Lopez Blogs

Oh come on. This "analysis" of videos malarky is getting right out of hand isn't it?! First Adam Tyler, then Hugh Sheridan, then Ola Svensson and now two more? I'm sure it will stop soon. You are probably luck about a month or so ago when I was too lazy to do it for Kylie and JLS (has that song still not been released?! It feels ancient!) Anyway, today are diametrically different, yet two of my favourite groups and two of the most fun, addictive pop songs of the summer...

Same Difference ~ Shine On Forever (PhotoFrame)

Remember when Kylie was all lovely and sweet on her first two albums? The pop was ever so enjoyable but then Better The Devil You Know came out and it was this huge defining moment for her, because a) the song was all sorts of immense and b) more importantly, she suddenly became sexy. Well believe it or not folks (and you better believe, because you eyes will not be deceived!) Same Difference have just gone through a very similar metamorphasis. Their amazing new single, Shine On Forever (Photo Frame) basically one ups everything on the already and still spectacular Pop album and takes it to a new level. It is Better The Devil YOu Know to We R One's Wouldn't Change A Thing. It's Deeper Shade of Blue to Love's Got A Hold On My Heart. Heck, it's even Vogue to True Blue. The new image for the delightful Sean and Sarah had already been revealed to the world on their website, but now they have a video to go with their funky new look/sound and I couldn't be more pleased. Here is your step by step guide to the new yet same Same Difference...

• The video starts off in a party. Pause at four seconds and you see Sarah having a very Spinning Around style moment and haircut with some fairly attractive guy in the background in a yellow shirt.
• Sean is also there bumping and grinding with his lady friend. He looks rather dapper in a classic white shirt/black tie&jacket get up. Plus his hair is very popstar. There is a fuzzy elecro-pop vibe going on and then Sean starts to sing...
• It's a very confident start to the song and Sean is clearly getting his groove on and making love to the camera. The big reveal though is Sarah's vocal coming in. It's proper powerhouse and she looks positively sex kitten stunning with her hair up. She's draped all over a hunky dude and is clearly loving it.
• At about 45 seconds it cuts to a studio backdrop and the siblings look very river island friendly against some neon lights. They are evidently working up to a big dance routine. I assume I won't be disappointed...
• I'm not! In fact I'm positively giddy. It's all one could want in a modern dance routine - more Glee than High School Musical and linked appropriately enough to the words of the chorus. Which is very uplifting and singalong. Quite clever lyrically too...
• It's what the word "amazeballs" was invented for when 1m10-1m17s plays; they do this ace fist pump thing that links them to their We R One video and then do an almost bizarro dance move version of I'm A Little TeaPot. It shouldn't work but oh it really really does...
• Basically everyone in the world will be able to learn the dance routine that goes with the "pho-to frame" bit.
• New found sexuality alert! Sean is in some nightclub corridor at 1m35s for a little while and is being wallpaper danced by his lady friend. He does not seem to mind this at all, though he may need to put his hands in his pockets when he walks back into the dancefloor area...
• New found sexuality alert 2! Sarah (1m50s ish) is lying on the nightclub floor with her fella, gazing dreamily into his eyes while he rubs her arm in an alluring way. This is quite brave. I've seen nightclub floors at the end of an evening and i wouldn't want to be lying on the human residue that so sticks to it!!
• I like the juxtapositioning of the lyrics to the visuals at around 2m10s. It's talking about taking it back to the way it used to be and it goes back to their slightly less sexy times of their original outfits and being surrounded by lots of dancey folk including vaguely attractive yellow shirt man!
• Then it's the chorus and dance routine again. You should probably rewind this a million times and watch it over and over again because it is so much fun! If CD:UK were still going, they would be in the studio performing this right now and the kids would be loving it.
• The middle 8 is MAGNIFICENT> they both have a couple of solo "ooos" which are very strong and very euphoric. There is a new dance routine which is all sorts of brillo. And it gives me a moment to pause and reflect on just how fine Sean looks in a suit!
• Then it's basically all 3 settings edited together with lots of very good adlib type vocals going into the background as the song reaches it's explosive and ultimately extremely satisfying conclusion! Excellente :)

And that, ladies and gentlemen, is how you do a comeback. Stand by to be stunned....

Maroon 5 ~ Misery

I have to say I was supremely annoyed about 23 minutes ago when I popped over to the MTV site only to be told that as a Maroon 5 fan living outside of the USA I was not good enough to watch the video. How bloody rude! Luckily I found a way around that and got to watch the video here. Phew. Mood over with (it's also now on youtube, but my timings are based on the previous link). I think the tune is one of the most engaging pop songs of the summer and will effortlessly be number one on my countdown on Sunday. My review is here, and I haven't changed my mind just fallen more and more in love with it on every listen. So I was intruiged to see the video - and I initially thought, hmmm Chester French did it first and that perhaps this one would've done nicely! Here's what I made of the real deal...

• Adam falls from a great height and is probably lucky not to have broken his back. He shares this luck with McFly who nearly suffered the same fate in their I'll Be Ok video. In spite of this, he still manages to look all sorts of post modern Grease (the musical) fabulous and mountable in a quiff and leather jacket. Yum
• Clearly the lady in the video thinks so too, because she mounts him, gives him some sort of weird mouth to mouth resusitation (I assume :P) and then throws him against a wall. To revive him no doubt!
• Adam is clearly feeling a lot better because he is singing and has regained the ability to slap ass (19s). The lady in the video (as she will now be known - or Ethel) does not appreciate such wandering fingers and shows him that, much like Janet Jackson, she wants to be the one in control. Clearly this involves some quite intense lip biting...
• The band have clearly stuck to their "this is more violent than sexy" motif by having Adam looking entirely delicious and Ethel all over him like a fly on shit. I'm not sure the headbut was entirely deserved as Adam launches into the chorus though. Still it got him where Ethel wanted him (on his knees, one presumes!)...
• (no wonder the poor bloke is in Misery)
• There is an absolutely vicious and quite entertaining crotch kick at around 45s. Do not try this at home kids. The fella won't appreciate it and it's not as amusing as it looks. Plus potentially a crime :P
• At 50s Adam realises this girl is bad news and does a runner. Frankly this is a) about 45 seconds too late so he only has himself to blame and b) a bit silly because then he only gets run over by a car. The doofus.
• Oh it's all civilised now. Ethel and Adam are in a cafe and he has his feet on the furniture. Would he does this in his own home? (the bottom of his boots are surprisingly clean though)...
• Ethel is fingering a knife (this is not a euphemism, it's actually happening) at around 75s and then starts stabbing it on the table between Adam's fingers. It is clearly the "no respect for other people's possessions club annual outing". If you pause at 86s, she looks positively feral!
• Jesus! From about 90s to 123s there is a bit of snogging, some mounting in the cafe, some Adam getting the bejeezus beaten out of him in a toilet (oh how tacky) and a fall through a plate glass window. Oh and a band member getting run over just like one of the Plastics in Mean Girls. Amaze.
• It's a lot to take in though isn't it? Let's take a moment to reflect on how two good looking people have lost their way in the relationship so much! Clearly, they have an animal magnetism but are bad for each other hence "the misery". They are so infatuated with "the sex" that they cannot escape "the misery". This is what surbubanites call the last year of marriage, but you don't see them making a video about it...
• During the middle 8 there are lots of clips of Adam being beaten up. It's getting a bit tiresome really. His jaw/balls/cheek must be aching by now. And it's hard to pause it for a nice close up of his face without a slapped by a wet kipper look on it. Go for the pause at 153s and you will probably be able to please yourself for a while :P
• Jesse finally shows up at around 161s. He's looking increasingly fine as the years go on and although that doesn't have much to do with the video, it's worth pointing out. Plus he's clearly a bookworm...
• The rest of the video is more sex fuelled violence. Though the ear lobe nibbling looks quite a lot of fun to be honest. I'm glad Adam and the boys are back, but I'd like something less slappy next time per favor...

Back soon!

I love a good spurt of musical goodness, I do. And what with Scissor Sisters and Kylie due to return early Summer, it seems that my very beloved Maroon 5 will join my very beloved The Feeling for an autumnal release! I love a good autumnal release, I do. Just ask Darren :P So this has put a proper pep in my step despite another insanely busy work week/week of ongoing hospital visits ahead. Do read on because it would be rude to leave now...

