DontStopThePop

Steve Anderson Interview Part One (Little Belter, Kylie, Christophe & Polly)

2012-02-01T19:13:00.013Z

Readers of Dont Stop The Pop need no introduction to Steve Anderson. Except to say, he's also one very busy man. Not only is he's Kylie Musical director for all her tours, a partnership that started with a remix of Finer Feelings, but has just put together a major pop album in France, arranged the music for Miss Polly Rae and recorded the Little Belter album that soundtracks Elouise's touring spectacle that embarks on the 11th of February around the UK. Now, it was tiring just writing that sentence so I can't imagine how its been for the man who has put that altogether! But thankfully, during a small pause between Little Belter rehearsals and on the day he completed the recording its corresponding album (listen here to snippets), I managed to squeeze some time and Mr.Anderson was able to explain it all....

Steve! Its been ages since we last did an interview! Since last appearing on DSTP, Kylies toured twice and released an album. Busy couple of years! What was your highlight of the last 18 months

Hi - lovely to be asked back to the fabulous Don’t Stop The Pop. So much has happened since we last spoke including the fabulous Aphrodite Les Folies Tour, The Hurly Burly Show, Westlife Proms In The Park, Leona’s Live Lounge, Christophe Willem’s album and producing Kylie at Abbey Road which was a real dream come true.

Little Belter (Tickets)

The music in your shows your involved in are incredibly central to the framing of the concert or musical. In all of Kylie’s tours, Elouise’s Little Belter tour and Polly’s shows, the soundtrack you create, vitalizes songs we’ve long loved even if they’re contemporary classics....

I believe its about what we call the arc of the show. Its easy to put together a bunch of songs you know people will like but you want them to go with you on an emotional journey without realising thats whats happening. William works a lot with lyrics as a base for his ideas which I think is really important. For me its a case of making the music work with everything else that is going on on stage, sometimes the visuals inspire the music and sometimes its the other way around. Ultimately with Kylie just having her as a muse is often enough to inspire greatness.

Elouise and her Little Belter Team Rehearse Giving Up Giving In

I love when you re-imagine beloved songs...Like Tainted Love and Live and Let Die in Little Belter. They're completely re-twisted of classic songs and fit like a glove within the production and for the singer. How did those songs end up in the show and how did you look at these massive classics and think: “now, what can I do here?”.

Elouise and I also have a similar way of thinking so when we needed a big opening number we both thought that “Tainted Love” had the amount of darkness and drama required so what if the synth stabs were turned into big band and the whole thing was a lot slower to make it more menacing. “Live And Let Die” was because we already had a Bond section with Bassey songs and were looking for something that she could make her own. I don’t think many female performers have recorded this song and definitely not with a big band feel plus its so massive and iconic it was perfect for the “Little Belter” show especially with the fabulous new choreography by Nikki Pollington who I have worked with a lot on Kylie shows.

Steve's very 2012 version of Vogue

The same applies with Kylie’s classic hits. From your epic re-working of Step Back In Time in X Live to the beautiful ballad version of White Diamond. Does William give the direction to rework it? Or is it generally a constant debate and discussion in the run up to Kylie’s tours between you, Kylie and William.

With Kylie tours its usually a dialogue between Will, Kylie and myself about the style of the songs then I present versions which then get tweaked until they are right. Sometimes it can be instant, other times they need a few revisions but its usually only a few minor things. We’ve tuned ourselves to each other over the years so its often second nature. “White Diamond” was arranged for the film and just happened to fit perfectly into the Hollywood section of the North America Tour - its still one of my favourite things we’ve ever done and her vocal is beautiful.

Polly goes down under.

Polly Rae and the Hurly Burly show have just completed the Australian and NZ rouged leg of their tour with erect ovations at the end amongst the audience. How did that project come together?

Polly originally approached William Baker about working on the Hurly Burly Show back in 2010 and he called me the day after to ask me to do it as he knew I would absolutely love the idea. Will and I have always loved burlesque so finding a girl who could really sing in that genre was a real blessing. It gave us so much to work with and with Terry Ronald and Ashley Wallen completing the creative team it really was so much fun. Basically if it made us smile it went in the show, nothing was off limits, nothing was too ridiculous , we knew Polly and the girls could pull it off (ahem) so we put together a show for Leicester Square Theatre which then turned into the full West End production at The Garrick and is now touring the world. Polly is a true star and electrifying on stage so together with her fabulous girls is a real force to be reckoned with.

It is another project you’ve work closely together with William Baker who you started collaborating on Minogue’s 1998 Intimate and Live tour. From Kylie, Rent, to Polly to Westlife do you feel the collaborative process with Baker stems from the real love of performance, music and presentation of a show?

Will and I have been working together for over 15 years now so are very tuned into each other. He is a true creative visionary and so inspiring it can often just be a quick conversation and I’ve got the whole picture in my head of how something should sound. Its so important for someone like me to have people like him with a vision as I can pretty much make any kind of music work but there is nothing better than being inspired by an idea especially ones that are totally out of the box like turning Its A Sin into Edith Piaf meets The Stripper! I think essentially we have similar taste and are both a little bit nuts which really helps!

Polly’s versions of S&M, Umbrella and Strict Machine are additionally pleasure to one’s aural organs. I can’t listen to the originals anymore without thinking of your arrangements. They transport you to the world of Hurly Burly. How did the creative process begin with these burlesque versions of commercial hits?

Again the songs were chosen due to how they would work visually. “S&M” sung by nuns is funny, “Physical” performed on Gym Balls by girls in neon underwear is funny then something like “Strict Machine” is suggestive anyway and basically an electronic bump and grind song in the first place. “Its A Sin” was down to Polly acting as Mother Superior, “Umbrella” because of the Geisha parasols - basically it went on like that. Every song was picked carefully to fit in with the routine. At the heart of Hurly Burly is a genuine love and respect for the art form. All we wanted to do was bring it slightly up to date with more contemporary songs and versions and I think we achieved that.

