seem useless to honest, however i am more than willing to be suprised by them!

Oh god and whats the bet Austin cries again.....

As for BBC1 it's the girls turn on Strictly come dancing and i really like most of them to be hinest. Jodie Kidd and Christine from the One show are my top two though. Not keen on Lisa Snowdon, she seems a bit cocky. She can go please!

I Love You?!

I found out about this song on popjustice.com (only the best source of pop music on the net) and literally have listened to it 15 times in one day.......it is such a groooooooooower

Frankmusik - 3 Little Words.

Listening to the song one expects him to be some kind of Sam Sparro - Mika - Jake Shears hybrid, what you get however is more like The Streets or the Goldie Lookin Chain.

The video however is rather wonderful....now who wants to play with those massive piano fingers?!?

If i were.....well i am a boy!?!

Beyonce's new song has already been B listed on the Radio 1 playlist, if you were expecting another botty shaking beauty, then unfortunately you will be only slightly disappointed.

'If I Were a Boy' is guitar lead half mellow, half melodrama...it takes a few listens, but i'm getting slightly hooked.


can't embedd....but follow the link
http://www.youtube.com/watch?v=WOuFQ1JJV4I&ytsession=yRm6QTSauakhOcoA1-Pkp7cqKfbK8i6OSUavzVInJYi10NYuh9OUepGE30MGGNy76H6AJYSsjAbLYfLdmGfoqZi2MwA_np7OGgx-qGAKJHoXt_aTaa1voHEj9wNm9WLH1qt1DNm0VUuBDmEGh_PM_1oAxkTd9Hrs8vSpx2fSkjyi1Uu8E_Vg62poDVBJ5-1NuC23Fk_HXEsAM_ycRgqSsidFkKBRV8QPVT-fruxRNApNrxdb5NFVog==

Sixties Sex Bomb

ermmmm....how amazing does Nadine look in the new Girls Aloud video?

I know everyone is going Cheryl mad at the moment with The X Factor and all, but seriously Nadine is the glue that holds the band together.

If Girls Aloud spilt up Cheryl may have a successful career in TV, but Nadine will surely have the solo career.

If you need further evidence, her performance on 'Fields Of Gold' from Popstars the Rivals is mind blowing. Best reality performance ever.....it's deffo up there.

Adele's break into my I-Pod

I was driving back to work from a meeting last week and Adele was on Radio 1 doing Jo Whiley's live lounge tour. Now, i bought Adele's album '19' when it first came out, but never really gave it much attention. I was more of a Duffy man back then, and thought Adele to be a bit overrated.

The obligatory presence of my I-Pod did not guarantee much play, though the inclusion of her magnum opus 'Hometown Glory' on the penultimate episode of Skins ensured it became one of my favourite tracks of 2008 so far.

But it's not this song that made me write here today. The song that caught my attention was her Bob Dylan cover 'Make You Feel My Love', her live vocal, on Jo Whiley's show, made me hunt the song down on my I-Pod and resurrect it from my vast library.

Over a week later, i must have listened to it at least once a day, her vocal performance is just magic and the song oozes with desperation, warmth and affection. Lately i have taken to listening to the whole '19' album in the evening and have found a couple of her tracks which otherwise i would not have given a second play, let alone a second thought. 'Tired', 'Best for Last' and 'Right as Rain' now sit alongside the singles in my must play Adele section!

Slowly, but surely, and surprisingly, i feel this may well become my album of the year....until the new Girls Aloud one is released that is!

Number 1

GIRLS ALOUD - LOVE MACHINE

(Cooper, Higgins, Powell, Coler, Cowling, Boyle, Lee)

(2004)

(UK #2, Ire. #9)

And so the number one. An odd choice for some, maybe, but for me it is a song that has memories of the best part of my life - University. It's my anthem, my theme song, i've sung it acoustically in public, i've dance on stage to it, i've forced it upon my friends. That guitar rift, that sixties flare, THOSE amazingly ridiculous lyrics. It is one of their most popular songs, 'cool' enough to be covered by Indie purveyors The Arctic Monkeys (the song audiences shout at them to sing). Girls Aloud have gone against all that was set up against them, they are the most sucessful reality TV contestants in UK history. They have 18 consectutive top 10 hits, they have sold out arenas, they and Xenomania have changed pop music forever. Love Machine is unforgettable, it's ironically brilliant...and get this, i didn't even like it the first time i heard it!!