Maroon 5 ~ Hands All Over: God, I love Maroon 5 :) Like seriously adore. It helps that I've had a long man-crush on Adam LeFine since I saw him in the This Love video with a sexy yellow bandanna round his wrist (well let's be practical, it's always handy to have a cum rag near by isn't it fellas?)... So it's doubly delightful that the band are returning this "fall" with a brand new album, which means lots of brand new delicious promo shots. As with both their previous albums, it's reported to be a wide range of styles including rock (Hands All Over), funk (Misery), pop (Stutter) and soul (Don't Know Much About That). Plus there is a collaboration with Lady Antebellum on a track entitled Out of Goodbyes... the thought of Charles Kelley and Adam crooning together is utterly delightful (and arousing. down boy)... Produced by Mutt Lange of ex Mr Shania Twain fame too! The single is going to radio at the end of June, and I'm hoping that their US tour will extend to the UK at some point over Christmas. I'm positively tingling with anticipation. And here is your essential M5 discography (that should've been) to date...

1. Harder To Breathe
2. This Love
3. She Will Be Loved/Woman (from Spiderman2)
4. Must Get Out
5. The Sweetest Goodbye
6. Makes Me Wonder
7. Wake Up Call
8. Won't Go Home Without You
9. Never See Your Face Again (w/Rihanna)
10. Better That We Break

Updates on other faves...

• Kylie ~ All The Lovers: Oh doesn't she just look exquisite? Kylie is busy filming her video for her comeback single and has wisely surrounded herself with buff dudes. This is how I get ready for work every single morning. Alas, the video shoot has meant several dreadful quality clips of the song have ended up online. I shall patiently await the full radio premiere this Friday! EEK! For more on the vid, see PopTrashAddicts and Chartrigger...
• Scissor Sisters ~ Tour!: The Scissor Sisters are doing a small UK tour prior to the release of their new album. And hurrah they are coming to Brum on June 25th! Aces. Ruthiepoos and I are so there :) For another view on the single, visit Nick at alienhits...
• Simon Curtis - 8 Bit Heart: From the moment I heard it, I knew that the title track to his free album was one of my fave Simon songs ever (up there with Diablo, Put Your Make Up On, Another Heartache and Broken (Show Mix))... So hurrah for inventive photographer Tyler Shields doing a "video portrait" of Simon singing that song acapella. It's essentially Simon in a black and white video, wearing black and white. But it is a bit more than that - there's some great use of light and shadow at various points, it highlights the pure melody of the song and Simon's live vocals, and it reminds me of something perhaps a tv show would use at the end of a particularly dramatic episode. The ending of the song is all sorts of incredible and the juxtaposition of such an upbeat, positive song in such a dark gloomy potentially riddled with unsavoury people setting works nicely. Plus, you can download it free here. Hurrah.

Are you one of the 80,000+ people who has downloaded Simon's brillo free album from his website? I mean, that's an awful lot of people who have sampled the excellent 8 Bit Heart and this quite obviously pleases me greatly (read my review here; I'm currently on a mission - like a woman on a mission - to get Attitude magazine hooked :P) You may want to check out rather excellent reviews from Popreviews now, melismatic and Alien Hits (fabtasticmusic, i'm drumming my fingers impatiently at you!!). For now though, before you dive back into the album, here are some highlights from the delightful Larry Flick interview Simon did on the always brilliant Morning Jolt yesterday (31st March)...

• They played Delusional. It does sound rather marvelous on the radio to be fair. Radio One should B-list the bejeezus out of it
• "terrific pal and world class blogger"... oh stop (don't stop, etc)!
• Simon hasn't actually heard Delusional on the radio before so waiting on the phone for the interview was his first time! Which is ace, but also a little bit heartbreaking that he wasn't blasting it out in his car...
• Simon is 24. Larry thinks he looks about 12. In his early shots he does look incredibly young. His more recent shots place him late teens (see pics above for "exhibit A and B") :P
• Simon talks about Max Martin, A*Teens, N*Sync, Britney Spears and being verbally knocked back by Matthew Knowles, who advised him to drop the musical theatre vocals if he wanted to be a popstar. Where was Matthew when Joe McElderberryJuice won the X Factor?!?!
• No offence to Delusional, but Diablo sounds OUTSTANDING on the radio. There is a reason that the song is my number one song so far of 2010...
• 8 Bit Heart is not only a homage to his history with sci fi movies, but also those artists who have inspired him throughout the years including Mozart, Britney and Lady Gaga...
• Dustin in Canada says "why" in a very deep voice and makes it sound really sultry when he phones in to ask Simon a question. I'm so taken with the way he purrs "why" that I can't even remember what the question is!
• Simon gives a little "ooo" when Larry announces he is playing the title track, which is one of the most beautiful songs you will hear all the live long year. Perfect in every respect of the word...
• Simon went to West Virginia where Jeff "Jadion" Wells (his producer) lives and recorded the entire album in 13 days. Not surprisingly it was a bit of a mindnumbing experience. I can barely write 13 pages in 13 days of the long awaited novel...
• Larry talks about the process of releasing a "free" album and not making it sound like a free album! Simon is aiming for the album to have such an effect on his career that he will be able to sign to a label thanks to a galvanised fan base. The Robo-Army lives!!
• Simon earns some additional "pocket money" through being an actor as well and having some income from that, which helps him get to where he needs to be. It's been tough, and I'm hoping that he will be able to translate his fanbase in to getting him some money. No one likes to be poor :(
• I really wanted Simon to say fuck on air after Fell In Love W/an Android but tragically he doesn't.Darn
• Simon talks a little about his leukemia battle. I'm rather repulsed by some of the comments on the popjustice forum about this, but people are always cynical and repugnant sometimes :/
• The final 3 songs on the album shift to darker symbolism and The Dark is the culmination of that, with the artist questioning how to break into an unbreakable circle. The Jay-Z sample comes from his song Encore btw...
• The interview was utterly charming. Simon sounds absolutely delightful. What a lovely young fella

Back soon. I've been slack lately. Must do better...

Download: Simon Curtis - 8 Bit Heart (by following twitter for link)
Official website: With all lyrics and download information
Facebook: Simon Curtis official facebook page
Reviews:

• Read Bill's review here
• Read MuuMuse's review here
• Read JonAli's review here
• Shine On Media review here
• Music Fascination review here
• Fresh Yeah review here
• Hotter in Hollywood article
• Exceptional review at Story of One Year
• Popreviewsnow gets all technical!

I'm completely aware that my taste in pop is often out of sync with current tastes. Often hugely popular acts pass me by while I fall irrevocably in love with acts that I know probably won't make it, but i adore for the short period they shine any way. And then there's Simon Curtis. Since 2006, I've been slightly obsessed with the music of young Mr Curtis and for once, I felt like I was waiting for the world to catch up. Alter Boy contained (and still does) a stunning set of pop tunes that ranged from avant garde to darkly yet deliciously malevolent - always with a focus on what makes a song soar. The fun Nickelodeon movie Spectacular bought a more teen-centric set of tunes to the masses and allowed Simon's vocals to shine in a way that pre-dated Glee by a good 5 months. And now as 2010 starts to blossom, it feels like the wait has been worth while. Simon has earned his Lord Gaga rising tag and people can't help but take notice.

And thus, 8 Bit Heart is launched onto an eagerly waiting, ever increasing army of fans. This a true viral launch of smart, intense, catchy boy-pop in the purest form. By retaining control and doing everything himself (ably produced by long time collaborator Jadion), there's no compromise in quality and for those lovers of Alter Boy, you are not going to be disappointed.

First up is the album cover itself - i love how Simon's white t-shirt blends into the background so his 'human features' stand out above all else; with the broken 8 bit heart bleeding black goo from being broken and abused. It's a stark visual image that not only is memorable but thematically linked to what you are about to hear. Plus, Simon looks great - love the glasses...

