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.