Number 2

MAXWELL - THIS WOMAN'S WORK (UNPLUGGED)

(Bush)

(1997)

(Not released)

The tussel for number one was a tough one, but this Kate Bush cover was just pipped by the other. The vocals on this song are amazing, Maxwell sings in falsetto throughout the whole song, live and unfaltering. Whilst he is not the most famous of men, he appears to be an underrated talent. The song itself is open to interpretation, i believe the song to be about the death of Bush's mother, though i am not sure this is the case. I feel this best fits with the context of the song. IT is very sad and i think Maxwell's version is just that little bit more emotive than Bush's. This song holds many memories for me and one that i always play to people when they want to discover new music as i feel it is an 'undiscovered' treasure. However ever, lately, the Bush version has been tarnished by Childline and Extras

Number 3

ELTON JOHN AND MARY J. BLIGE - I GUESS THAT'S WHY THEY CALL IT THE BLUES (LIVE FROM MADISON SQUARE GARDEN)

(John, Taupin, Johnstone)

(2000 - Original 1982)

(Version not released)

This is my favourite Elton John song, and Mary J. Blige's vocals made it even more of a killer. Her voice is probably my favourite in the world and her and Elton sound like they are having a ball with the song. Elton is unmatched for his pop song writing abilities. This song was featured on his 'One Night Only' live album, that's how it came to my attention, and since i heard it, i loved it. Once it was number one in my chart, but the other two songs just pip it due to the memories and the personal stuff attached to them, but this is a great version of the song. The song itself tells of being away from someone you love and looking forward to that time when you can see each other again!

Number 4

WHITNEY HOUSTON - I WANNA DANCE WITH SOMEBODY (WHO LOVES ME)

(Merrill, Rubicam)

(1987)

(UK #1, USA #1, Aus. #1 + Grammy: Best Female Pop Vocal Performance)

The second Whitney song in my top 10, this ecstatic rush of a song never fails to make me smile. In 1987 it was number one all over the world, millions have danced with Whitney and made it one of the most recognisable songs in music history. My favourite part has to be the break down section (#Don't you wanna dance, say you wanna dance, don't you wanna dance#), her vocal performance is flawless and marked the song as one that very few could pull off due to the power needed to do it justice. Whilst i will admit the back track does sound dated i think it adds to the appeal of it, it's ability to fill the listeners head with memories of childhood, nights out and hilarious friends has given it the very solid number four position in my chart. It will take a mighty song to push this much further down.

Number 5

THE SOURCE FEAT. CANDI STATON - YOU GOT THE LOVE

(Truelove, Stevens, Harris)

(1991/1997/2006)

(UK #3)

The defining moment in the club scene of 1990's Britain. A rare sample of a song from a documentary about obesity by Candi Staton became her signature tune after being bootlegged by dance outfit The Source. IT was the highlight of her Glastonbury set and it became the anthem that ended 'Sex and The City'. For me i had always known the song but it was whilst listening to the radio whilst showering one Sunday morning where it came on after a listener request that had me hooked. It has personal meanings for me as well and is one of those songs everyone knows and almost everyone loves. The the purest high, after a deafening low, it proves there is hope and does what all music should do, it touches the listener.

Number 6

THE BEACH BOYS - GOD ONLY KNOWS

(Wilson, Asher)

(1966)

(UK #2, USA #39)

At the time it was contraversial, Brian Wilson feared it wouldn't get airplay because of it's content and it became the first of it's kind. The issue? The use of the word God. Nowadays we don't bat an eyelid - but it highlights that had Wilson decided not the take a massive step and release the song we would never have heard it, what other great songs have we missed out on because of a narrow minded society? Are the views of a very vocal few deciding the fate of creative output? On the flip side one could ask, what are the great taboos of our generation? A lot of thought for a song that has a simple message - I am, who i am, because of you. The global message to our lovers, our friends, our mentors, our peers, our families, our teachers, anyone who has had an influence on our lives. Slightly jaded by it's apprerance in 'Love Actually', love the film, hate the song being in it.