8BitHeart is a journey taken from the view of Boy Robot, who is introduced in the track of the same name opening up the album. It's about seeking love, for love makes someone whole - and though it's insanely confusing and infuriating, the theme is finding love (and being loved in return) should be the simplest thing in the world. And herein lies the concept of the album - excellent sci-fi has always been successful because it is inherently based on themes that we can recognise among the fantastical. Lord of the Rings wouldn't have struck millions of people had there not been love, loyalty, betrayal and redemption. Ditto Harry Potter. Even A.I. had dominant themes of wanting to belong, and those are echoed in our very own Boy Robot. Simon weaves elements of sci-fi and computer games into his songs, but at the heart are very human emotions and once you are done marveling at the clever way the album is constructed, this is what will keep you coming back for more.

The quest commences on Don't Wanna Be Alone - a sentiment anyone can share. Built around a rising and falling 5 note fuzzy synth riff, percussive beats begin to explode like fireworks and Simon delivers a raw effective vocal. Instantly, the references to the 8 Bit Heart and computer games are there in the opening lyric ""They say that love is a game only played by the dumbest of fools/ that the feeling's elusive, and what can you do with a ruse?" ~ double meanings abound, as logic would be bound by the rules of a game even in love and looking at it from this point of view means taking risks to find the one who can make your life meaningful. But if it's a game that only fools play, they are sucked into a world of cheating and rule breaking that becomes the 'ruse'... It's not just the lyrics that make the song work - the sparse percussion pervades the tune and gives an almost bleak atmospheric vibe that often matches the search for love. I live for clever stuff like this, not just because it sounds great, but because it makes me feel smart - like when I work something out on Lost...

Taking risks is what happens on Fell In Love W/ An Android - there is a brilliant opening line "I am Simon Curtis - Human Cyborg Relations" which makes me think this guy was made for a job on V (if ABC ever bring it back). Bleeps, beeps and beats abound as he berates himself for falling for someone that is shut off, cold, emotionless and detached. Within the concept of the album, this is represented through lyrics such "playing games with a toy that played me" and "Try to play it like you think you're something so hot, hate to say it but I'd rather fuck a robot". Oh my. I can absolutely see something amazing being done visually with a video or with a live tour version of this song ~ the possibilities are endless and mindboggling (and make me yearn for an 8 Bit Heart arena tour in the UK. If I win the lottery, I'll definitely sponsor it). There are further references to people masquerading as human in the middle 8 when he references Cylons, those earth invaders from Battlestar Galactica. It's a great chorus though and some of the smart digs that are ever present on Alter Boy are coming through loud and clear here. One things for sure - don't piss this boy off, he's like an electro-pop Jagged Little Pill.

One of my favourites is up next and leads a trio of utterly amazing pop tunes. Now when I say amazing, I'm talking just ridiculously ace because even Simon dialling it in is most likely better than most pop out there. Super Psycho Love is an intense exploration of the madness that can come with a surge of feelings for someone. More clever lyrics ("lit the fuse and missed the candle") and a persistant beat make this fun, but the middle 8 is like running through a fun house of mirrors - it throws in some great sound effects that feel like the world is the famous Scream painting. The vocal goes flawlessly to and from falsetto in the chorus and the beat never lets up until the last note. It's a heady ride and one that you will want to take over and over again. Like the characters in the song, you are ensnared in the grip and nothing lets up - it's intoxicating. In fact the only thing that gets me moving on is knowing that A Very Special Pop Moment is next...

The title track is one of the most sublime and gorgeous pieces of pop music I've heard in a long time. It's joyously simplistic with a truly impassioned vocal, finger clicks and the most heavenly chorus you will hear this year. Some songs are so imbued with the feel good factor that they are destined to become anthemic as their message spreads both far and wide. Built around the refrain of "is it so so wrong to love and be loved in return?", the chorus has some delicious multilayered harmonies running throughout and the fingerclicking makes it feel like an updated 50s doo-wop ballad. The song hits proportions of amazingness at just after 2 minutes when a shuffling beat kicks in and Simon's vocals soar into falsetto in a moment that just sends shivers down your spine, before it's all reined in and a gentle piano riff leads you out of the ecstasy you have just experienced. It's possibly the best solo boyband song I've ever heard and one that X Factor vocal groups will be all over in years to come. Conceptually, it fits after the adventures of the past few songs - things haven't gone well on the journey for love and the 8 Bit heart is left wanting and wondering whether the human activity of love is worthy of all this effort.

The trifecta of perfect pop is rounded off with the excellent Diablo. Something about this song screams worldwide smash to me. It has elements of Britney, Lady Gaga, Pet Shop Boys, Darin, swedish pop and an insanely catchy chorus that most pop princes would die for. Definitely the most "pure pop" moment on the album, it blisters in the sun with it's pop ferocity and like all enduring pop songs has a cheeky wink to it (quoting kelly clarkson and having an element of Womaniser about it) as well as a smidgeon of novelty (I double dog dare you not to sing along with "you're the devil you're a filthy piece of trash/gonna brush you off my shoulder gonna let you kiss my ass/a diablo a diablo a diablo"), it's nigh on impossible). Again, it's another Electro Little Pill moment, but so delightfully backhanded with it too - "oh and now i really want to see you get help/i really want to see you get over yourself" is a lovely kiss you then slap you moment, all dressed up in the best male pop production I've heard in a long time. And you know Simon's totally on the right page with trailblazing this - the new Sergey single Alarm is an inferior (albeit mildly enjoyable) carbon copy of this type of tune. There's then a brief intermission while Simon says "su-hweeeeet" in an elevator, a word I don't really get probaby because I'm aging and then it's onto the next tune....

Delusional was the first free download that launched the album and a song that Simon's had around for about a year now. It's firmly in the club-pop territory and the middle 8 has an instrumental breakdown that is reminiscent of Janet Jackson circa Rhythm Nation 1814 era. Again this evokes imagery of a slick, perfectly timed dance routine that would be great in a video or on tour and is crying out for a raft of remixes to extend your pleasure that much longer. If you listen carefully to the chorus, you hear how dedicated the production values are - the beat merges seamlessly with the synths, while Simon multi-layers his own harmonies to give the sound a depth and urgency that matches the lyrics. It's a smashing pop tune, and so much better than some of the lazy efforts that stars who have so much more money spent on them. It's all in the details, people.

Joystick has grown on me exponentially in the couple of months I have had to listen to the album and it's an essential part of the story. It begins with some space invader type sound effects that then merge to become part of the song itself - a tale about about the woes of playing games with the fragility of someone's heart (linking back to the 'ruse' lyrics in Don't Wanna Be Alone). It has a deliciously filthy double entendre (or maybe it's just the single entendre and I'm reading too much into it?!) as Simon sings "baby, grab a-hold of the joystick/take control of the motion/I can feel it when you..." The dot dot dot leads into the sweatiest heavy panting since Shakira's She Wolf and you just know that the 8BitHeart is firing synapses around the pleasure principle of the body! Brilliantly, the lyrics carry on to go through a virtual encyclopedia of game consoles and link them to the state of the relationship. AS the song progresses, it's almost like the giant climax to an electrorgasm and the most evocative pop since Je T'Aime...

Amid the breakneck beats of Beat Drop there is a rather wonderful operatic sample that runs throughout, and contrasts nicely with the intensity of the tune. It's riddled with numeric references (all prime numbers; oh except 4 of course:P), which I love in pop tunes - I'm all curious to know what the 7 kinds of naughty are when the beat drops, and it's the most titillating reference since Prince confirmed there are 21 positions in a one night stand (I only know 15!)Love Simon using the lower register of his vocal range in the verses - it plays as well as Janet in Love Will Never Do Without You doing 2 types of vocal which almost make it sound like a duet. The Boy Robot is definitely discovering the power of dance in the art of seduction and even references Bad Romance at the end of the second verse.

It segues nicely into Brainwash (written by the lovely Rochella Danishei - formerly of Candy Coated Chaos, now brilliantly solo) which begins with a talky sample - something Simon has always been fond of and used to great effect on his Alter Boy collection of tunes. This song deals with the allure and seduction of the fame game and how it can completely overtake everything you believe in. There's a hypnotic quality to the beat which works nicely with the title of tune, and the middle 8 has an impassioned vocal by Simon which allows for a very brief moment of wistfulness before he's swept up by the bright lights again. Of course, it possibly has another meaning too, knowing Simon's love of Lady Gaga - perhaps it's another The Fame he's captivated by and detailing a very different type of love, where the Boy Robot is intruiged by obsession and hero worship of unobtainable idols. Either way, it's an intruiging development in the journey...

And as the journey continues towards it's (temporary?) conclusion, something quite stunning happens. Simon ups the game on The Dark. It's a number of "suites" all mixed into one tune (think back to how Biology by Girls Aloud is constructed) and it feels like several songs into one, but it works marvelously. It begins with an instrumental score that feels filmatic in production before a shuffling beat introduces Simon and a delicious mid-tempo verse, 54 seconds sees another change as a spoken-rap fuses into the incredibly sweet sounding chorus at 1m08s. The theme is all about not being able to see, being blinded by love - and just when the song has undergone all the twists and turns musically that you would excpect in a relationship, there's a blistering rap in the middle courtesy of none other than Jay-Z. Blimey! It takes the album to yet another high just as it draws to a conclusion and gives us a complex, rewarding song that keeps giving with each multiple listen...

And then it's all over :( The coda to Boy Robot is Victory. The journey has bought us (and the Boy Robot) some valuable lessons. I won't spoil the ending here, but it's sad but optimistic - as most great sci-fi and fantasy adventures are. It's really the most amazing accomplishment and one that should gain Simon an increasing army of admirers. People need to sit up and take notice because Simon not only delivers musically, but creates a themed album that is a real delight from finish to end...
My suggested singles: Delusional, Diablo, Super Psycho Love, Joystick, 8 Bit Heart

Previous Simon Curtis articles on fizzypop - click here (there's a lot!)

After a very long and arduous day, it was most pleasant and surprising to return home to find the Elouise ~ Stardust EP sitting on my doormat. Those of you who are regular here will exhibit no surprise that this was a joyous occurence ~ I fell and fell hard for the seductive tones of Elouise early last year and have avidly followed her ever since. While none of the songs on the EP are new to me, having them in physical format is quite the delight. They come in a digipack cd, with a rather lovely cover where Elouise has the most enormous doe-eyes and the imagery (both on the cd cover and postcard) is evocative of some of the greatest Disney princesses of our times. There's a vulnerability in the bare shoulders, the way the eyes look up at you - yet as you start to play the music a resilient strength also begins to shine through. My adored Larry Flick says it best on the press release...

"Elouise is a rare breed of artist, who has the forward vision of a future superstar, while also revealing an unabashed reverence for the classic divas of all time. Elouise is unlike any other performer I've encountered in recent years. She's the ultimate, fresh faced ingenue, yet she's as assured as a seasoned veteran"

Let's investigate, shall we?

1. Another Day ~ It's no surprise that after a weekend of listening to singers such as Dusty Springfield, Karen Carpenter and Agnetha Falgstok, I naturally progressed to Elouise. Eschewing latest sound trends for a more timeless feel rich in melody and resonance, Another Day is a soaring ballad filled with heartache, emotion and regret. Strings and a persistant syncopated drum beat add to the drama while oohs and ahhs bring a richness to the chorus. Written by Steve Anderson and Terry Ronald, they clearly trust Elouise with a song that requires full commitment from the singer as well as emotional investment ~ in lesser hands, the song could have floundered under the vivid production. Elouise carries the tune, brings you into her story and leaves you wanting the next chapter. It's not an easy task to pull off... (and those wanting more uptempo from Elouise, try imagining a dance remix of this song - totally fits and would be an immense disco anthem!)
2. Pretender ~ If I remember correctly from twitter, Terry Ronald had this song laying around for about ten years before he found a performer worthy of the challenge. Once again, the lyrics are about yearning, what could have been and holding onto long gone possibilities. The vocal performance here is exquisite - completely matches the changing needs of the song. Elouise goes from confident to tremulously whispering to seductive to soaring diva without missing a beat. Thus it becomes not just a song but a performance where even the most tame and reserved listener is drawn into a theatrical world where imagery leaps at you from each lyric. Painting a picture with the EP is quite the achievement and lyricist, producer and singer weave their brush strokes together seamlessly to bring the magic to life. It's one of the most poignant post-break up songs I've heard in a long time and makes me just hold onto Darren tighter than ever...
3. Fireman of my Dreams ~ With two high drama songs, it's time for some light relief. Fireman is a tune that Elouise and her brother wrote (listen to a different version here) and then Steve Anderson added a bit of pixie dust to make it an even more camp experience. Trust me when I say (and I mean this as a high compliment) drag queens will be performing this song for years to come in the not to distant future. I know people hear Tears On My Pillow and Beauty School Drop Out in there, and that's true and quite possibly intentional. It's almost a medley of these great timeless pop tunes and I hear a little of Girl For All Seasons in there and definitely shades of I Will Always Love You as Elouise takes it to the dramatic finale. There's a cheeky wink in the lyrics, a bit of bawdiness (let me slide down your pole indeed!) and an endearing charm to the tune. It's no wonder it's been number one on my playlist for nearly 4 weeks now. Just immerse yourself and let the music do the rest...

So there you have it. The Stardust Ep. It's Star Dusty. To me, it's a dramatic journey through what happens when the spotlight goes off and the singer goes back to their personal lives - the human side of The Fame Monster if you will. I can't wait for the album now - and don't worry, it promises to have a few grab the one you love and shimmy swirling disco ball moments on there. This is just the start of something special...
(Check out Mike's review here)

EDIT (21st Sept 2009):

Hurrah on a stick dipped in chocolate! There is a new song on the greatest hits collection :) It's called Hopes and Fears and is out digitally on the 8th November! And the video (which according to the email sent around is going to be "cinematic and groundbreaking") is directed by the same dude who did Heartbreak Makes Me A Dancer! Can't wait to hear it. I know this edit was all a bit press releasy which is unlike me, but new Will! And in bondage!! Bring it on William :)

Ah lovely William of Young. Pop Idol Extraordinnaire. Actor Interruptus. Purveyor of fine pop tunes. He is also in the constant battle raged between himself, Simon Curtis, Adam Levine and Jason Mraz to become my fave male singer ever (though any of those top five are quite frankly magnificent). And, as happens at this purchasey time of year, he also has a collection of his finest songs to date available in one convenient format for his fans and casual followers to buy. How thoughtful of his record label to get that out in time for the Christmas rush :) Anyway, seeing as I wrote (extensively) about William about a year ago, I'll have a bash at putting together what I think should be on his greatest hits, rather than the (quite comprehensive actually) official version...

1. Evergreen
2. Anything Is Possible
   (Note: Would it kill William to have both his winning Pop Idol tunes on here? I know he has definitely moved away from this sound now, but from humble acorns, etc...)
3. Light My Fire
   (Note: This cover was the perfect showcase for Will's vocal and pop style. The hideous and absent Long and Winding Road was not. As Steps once said, Better Best Forgotten)
4. You and I
5. Don't Let Me Down
   (Note: Lovely double a side to You and I and never appeared on an album before now. Is ever so heavenly and laid back in every sense of the word)
6. Leave Right Now
7. Your Game
   (Note: My favourite William song of all time - perfection from start to finish. The gospel version is a particularly delightful reinterpretation of the song)
8. Friday's Child (Andy Cato radio edit)
   (Note: William veers dangerously close to overly long Blues Traveller type jam on this song; stick with the edit and you'll be fine!)
9. Love Is A Matter of Distance
10. Love The One You're With
    (Note: Singles from the Friday's Child album were abandoned far too early - Distance was a simple, beautiful ballad, while With would have been a stomping Christmas single with a mighty vocal performance from William)
11. Switch It On
    (Note: 2nd fave William song ~ fun, pop, catchy, top gunny, what else could a boy want?)
12. All Time Love
13. Who Am I?
14. Ain't Such A Bad Place To Be
    (Note: Again the singles from William's 3rd album were abandoned too early - this is a jazz tinged romp that definitely deserved single status!)
15. Changes
16. Grace
17. Let It Go
18. Tell Me The Worst
    (Note: the above 4 singles showcase how William has transformed into one of the most reliable people for churning out quality, elegant pop music that resonates and touches the soul...)
19. I Won't Give Up (Freemasons Radio Mix)
    (Note: ... but I'm not ready to give up on the album just yet - so wonderful it is - so would it kill William to have a discotastic remix of this wonderful singalong track?)
20. The Letter

By the way, if you haven't caught it already, William did a rather lovely Radio 2 concert in Blackpool where he performed some of his biggest numbers as well as doing a rather fantastic cover version of The Letter. It's still available online here so grab yourself 20 minutes or so, and enjoy yourself Big Willie Style...