Number 7

WHITNEY HOUSTON - I HAVE NOTHING

(Foster, Thompson)

(1993)

(UK #3, USA #4)

Not her most famous song from 'The Bodyguard' soundtrack, but undoubtedly her best. 'I Have Nothing' has become a favourite with TV talent show contestant since the genre took off in the early naughties, and whilst it won't guarantee you a win (unless you're Leona Lewis) it will help you put in a powerhouse performance (see Jennifer Hudson, Trenyce & Katherine McPhee). I love it for its drama and it's ascent into the ranks of showstopping, with a sweeping band and that voice, no one can do this kind of stuff like Houston. Yes it's a bit cheesy and yes it's not very cool, but i love it because you can sing along horrifically to it and for those 4 minutes and 52 seconds one can believe they too are a superstar.

Number 8

JEWEL - YOU WERE MEANT FOR ME

(Kilcher, Poltz)

(1996)

(UK#32, USA #2, Aus. #3 + MTV Best Female '97)

Simple, yet so effective. 'You were meant for me' was the Alaskan's second single taken from her album 'Pieces of You'. The song details a day in the life of the recently split up protagonist, doing things such as making eggs, reading the newspaper and calling her mum. Jewel Kilcher turned the mundanities of everyday life into a heart-breaking admission that she was missing the love of her life and that one day he will realise that she was meant for him. The simple guitar rift is instantly recognisable and helped the song peak at #2 on the Billboard Hot 100 in 1997. I discovered the song when it was covered by some kids on a BBC talent show and sought out my sister's CD collection as she was a Jewel fan. 12 years down the line the song still sounds current and decidedly relevant.

Number 9

DJ SAMMY & YANOU FEAT. DO - HEAVEN (CANDLELIGHT REMIX)

(Adams, Vallance)

(2002)

(DJ Sammy Original - UK#1, USA #8, Aus. #4)

First DJ Sammy took Bryan Adams song 'Heaven' and made it into a club anthem that reached number one in Britain and made the top ten in the USA, then the dance aspect was stripped out and replaced with an emotional instrumental. For me, it took a mediocre club hit and transformed it into a heart wrenching piece that has taken up residence on my I-Pod's 'Sad' mix. The song takes on a whole new meaning in this form and it is truly the superior version, even outstripping Bryan Adams's original. Not much else to say on this one as it speaks for itself...

Number 10

OUTKAST - HEY YA!

(Benjamin)

(2003)

(UK #3, USA #1, Aus. #1 + Grammy: Best Urban/Alternative Perf. '04)

2003's most infectscious dance floor moment lit up the end of the year and the beginning of the next in Britain, peaking at number 3. Elsewhere the song went catastrophic scaling the dizzy peaks of number one atop the USA, Australian, Norwegian, Swedish, Canadian and World charts. No other song of the period could compete with Andre 3000's declaration that love just ain't what it used to be (#If nothing is forever then what makes love the exception?#). With comparisons to Little Richard, The Flaming Lips, The Beatles, Prince and Ike Turner it was clear that this had set the bench mark for genre bending without a sample in sight, and yet the song remained distinctly Outkast. Naming checking Beyonce and Lucy Liu, and bringing the Polaroid camera back into the public conscious was in a days work for the Grammy-Award winning duo, and this remains the highlight of their career.

Number 11

LUTHER VANDROSS - NEVER TOO MUCH

(Vandross)

(1981)

(UK#13)

This funky, slick and smooth soulful number quickly became Vandross's signature hit thanks to it's irresistible lyrics and dancability. I discovered it on a soul compilation and it was a song i recognised but had never really 'got to know'. After a few listens i was hooked - every time i listen to it it makes me so happy, and that is what music should be all about. It should move you emotionally and maybe it's because one day i hope to find that same person that Luther sings so passionately about.