There seems to be a distinct lack of interest in blogland (well the blogs I like anyway) about the return of one of my fave new popstars of the past few years, Mika. No one really paid any attention to his low-key EP release back in May, and I sense an air of distaste surrounding his boombastic (say me fantastic touch me in the back she say I'm Mr Ro-ro-ro-mantic, etc) and wonderful single We Are Golden. Frankly for someone whose debut album was as gigantic as it was, the buzz should be, well, a lot buzzier. Regardless of all this, I loved the EP and We Are Golden gets me smiling and happy everytime I hear it - so it's probably no surprise that I have thrown myself into listening to his new album with enthusiasm and excitement. And phew, it's not half bad - jolly entertaining in fact...

The Boy Who Knew Too Much is a throwback to the latter years of Mika's teens - a time when he reports he wasn't as able to express himself in the ways he does now. Luckily this is manifest in a collection of songs that range from downright exuberant (We Are Golden) to introspective (Touches You) and somewhat disturbing (Toy Boy). It's not a million miles away from his brillo debut album so while he's likely to retain his sizeable fanbase, if you didn't like him before this probably ain't going to change your mind. But if you are at all curious, there are some lovely pop treasures to be had, whether you like Mika or not...

I'm not going to dwell too much on We Are Golden because you've heard it all before. Regardless, it's possibly the most in-your-face/annoying song that Mika could have chosen to lead off the album with (depending on your point of view). For me, it's still a marvelous updating of Heaven Is A Place on Earth and just the start of Mika's musical appreciation of the genre of pop (Queen, McFly, Fine Young Cannibals, Emelia and some Caribbean sounds all manage to make an appearance). Blame It On The Girls is an instant barrage of enticing sounds, including a typically massive chorus, some stomping piano chords crashing around and some off kilter percussion (mirrored with some ace hand clapping, which as everyone and his mom knows makes a good pop song great). This could (and should) easily be a single and paired with We Are Golden starts the album off to an enjoyable and high standard. This continues with the Stuart Price produced Rain. Part Mika, part Madonna and part Pet Shop Boys, it's a song that was performed just with a piano on Mika's recent tour but benefits from the additions of synths and violins to make it a seductive little dance number not a million miles away from the vibe Take It Easy gave off on album number one. Again, easily a contender for a future single.

Single number four should probably showcase Mika's more sensitive side and while there are a clutch of decent ballads on the album (The lovely I See You is quite charming, full of elegant piano, a sorrowful minor key choice and quite sad lyrics; quite nice By The Time which Westlife would probably kill to have on their comeback album - both songs showing Mika's canny understanding of how to craft decent pop tunes) I've decided to stay upbeat and I'm going with the pulsating Touches You. Not only does it bring to mind George Michael's Father Figure (both melodically and in vocal delivery), it does that introspective thing that Happy Endings did so well and binds it all together in a gloriously anthemic chorus that will stick to your brain like pigeon poo on a car bonnett. Yes it's that good. Other future singles manifest themselves in the form of Good Gone Girl - it's as upbeat, showy and theatrical as anything Mika has done in the past and utterly deserving of a shot at singles chart success. The rest of the songs from the album are all in the pretty decent category, and pad out with style an already impressive collection of songs. Of particular note is the Imogen Heap collaboration, By The Time and the deliciously dark (and not particularly revealing) Toy Boy, which is like a more melodically downbeat Alfie (Lily Allen).

Overall still totally Mika, and still totally enjoyable as an ambassador of ridiculously ott pop tunes. Me likey.
Potential singles: We Are Golden, Blame It On The Girls, Rain, Touches You, Gone Gone Girl

Deborah Gibson:

Ah, what I wouldn't have given to be in Quebec this very weekend. One of those 80s nostalgia tours rolled into town and this one featured booby Sam Fox, brillo S/A/W popstar Rick Astley, mall queen Tiffany and of course my beloved Deborah Gibson. I would have actually sat through a burst of 80s hits from any of those perky popstars - Sam performed (among other hits)her saw-tastic version of I Only Wanna Be With You and Nothing's Gonna Stop Me Now; Rick got She Wants To Dance With Me, Never Gonna Give You Up and Whenever You Need Somebody (as well as the glorious post S/A/W Cry For Help); Tiffany did her staple of "girls aloud classic" I Think We're Alone Now, I Saw Him Standing There and lush ballad Could've Been (though i would have preferred the cornlicious I Always Thought I'd See You Again from the Jetsons, but oh well :P) and Deborah performed all 5 singles from her Out Of The Blue album along with Lost In Your Eyes and Electric Youth (Surely EY is ripe for cover/total reinterpretation by one of today's teen stars? Miley? Same Difference? Simon Curtis?! Dont let me down!!) Of course my main interest is in the Deborah performances - it was the first time she has performed her single Staying Together since the Out Of The Blue tour (i virtually made myself ill to enforce my mom to take me to London Astoria to see it in 1988. What a little shit i was back then :P) She also translated part of Foolish Beat into French which sounded quite lovely. And in a "on this day in history" moment, she played the piano for Tiffany while the latter sang Could've Been. Sigh. To top all of that off, all four performers did a joint performance encore of Together Forever by the Rickster. That song will just never die. And quite rightly so. I really should have flown over, but it's pricey and well, the Doctor Who special was on :P Hereis Tiffany and Deb sort of duetting from the night :) (All links are to performances from the night wherever possible)

Simon Curtis:

Meanwhile Simon Curtis has been enjoying his post Spectacular success by embracing all things twitter. He's keeping his thousand or so followers updated on his top secret auditions and teasing them tantalisingly with the promise of two brand new tracks he has recorded that are bound to be "da bomb" (or whatever it is the kids like to say to indicate that things are quite pleasing these days). On the plus side, his guest spot on Hannah Montanna airs on May 3rd (my birthday, date fans - it's the only reminder you are going to get so get posting those cards now :P) and there is an interview coming up (apparently) on the teentastic (and therefore daily necessity for me) Just Jared Jr. I'll link it as soon as it comes up. For the meantime, enjoy Simon singing something a bit out of his comfort zone above and prepare for the urge to watch episode after episode of the trashtacular One Tree Hill :)

PS - i am now on twitter. Not in a this blog is on twitter but more in a "ooo what did i have for breakfast sort of way". Thrilling. Feel perfectly free to entirely ignore :)

NOW:

Ah The 'Doubt. I was very obsessed indeed with this punky spunky ska-pop band in the mid-late 90s, and indeed spilling over into the new millenium. So it fair brightened up my virus induced week when a new song popped onto the internet to promote their upcoming Gossip Girl performance (hey! When obsessions collide :P) and US tour. It's not a new band song, but rather a cover of the very ace Adam and the Ants classic Stand and Deliver, which was number one for five weeks back in 1981 (knocking the camptastic Making Your Mind Up by Bucks Fizz off the top of the charts!!) It fits in nicely with the pogo-pop style of the group, and frankly sounds like they've never been away. If this had been a proper comeback single, I might have been slightly disappointed, but as something to tide fans over until their next album in 2010 it works rather well and is a decent marketing idea. Plus I am quite enjoying hearing it sung from a girls point of view. For much more about the original song and the group behind it, head on over to Worrapolava.

THEN:

It was 1996 when, much like the rest of the world I discovered No Doubt. I was working at a summer camp for disabled kids in Rochester, New York and having my ears opened to the likes of Jewel, Indigo Girls, Dave Matthews Band, er Rusted Root and of course No Doubt. It was the summer of the Star Chart (counsellors at the camp gave each other stars for doing daring, rule breaking things. Oh we were such outlaws, such rebels) and drinking games in some random field across from the campsite. Looking back on it now, my obsession with No Doubt (and their career successes) mirrors my obsession (and career success) of Maroon 5. Ridiculously successful first album (don't get all technical - i know it wasn't their first album, but it was the first listenable album in my opinion :P) with two brilliant pop singles before a world dominating ballad; a disappointing second album that was still beloved by some, including me; and a solid return to form (I'm predicting this for M5) with a third album before topping off their successes with a greatest hits. Tragic Kingdom was the soundtrack to my summer. Oddly, while of course I loved the power pop balladry of Don't Speak, it was far from my favourite track on the album and it's ridiculous overplay on radio and video meant I tired of it quickly in 1997. It was the other tracks that i repeated non stop and ad nauseum. Just A Girl was my girl power anthem while unbeknownst to me the Spicies were conquering the UK with a very similar but more blatently in your face message. Spiderwebs is another not particularly obvious anthem about breaking free from bad relationships, while Excuse Me Mister rushes along at a breakneck speed yet still manages to fit in this beautifully intricate piano riff in the middle eight that comes straight from a cowboy saloon bar (and one that i took ages to learn on piano and can still play note perfect to this day. Go me ;) ). And of course let's not forget the brilliant Christmas cover version Oi To The World (not on the album but out around about the same time) which scores major extra points for Gwen's delivery of the line "bag of crisps". Its punky yet it's totally pop and that's what won the masses over with this album. I think I saw the band live 6 times in 1996-1997 in the US and UK. Oh my!

Return of Saturn was less loved by the public, but no less beloved by me. They initially came back with a new song (literally) from the Go soundtrack (remember that movie? Was meant to be massive? Wasn't? Also had a glorious track from Natalie Imbruglia on called Troubled By The Way We Came Together? No? Fine.) called New. Amazingly again, I was actually in a cafe in Buffalo NY in early 1999 when I first heard the song, and bearing in mind my obsession and that I hadn't heard new music from the group in nigh on 3 years, I practically screamed at the dude behind the counter to turn it up. Quite nicely he did. The entire song is a brilliant introduction to the album, which this time around has a heavier reliance on the band's new wave influences (though the ska-pop is still ever present). New is a decent restrained tune that sounds like it is itching to go bolting from the gate, but is always reigned in at the last minute. Ex-Girlfriend (the first single "proper") is a more recognisable No Doubt sound, though with a thrashier resonance than ever before. It was definitely kitchen sink pop with flamenco guitars and piano and I absolutely adored every second of it at the time. Ditto Bathwater, which I thought was an immense tune and would restore the album to the top of the charts. I was wrong. It merged forties cabaret swing time with the two tone stylings of Madness and clearly wasn't for everyone. The sentiments of the tune are pretty horrible, but I still think the song is quite avant garde. It's a shame the album didn't do better (hence my comparison to Maroon 5 with their second album), but luckily Rock Steady was just around the corner.

Moving forward from new wave (though not entirely), Rock Steady dabbles in dancehall, dub and reggae in what is an eclectic mix of styles and sounds to delight the senses. First single Hey Baby was quite the shock the first time I heard it - definitely ragga with a touch of No Doubt rather than the other way around, and Hella Good has some exciting electronica sounds mixed in that seemed to give the group a new confidence in their music. However, by far my favourite track on the album is the gorgeous Running with a synth melody so simple and pretty Depeche Mode/Erasure must be kicking themselves that they didn't think it up first. And I really dug the video too :) And let's not forget that Prince collaborated on the album as well! It's a bit of an r'n'b track (Waiting Room) that was probably thanks for Gwen featuring on his pop-lite track So Far So Pleased a year or so earlier. However, Gwen was set up nicely for her "failure to become the next Madonna is not an option" solo career by the marvelous Let Me Blow Your Mind single by Eve that she featured on. Utter pop meets funk heaven. Oh, the Talk Talk cover from the greatest hits is quite nice too :) My preferred greatest hits tracklisting just below for your "enjoyment":
Just A Girl/Spiderwebs/Don't Speak/Excuse Me Mister/Sunday Morning/Oi To The World/New/Ex-Girlfriend/Simple Kind of Life/Bathwater/So Far So Pleased/Hey Baby/Hella Good/Making Out/Underneath It All/Running/It's My Life/Let Me Blow Your Mind

Links and vids coming shortly!

Deborah Gibson ~ Already Gone: I spent an inordinate amount of time yesterday glued to the tinternet waiting for the new Deborah Gibson single to "drop". Of course, then John pointed out that California was a good 7 hours behind me so they were sleeping while I was feverishly anticipating and it eventually got uploaded sometime last night. While You Were Sleeping (which - movie fact fans - is one of my fave movies ever). Obviously I am a huge fan of LaGib and simply cannot wait for a new album any longer. This track is a "teaser" rather than the first single proper from her forthcoming cd of original material (excluding demo albums, this will be her first album of original tunes since MYOB in 2001!!) The song itself is an uptempo gentle rocker about splitting up, and being the person brave enough to do that. Positioning itself firmly in the femi-rock mode of Pink and Kelly Clarkson, the guitar riff is fairly prominent throughout the song with a lot less piano than I'm used to from Ms Gibson. However, the melody is firmly delivered through Deborah's impassioned vocal, particularly in the fist thrusting chorus - perfect motorway driving music! I particularly love the line "ignore the signs, the neon is blinding my eyes" which may be my favourite lyric of hers since "hard to go on, it's like waiting for/the other shoe to drop, i'll never stop believing in you" (No More Rhyme, 1989). Oh, also get ready for a totally 80s guitar solo in the middle 8 which is custom made for air guitar/guitar hero (whichever your preference is nowadays). Overall, it's an interesting direction for Deborah and if radio could get over their prejudices, this would be a perfect fit at top 40 radio and a lovely spring hit as the weather gets warmer and the tops come down.

I think Deborah is vastly underrated as a songwriter and performer, and this track not only works in it's current format, but would also be perfect in an acoustic mix. This would probably highlight the country "twang" in the song and give it a more gentle feel which would then maybe accentuate the really quite sad lyrical content. Perhaps that is forthcoming? It also follows on nicely from her last internet only song Famous, which had a sprinkling of fuzzy guitar throughout and is also available as a free download at the link below). A video to accompany the track should be up on Wednesday, and i'll add it into the post then :) Now don't be shy everyone - you can't wait can you? :P

EDIT (10 Hours later) ~ oh! What's occuring....?! I've listened to the track now a number of times and have some additional thoughts. I'm not disappointed, but I am a little bit deflated - i appreciate it's not a single release, but a teaser for the album, yet I was expecting something that resonated more with me. It's the vocal in the chorus that gets me most - perhaps I'm not used to Deb singing so rawk-high like that and it grates a little. I still think it's a terrific tune, but would have prefered a different version of it that let the melody shine a little more.

LINKS:
MP3 DOWNLOAD - for Already Gone and her 2007 track Famous at Reverbnation
MYSPACE - preview the song first on Deborah's myspace page
FIZZYPOP - my 2007 interview with Deb and review of Famous

I woke up this morning in an oddly morose mood. Wii Fit's estimation of my current weight and BMI didn't bode well for a cheery day at work (i've been working harder and longer on fitness and watching what i eat for zero change over the last week?!)and my colleagues seem to be working hard to piss me off today! So the cheer me up, as seems to be the norm for bloggers to write about acts they love (see D'Luv and Yuri, and of course PPG is flying her MansFans flag!), I've decided to bring forward my post on Simon Curtis and write about music that I cherish and adore - instead of waiting til I had actually seen Spectacular, which was the original plan :P

THE UPCOMING SUPERSTAR:

When thezapping got going just under 3 years ago, I quite quickly and firmly staked out the acts I loved - Deborah Gibson, Maroon 5, Abba, Steps, Scissor Sisters, The Killers, A*Teens, BWO, Kylie et al... And then came the interesting bit - the new acts. First and still an obsession was The Feeling. Most recent addition to that list is Same Difference. In between there have been those who burned out too quickly (The Upper Room, Digital), those who I am embarrassed to say i once talked about (mentioning no names, but really? Billiam?!) and the one who really is the reason I kept blogging when I thought I couldn't be bothered anymore - Simon Curtis. There is something undefinable about Simon's music, which is probably the very reason it affected me the most. When I first heard it, way back in June 2006, I was genuinely stunned that his razor sharp lyrics, his insanely catchy melodies, his dark thumping beats and the top-pop production values hadn't been created with huge record company backing. Then there was his patience and quality control over his output - I've long thought that myspace can be as much of a hinderence as it can be a help to new acts. Yes, it is an excellent place to showcase your sound, but unless you are putting out your best material with a long term structured plan it can definitely backfire. Would the Spice Girls (for example) have had as much as an inital impact had they posted every subpar demo and unfinished recording before unleashing Wannabe on the world? Mr Curtis seemed to know what to post, when to hold back and how to use his music to maximum effect. The key songs he posted would lift my spirits on down days, keep me hyper on the good days and get me pondering his view on the world when i was feeling pensive. Apart from X Factor launched acts, it seems to take 2-3 years for acts i champion to become stars, so it's gratifying and exciting to see Simon take his first confident steps onto a world stage. That he remains down to earth during this is a huge bonus. Check out the mesmerising video above where he elaborates on his battle with leukemia as a young lad - becoming a pop star, movie star and ambassador in the space of a week (well apart from his 3 years of slog before that!) is so exciting to see. I can't wait for what's next...