Number 12

YAZOO - ONLY YOU

(Clarke)

(1982)

(UK #2, USA #67)

Vince Clarke and Alison Moyet formed the basis of this pop duo back in the eighties and 'Only You' was their first mainstream success. A somber synthesised song it peaked at #2 in the UK charts and paved the way for much more electronica in the mainstream charts. Moyet's deep vocals play with the child-like qualities of the instrumental and a waltz-esque break down shows signs of what was to come in music over the next decade with a chorus-verse structure being revamped. Cover versions by Enrique Iglesias and a Christmas #1 by the Flying Pickets followed but, for me, this version will always be the sweetest and the best

Number 13

AMY WINEHOUSE - REHAB

(Winehouse)

(2006)

(UK #7, USA #9, Aus. #35 + Grammy's: Record of the Year, Song of the Year, Best Female Pop Perf. '08)

I instantly fell in love with Amy Winehouse's career defining song when i first heard it back in September 2006. The retro soul sound fitted perfectly with her defiant vocals, and gave her the mainstream appeal her debut 'Frank' had not. Winning both Song and Record of the year at the 2008 Grammy Awards cemented the track as a modern day classic and gave Winehouse the back slapping from the USA that alludes many UK acts. The song really took hold for me when we composed a video featuring the drunken antics of a best friend of mine which caused a sensation amongst our friends at Uni and, for many of them, it was the first time they had heard the song and of Winehouse. Hard to believe two years later with her face all over the tabloids. What is most striking about the song is the irony of the theme given that Winehouse has been to rehab and back again several times since is conception!

Number 14

DES'REE - KISSING YOU

(Weeks, Atack)

(1997)

(Aus. #17)

This beautiful, haunting song was the main crutch of Baz Lurhman's 'Romeo and Juliet'. The melodic piano and sweeping strings highlight pure emotion in music and Des'ree's longing, wanting vocals gave the song it's raw, striking edge. The pain and suffering she is going through missing her loved one is distinctly evidents throughout the song. Despite limited chart success (mainly in Australia) the song remains a fan favourite and immediately recognisable to anyone who has seen the film. So strong is the song that Beyonce went against the conditions of copyright, which allowed her to cover the song without recording a video or changing the name, in order to let the world hear her interpretation. Whilst Beyonce did a fine job, Des'ree's version has remained the most enduring.

Number 15

BONNIE TYLER - HOLDING OUT FOR A HERO

(Steinman, Pitchford)

(1984)

(UK #2, USA #34, Ire. #1)

A 4 minute and 22 second romp that hears Tyler call for the man of her dreams, 'Holding Out For a Hero' found fame when it was featured on the 'Footloose' soundtrack. Peaking at #2 in the UK this became the welsh songbirds second most famous hit (after 'Total Eclipse of the Heart'). A fasted paced gallop through all the things Tyler wants in a man, 'Holding Out For a Hero' has been filing cheesy dance floors for decades and doesn't look to be receding anytime soon. The breakdown at around the 3 minute mark remains a firm highlight of mine. Not only does the music scream urgency but Tyler's vocal is one of a desperate cry any knight in shinning armour would find hard to resist!

Number 16

MARVIN GAYE - WHAT'S GOING ON

(Cleveland, Gaye, Benson)

(1971)

(USA #2)

Vietnam was raging, Tammi Terrell had died and Marvin Gaye was considering retiring altogether. What's Going On marked a turning point in his, and Motown's, career, with it's social conscience context Gaye was reacting the same way the youth of American was: they were in a situation and they needed to express themselves. Whilst the masses chose all forms of protest Gaye stuck to what motivated him: music. Ranked by Rolling Stone as the forth best song ever, it's powers of confusion, activism and sentimentality hold strong with even the most cynical of hearts. Gaye's smooth soulful vocals are contrasted by a background party and the layering of this own harmonies directed Gaye's music in a new direction. Several cover versions exist including 'Artists Against AIDS', which features Christina Aguilera, Destiny's Child, and raps from Nelly and Eve, and Cyndi Lauper whose 1987 version reached #12 in the USA. Gaye's version, however, remains the definitive.