(I know this is a bit of a "oh my gosh, i'm so in awe" post - there are very few acts with whom I could write about with such passion. The Feeling are one. Deborah Gibson another. Abba a third. Take That a fourth. Simon easily now fits into what is quite a hard to break into set)

THE SPECTACULAR REVIEWS

It seems grossly unfair to me that I wasn't sat at home on Monday night watching Spectacular along with millions of other people. Why Nickelodeon thought it wouldn't be perfect half term viewing for the British kids is beyond me :P Anyway, I'm currently happy that at least I have the soundtrack to listen to - and also these ace rehearsal videos (as well as the one I posted on Monday) which at least give me some idea of the choreographed dance routines Simon and Victoria have been putting into the movie :) Plus it's very ace that Simon is getting interviewed left right and centre and i'm getting to find out all sorts of new things ~ Muse is his favourite band?!?! But if he and Victoria are to do any more youtube duets, as lovely as Falling Slowly is, I vote for Lucky (Jason Mraz/Colbie Callat) :)

More interview links:

Teenfaze video chat with Simon!

Simon's sneak peek of the Popstar Mag cover he is featured on :)

My Fox News interview with the lovely Victoria Justice

Rehearsing Lonely Love song in the studio

I get a lot of stick from friends and family about the fact that my musical tastes tend to veer quite "young". 'Isn't that for kids' they mock as 2 drinks later they are boogying on down to ace pop tunes like Britannia High's Start of Something and Same Difference's All Roads Lead to Heaven ;) Spectacular, i am imagining, falls into the same category as BritHigh and S'Diff - it's geared towards kids, but really I have never been ashamed or seen a problem with liking things that are "supposed" to be for kids. Disney, i adore. Harry Potter - thought and still think is amazing. Sarah Jane Adventures? Magnif. So I probably would've been checking out Spectacular even if Simon Curtis wasn't in it. Thankfully he is, and for those who haven't seen the movie, you can see a pretty decent clip here. I've said before that the music is pretty fun, (Wings of A Dream and Things We Do For Love, i think are astounding pop tunes :P) and the reviews that are flooding in seem to be agreeing. I'm pretty fond of the LA Times review that praises the show, is a fun read and I think sums up my whole attitude to the whole HSM vs Spectacular non-feud - Spectacular "simply marks a return of the old-fashioned, small-town musical that once ruled the big screen. You know, the ones in which a girl and a guy (often played by Judy Garland and Mickey Rooney) saved something or other by puttin' on a show. Salvation through music, good hoofing and communal effort." Time Out says it's a nice break from reality and states that the tunes are more pop-radio than broadway, while The Columbus Dispatch praises the film as delightful and thinks it will appeal beyond it's core tween audience. Aces or what?! And with the album currently sitting at #15 on iTunes, while much higher than expected ratings are anticipated to be reported on Friday, I can't help but think there will be more Spectacular in Simon and the gangs future. Hurrah, etc.

Coming soon - Alter Boy (3 Years On); new music 2009 revised...

I admit it. I was crazy in love with Robbie Williams back when he was a cheeky chappy in Take That getting his arse mopped. I loved him even when he bought out a cover version as his first single and looked all bloated and drug crazed in the video. And then, much like the rest of Britain, I fell in love with his albums as he became the nation's brightest solo male star (even if Angels is one of my least fave songs by him). Still, by 2005 I was surprised that I didn't love Intensive Care quite as much as I should have (it suffered coming after my fave Robbie album of all time, Escapology; and to a certain extent Mark Owen's excellent How The Mighty Fall was replacing him in my consistent-need-for-post-take-that-output). Then it all went a bit tits up - Rudebox was released as his new single in 2006 and I absolutely did not get it. At all. And I tried. I tried really really hard. Nothing :( Was my love affair dead in the water? I wasn't thrilled that he sort of disappeared half way through his usual album promotional cycle either. Take That returned with the much more accessible Beautiful World, and Robbie was nowhere to be seen :(

In hindsight, Rudebox (the track, and to a certain degree the album) is a natural progression from the sounds he was experimenting with on singles like Radio (a kraftwerk krazy electro tune that sounds like you are playing a slightly warped Human League record) and Tripping. I decided to listen to Rudebox in Florida when I was bored of my usual playlist, and perhaps it was the sunshine, but I started to see it in a whole different light. In fact, Rudebox is exactly what you want from a maturing artist - something new, exciting and different from their previous output, but that still maintains the charm and essence of why you loved them in the first place. My first listen to the title track in 2 years proved that it's a crazy, brave , insane pop-rap track that blows all the Angels style balladry out of the water, with its fresh electro bleeping groove and cheekily ludicrous TK Max referencing lyrics! How did I not love this?! Quite rightly however, I did appreciate in 2006 the excellent covers of Lovelight and Kiss Me. Both eclectic choices and both slightly avant garde choices for Mr W at the time. It's quite strange hearing Robbie sing in falsetto on Lovelight, but it works and the track is totally smooth and insistent as a result.

Of course, everyone knows his single She's Madonna, which was produced by the Pet Shop Boys, which (much like the exquisite GA single The Loving Kind) proved to be the kiss of death and failed to follow Rudebox and Lovelight into the top ten. It was the song that lasted the longest for me on the album however, and it still sounds quite fresh and spunky in today's overcrowded 80s influenced market. It's the arrangements of the songs (like this) on the album that have struck me two years too late. They are all quite carefully constructed, show innovation and veer towards what Popjustice refers to as wonkypop - that whole sound of pop that takes conventional opinion of pop and inverts the stereotypes for something new. Take the should've-been-a-club-hit beats of Never Touch That Switch. Yes it's vaguely reminiscent of Soft Cell and yes, it had that electro pop vibe to it, but it was all put together in a way that was almost outrageously audacious and a little bit "look at what I can do because I'm famous". The very things that put me off the album in the first place were drawing me back in! (And ultimately, this album became somewhat of a style template for Blake Lewis - sort of...)

As an experimental and sometimes jokey album, it doesn't always succeed in hitting the mark. But that is what edited playlists are for, and it can be trimmed down to a mostly excellent 13 track album, finishing with the reminiscing streets-esque 80s and 90s tunes. Plus of course, shortly after Rudebox came out, Robbie featured on Mark Ronson's Version with a cover of The Charlatans "The Only One I Know", which fits very nicely at the end of Rudebox (replacing the quite ridiculous Dickhead). My other alternative for the placement of that track relates to my theory that Robbie should've released a greatest hits AFTER Sing When You're Winning, put Radio and Misunderstood on Intensive Care and released a second greatest hits after Rudebox. You then have two bonza hits collections which look a bit like this (* indicates greatest hits bonus tracks)(PS - thanks to camerashy for helping me see the Rudebox light!):

1 - Freedom
2 - Old Before I Die
3 - Lazy Days
4 - South Of The Border
5 - Angels
6 - Let Me Entertain You
7 - Millenium
8 - No Regrets
9 - You Win Some
10 - Strong
11 - She's The One
12 - It's Only Us
13 - Rock DJ
14 - Kids
15 - Supreme Amour
16 - Let Love Be Your Energy
17 - Better Man
18 - Eternity *
19 - We Are The Champions *

DISC TWO:

1 - Something Stupid
2 - Feel
3 - Come Undone
4 - Something Beautiful
5 - Sexed Up
6 - Love Somebody
7 - Radio
8 - Misunderstood
9 - Make Me Pure (Much better choice than Tripping!)
10 - Advertising Space
11 - Sin Sin Sin
12 - Rudebox
13 - Lovelight
14 - She's Madonna
15 - Kiss Me
16 - Never Touch That Switch
17 - We're The Pet Shop Boys (remix) *
18 - The Only One *

Back tomorrow (or soon-ish) with some new boybands, why Fundamental is suddenly brilliant to me, and Das Pop!

It seems forever and a day since it was announced that Simon Curtis would be starring in new Nickelodeon musical movie "Spectacular", but finally the project is on the horizon. You can now pre-order the soundtrack (featuring 3 songs with Simon on lead vocal) from Amazon - it's out on 3rd February just 13 days before the movie hits US tv screens on Monday February 16th! Hurrah! It's all very exciting. Some observations about the soundtrack tracklisting - Wings Of A Dream and Something To Believe In sound like just the sort of inspirational song titles that lead to just the sort of inspirational songs that I love in musicals. I mean, who wouldn't want to be on the wings of a dream?! And please let that be a cover version of Eye Of The Tiger - choir style! Please? And remember my picks for 2009 when I said that the ace perkiness of Things We Do For Love needed a decent pop cover version? Look at track 12 on the album, and trust me when I say I have my fingers crossed for all things amazing from this tune :)

I've been quite good so far at predicting (without them being predictions to be fair, just which lovely Jason songs I've liked best) at predicting Jason Mraz songs that will ultimately become singles. In 2006, a demo of I'm Yours was the theme to Darren and my wedding, a whole 2 years before it became the lead single to his introspective third album. Now, current single Lucky was my choice for follow up single to the proper official release of I'm Yours back in June (when it made number 3 on my chart). Lucky is a lovely song that stands the test of time (much like I'm Yours did) and sounds heavenly nearly 7 months later. Auspop are quite right. Jason does indeed look quite scrumptious in this video :) And a final hurrah! Jason's "aggressive" pricing of his album in the UK (£4.97 in Tesco) means he stands at 22 on the album charts, while the still heart string tugging I'm Yours finally gets a top 40 placing on the singles charts at 34. Woohoo!

The Only Chart That Counts...

21 - Britney, Womanizer
20 - Alesha Dixon, Breathe Slow (NE/VID)
19 - Girls Aloud, The Promise
18 - Take That, Greatest Day
17 - The Killers, Human
16 - Danny, Radio (Acoustic)
15 - Annie Lennox, Shine A Light (NE)
14 - Lenka, All My Bells Are Ringing
13 - Sugababes, No Can Do
12 - Same Difference, We R One
11 - Leona Lewis, Run
10 - Leon Jackson, Creative
09 - JLS, Hallelujah
08 - Girls Aloud, The Loving Kind
07 - The Killers, Spaceman
06 - Jason Mraz, Live High
05 - Britannia High, Start of Something
04 - Lily Allen, The Fear
03 - Take That, Up All Night
02 - Same Difference, If You Can't Dance
01 - ???? (revealed soon) (2 weeks)

Back soon with Danny, Darin, Franz Ferdinand, more Spectacular and probably something else not invented yet! Now I;m off to watch Ray Quinn make a tit of himself (hopefully) in Dancing On Ice... (Edit: Dammit! Ray Quinn was brilliant! I am eating my words. They taste like chicken...)

I don't know whether you've noticed, but recently I have become obsessed with the most amazing, camptastic bro-sis combo since The Carpenters were around. I don't like to go on about it too much, so I've only written the most miniscule amount about them. But i can keep quiet no longer! The Same Difference album has arrived and I'm all of a tizzy! To calm myself down, I've watched the interview clip above and have to say once again, how adorable the duo are. Yes, Sean could use a bit of a hair make over, and Sarah looks like she is about to pop a bun in the oven, but they speak with such enthusiasm and excitement about their musical fruits, that it is rather contagious. And while the album Pop is certainly an extension of the gloriously upbeat We R One single (or at least the tracks on the sampler I got sent), it's a little more Steps2008 than High School Musical 3...

I don't really know what else I can say about the debut single that I haven't said already. It's the perfect bridge between their signature rendition of Breaking Free that was so beloved on the X Factor (though my least favourite performance of theirs!) and the sound of the album. We R One, as the interview above states, documents their journey through to the final of the X Factor and just oozes with positivity and happiness. Let Me Be The One is a pretty faithful rendition of the Six tune and suits them perfectly - it's a shuffling disco beat, with piano flourishes that are a little beefed up and the chorus is as powerful as it ever was. Nothing's Gonna Stop Us Now - i'm so happy that this on the album. It was one of their more mature moments on the show and translates well to a studio version among the pop hits that are here. And let's not forget that more than anyone else on the X Factor, Sean and Sarah sang live while dancing, leaping, flying, etc. and this song really shows off their vocals and gives them a chance to remind people that, hey, they can actually sing. Gorgeous harmonies after the key change make my skin tingle ever such a little. I Need A House is their third cover version in a row. Probably not for your average tween, but for purveyors of fine pop like myself, PPG and D'Luv it may all be a bit familiar. Again it's slightly beefed up from the original version by Marie Serneholt, and there's less vocoder on Sarah's voice which makes it a slightly purer rendition. There's no denying that whether you know they are cover versions or not, they have picked some amazing tunes. I'm going to skip Breaking Free, not because it's bad but because it does what it says on the tin - provides people with their most popular X Factor song. And it breaks up the first and second half of the album - the latter half showcasing more original songs...

If You Can't Dance is a perky uptempo tune that really deserves it's time in the sun (ie, it should be the second single). I'm scared it will be overlooked in favour of some of the cover versions as singles, but this could have a brilliantly fun video with an equally energetic dance routine. Given the current economic climate and world woes, this is the type of scisster-esque pop the nation needs right now (loving the piano chords that chime along in the background to the chorus). All The Roads Lead To Heaven is classic Steps - it's part Here and Now, part All Out of Love, and even a little bit Skeletons by Gareth Gates (which lets face it would've been an amazing Steps song). It has all the elements that make a Steps song great - thumping singalong chorus, slow bit, then key change into final singalong chorus. Why tamper with a winning formula? Ditto Better Love Me which seems to owe a huge melodic debt to It's The Way You Make Me Feel, and is perhaps their first real orignal ballad-esque song. And then of course there is the famed remake of Turn It Into Love. It's what the song should sound like in 2008, very pop, very dance (think September/Infernal) and very disco. Kylie would be very proud indeed. I doubt this is all I will have to say on S'Diff album, but i'm v tired, so it's all I can manage for now (PS Still Amazed is actually the Six song better known as The Way It Used To Be. It's very midtempo ballad and epic and finishes off the album perfectly)...
Potential singles: We R One, If You Can't Dance, The Road Leads To Heaven, Start To Beat Again, Turn It Into Love

THE CHART BATTLE OF THE YEAR:

Monday 24th November. I will be (checks schedule) at Disney MGM studios, probably on Aerosmith Rock n Rollercoaster. Or eating a "corn-dog" whatever one of those is. The rest of Britain will be out making one of the most important decisions of the year. Who will be number one this week? Will it be Bertney Asparagus Spears with the physical release of the ridiculously insidiuous Womaniser? Will Take That prove victorious once again with their grower of a smash Greatest Day? Will the new track on the flip of Do Ya entice McFly fans into the stores to part with more cash, or like me will they feel this is McFly's weakest single in ages (though i do like it)? Or will it rightfully be Same Difference and there tremendous We R One track? Only time and mp3 downloads will tell, but taking on all those heavyweights is more adorable x a million that Eoghan on X Factor, George Sampson whose energetic dancing won Britain's Got Talent earlier in the year. Get Up On The Dancefloor isn't nearly as annoying as I feared it would be. In fact it pays tribute to many of the funky throwdown classics from years gone by.. The track recreates classics including the rock ‘n’ roll sound of ‘Jailhouse Rock’, electro beats of Snap’s ‘The Power’ and the hip hop anthem ‘Jump Around’ by House of Pain. It even makes me forgive Play That Funky Music, a song i've had a grudge against since Vanilla Ice... so it'll be interesting to see what the outcome is and i'll be checking out the midweeks and official charts on Sunday.....