Number 17

JENNIFER HUDSON - AND I AM TELLING YOU I'M NOT GOING

(Eyen, Krieger)

(2006)

(USA #60)

This Oscar winning performance from ex-American Idol Jennifer Hudson is one of the powerhouse performances from the new century. I first discovered the song whilst watching the film 'Camp', where it's lyrics reminded me of my best friend and what she would be like if her boyfriend ever left her! This lead to finding the Jennifer Holliday version in 2005 and then a while later the announcement was made that they were making a film - an Oscar, a BAFTA and a Golden Globe later we have Jennifer Hudson with her stunning debut. Arguably the reason she now has that little golden man sitting on her mantle piece.

Number 18

MARK RONSON feat. AMY WINEHOUSE - VALERIE

(McCabe)

(2007)

(UK #2, Ire. #3, Neth. #1, Ger. #3)

Covering The Zutons in Jo Whiley's live lounge lead to Winehouse teaming up with the man who helped her create her standards (Rehab, Back to Black etc) for his album 'Versions'. Whilst the theme of the orginal was a no brainer - ex girlfriend gone awol - the Winehouse version twisted it a bit: was Valerie a friend, her lover, a nick name for someone else, or simply just a girl singing a song about a girl? With over 130 plays on my I-Pod it's a song that grew on my over a really long time, now i can listen to it over and over. I've seen her do her stripped down version live in Cardiff and also him do a version with another singer (at Glastonbury), both times it remained true to it's appeal. This version, being the 9th best selling single of 2007, became Winehouse's highest charting single and is thought to be the definitive of the song.

Number 19

JAMELIA - SOMETHING ABOUT YOU

(Davis, Soulshock, Biker)

(2006)

(UK #9, Aus. #17)

Peaking at number 9 in the UK charts, Jamelia's 2006 comeback was not as successful as she, and her fans had hoped. Whilst, what could be seen as, trying to capitalise on the 'Since You've Been Gone' style of soulful verses followed by a rock-out chorus, the song went one step further adding slicker vocals, a sweeter voice and a theme much more relatable- when you meet someone and for some reason you're captivated by them and you just can't put your finger on it. The song takes the narrative further, and our protagonist ends up with her presumed man. Having always been a Jamelia fan i feel this is her best work and will one day be seen for the great pop song it truly is.

Number 20

JEFF BUCKLEY - EVERYBODY HERE WANTS YOU

(Buckley)

(1996/1998)

(Not Released)

The first time i heard this song was not this version, it was, in fact, a version from an Australian Idol contestant called Paulini on her debut album. After listening to the song a few times i noticed the writing credit in the CD booklet and sought out the original. The painful, smouldering vocals lead way to a seductive beat and slow guitar strum. Released in 1998, a year after his death, and recorded in 1996, the song is cited as being about then girlfriend Joan Wasser (now going under the moniker Joan as Police Woman). I enjoy the song as it truly shows emotion and is sexy, desperate and compelling all in one.

Top 20

Right so i thought i would give an idea of my varied, yet highly mainstream, musical tastes with a run down of my 'Top Twenty Songs of all Time'. Each entry will be accompanied by a few facts and a bit of banter about it!! So i will start with number twenty itself.

Duffy - Four Months On

The Duffy effect is still going strong. She currently sits at number 2 in the album charts with the biggest selling album of the year so far, which has not left the top four since it's release way back in March. Whilst you cannot deny the voice (though urban myth states it is not her natural singing voice), it appears that there must be something more appealing to the public than that. Why has this blue eyed welsh songbird captivated the nation?

She gives a somewhat lacklustre live performance (though given a few more years experience i suspect she will blow us away) and she is short on tabloid appeal (imagine her getting busted for smack, a la Winehouse?!), yet it appears that the music itself has won us over. A rare thing in this day and age, what with x-factor, newspaper deals and digital downloads, the success of 'Rockferry' can be put down to an album that has been carefully crafted to maximise on the publics current taste for 'retro-soul'.

The prime example of this would be 'Warwick Avenue' i find the more i listen to it, the more i love it, i picked it out as a favourite when i got the album and it has quickly risen up my most played on my I-Pod already supassing the one hundred mark. The video is beautiful - harking back to Sinead O'Connor and 'Nothing Compares 2 U', and the song itself is a sweeping lament of lost love and a final chance at closure. It seems to have, like 'Mercy', hit home with the British public. The bitter sweet narratives of this song are found elsewhere on the album and some of the other tracks are just as strong as the singles. Penciled in for the third mainstream single (discounting the limited edition single release of Rockferry), 'Serious' has all the elements of long summer nights dancing to the beat of your own drum under a setting sun, will it match the top three peaks of it's two predecessor's? Well it's doubtful, but there were those who said 'Warwick Avenue' would never be as big a hit as 'Mercy', and whilst it wasn't a number one, it has only just left the top 10 after 17 weeks on the chart, peaking at number 3. An impressive feat for a song from an album thats about to sell it's millionth copy!

Do Ya Think I'm Gabriella Cilmi?

The new Gabriella Cilmi song has an air of 'Do Ya Think I'm Sexy' about it. don't you think?

give it nineteen seconds and you'll see what i mean!

When I Grow Up I Wanna Be Famous

The new pussycat dolls songs is wicked, i'm loving it at the moment. You don't even notice the ginger one has left and Nicole Scherzinger is truly becoming a star. Love the dance break down reminds me of Britney's '(You drive me) Crazy' or most of Janet Jackson's early stuff. Makes me want to dance on top of cars in a traffic jam....hhmmm not sure that would go down too well!! They should be careful about dancing round on scaffolding, we've all seen that drink responsibly superhero advert!

ooh and does anyone know what she says at the begining? 'What's up virgin ?!'

Glastonbury 2008

So a week after Glastonbury i've finally figured how to set up one of these things. The festival itself was eveything it said it would be, and as a virgin to Worthy Farm i found i slipped into the vibe with ease enjoying all the randomness that the event has become infamous for.

The highlight musically was undoubtably the unstoppable Amy Winehouse, whose performance to someone squashed under one of the large screens appeared to be a lot more flawless than to a viewer watching her on television.....(did it have something to do with me and my companion concentrating on simply staying on two feet, to avoid being stampeeded, rather than listening to her have anything to do with this? probably). Her defining moments came when she left the stage and proceed to stumble on five inch heels across the camera run, it's what we know and love her for (don't even mention the poor bugger she smacked!).

The other headliner - Jay-Z - was not able to afford such erractic behaviour. The video montage which preceeded his set captivated the audience and the cheers were enough to encourage even the most avid rock fan to join, at least for the brief hour, the Hip-Hop tribe. 99 Problems and Numb/Encore rocked, covers of Rehab, American Boy and his own Umbrella popped, and that version of Wonderwall shocked. The promise of special guests (Coldplay, Beyonce, Linkin Park, Rihanna) was not fulfilled, but they didn't need to be, he proved why he is the biggest rapper in the world and although there were doubters it showed that the world is changing and change has to start somewhere.

Other acts which impressed me were Sam Sparro whose stint in the dance tent was definately a highlight. With only one hit single (albeit a MASSIVE one) under his belt he proved that he has the songs (and the amazing vocals) to continue his ascent into stardom. Old timer Candi Staton brought the house down on the Jazz World stage with 'Young Hearts Run Free' and closing with the anthem 'You've Got The Love', which of course everyone around joined in for. Santogold also put in a worthy performance with some funky, soulful, electronicly eclectic tunes.

The whole weekend was finished on the pyramid stage by The Verve. The irony of playing a song entitled ‘The Drugs Don’t Work’ to a field full of coked-up, pill-popping, cottonmouthed, monged-out drunks does not seem to faze a band whose own relationship with such substance appears to be as ambiguous as Amy Winehouse’s is not. The anthemic 'Bittersweet Symphony' proved to be a fitting closure to a festival that has had it's most interesting and contraversial season for years.

Did it live up to all i expected it to? Well to be honest i did not know what to expect, but i can tell you this, it is definately worth going. Do not worry about not 'fitting in' nobody fits in, thats the beauty of the place. It is like entering a different world, a place where one day you're working in an office surrounded by people dressed in suits, and the next you're in a field listening to hard core electro surrounded by people dressed as dogs, fairies and air hostesses. Would i go again? In a flash, though i think next year it will once again sell out, and rightfully too. 2008 was an amzing year for a first timer and 2009 will have a hell of a lot to live up to.....!