With Polly, I suppose there is that tremendous cabaret and burlesque tradition underpinning the arrangements but how do you start with Kylie and Elouise and soundtracking their corresponding shows?

With Kylie she obviously has the most amazing back catalogue to choose from so that is relatively easy. With Elouise we had to pick songs that she sounded superb on, could make her own, were true showstopping classics to fit in with the show and also that would punctuate the storytelling aspect of “Little Belter”.

Rehearsals for Little Belter (featuring Elouise & Jono)

With Elouise was a there natural process of developing her show and its experience during its residency at Madame Jojo’s? Do you think this allowed you to feel the show and get it right before its UK tour?

Absolutely. Madame Jo Jo’s has been crucial for us not only to have a residency in such a beautiful venue with such great history but also enabling us to preview and try out material every month. The show has changed massively since we opened there and has allowed the creative process time to really develop. I’m all about audience reaction and without the luxury of weeks of previews as you would get in the West End this has been the place we’ve really fine tuned the show. Obviously a lot of the additional elements we have in the theatre show wouldn’t fit into Jo Jo’s but I truly believe if the show can work stripped back in a small venue it can only be bigger and better in a lovely theatre.

Have you always wanted to get your hands on a Noel Coward composition?

I do like a fair few of his songs but I’m not really a huge fan. However “If Love Were All” and “Someday I’ll Find You” are the exceptions. I’m much more a Bergman’s person lyrically, ‘Wait” by Barbra Streisand in particular - perfect.

And, when you listen back to If Love Were All what was your first impression?

This was Terry Ronald’s idea to put a Judy song less well known than “Over The Rainbow” in the
Jo Jo’s show and I love it. Not many people can get away with singing Judy but Elouise totally makes it her own.

Do you think Noel would be beaming down?

One would hope so.

How did the setlist come together for Little Belter: a show that is primarily about epic songs and an amazing voice. Was the residency vital in allowing that setlist develop?

Absolutely - as I said before Jo Jo’s is our workshop and with so many songs to choose from that she would sound amazing on its vital we pick the absolute best and also a good mix of tempos to make the show vibrant and fun as well as poignant and beautiful.

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Preview of Live & Let Die by Elouise & Steve Anderson

What is your favourite song from Elouise's new album? For me it would have be a toss up between the new version of Live and Let Die as you’ve completely knocked that awful bit in the middle of the original, and turned it into how it really should have been recorded! Quite a feat!

“Live And Let Die” was my idea but the arrangement is by our fabulous MD Francis Goodhand - he just ran with it and came up with a corker! For me my favourite song in the show is “As Long As He Needs Me” as I have always loved that Judy Garland TV arrangement which Francis painstakingly transcribed from a scratchy mono recording. I also adore “Walk Away” as its the first time a female artist has sung it and so different from the Matt Monroe original.

What songs appear in the show but didn't quite make the final cut?

We have tried a few including “One Day I’ll Fly Away” from “Moulin Rouge” and “You Don’t Have To Say You Love Me” but we wanted to go more for songs Elouise could put her own spin on.

Little Belter is very much a celebration of female performers that have gone before and still sparkle today. To me, it is encapsulated in the re-worked version of Madonna’s Vogue which, rather than celebrating celebs highlighted in the original but instead namechecks the likes of Dusty, Lady Gaga, Shirley, Celine, Judy Garland, Aretha, Doris and of course the Supremes, Barbra, Bette and Madonna. The album, and confluent show, is not only about a singers amazing and incredibly tender journey through song but also raises a glass to those who’ve bared their souls on stage and under the spotlight. Is this true?

Absolutely - the show is as much about the singer as it is about the songs and every one you mention is a huge influence on everyone involved in creating Little Belter.

Little Belter Trailer featuring new song Something Tells Me

For me its all about the song Something Tells Me on the Little Belter album. I kind of imagine every one of those performers mentioned in the rap, Elouise herself, Polly and Kylie has, sat in their dressing room wondering the same thoughts…...going through the same experience…feeling the same feelings. A mixture of dread, wonderment, sparkle and excitement…..did you envisage Something Tells Me becoming a dressing room anthem?

I think we set out to write something that would introduce Elouise to the audience in a vulnerable way. She starts the show in a run down dressing room and ends it with her name in lights so the audience take that journey with her. I’ve always loved songs like “Backstage I’m Lonely” but this has more of a Streisand kind of feel to it especially with the more humorous middle section.

Preview the Little Belter album online here LittleBelter.com

Beyond the original songs on the Little Belter Cast album, it is also an immense thank you to the legendary arrangers and composers of the past that have certainly influenced me growing up. Did this form a core passion in the Little Belter/Elouise project as a whole?

Definitely. I have always been in awe of people like Nelson Riddle, Billy May and Stan Kenton to name but a few. I feel they were the remixers of their day as they took songs and completely reinvented them for the different singers. With me coming from a remix background its very easy to strip away everything but the vocal and think of a unique way to present the song but back then there was only the orchestra instruments to work with which is why I think they delivered such incredible ideas and instrumentation that is as much of a work of art as the song itself. The modern day equivalents are Jeremy Lubbock, Vince Mendoza and David Campbell, all who are heroes of mine.

You’ve often described working with Elouise akin to working with your very own Barbra Streisand powerhouse. Care to expand?

Well she can pretty much sing anything for a start. Also we have very similar taste when it comes to dramatic and emotional vocals and she always pushes me to go even more over the top then usual which is quite a stretch considering I basically live in a world where there is no such thing as ‘too much’! Also I love how she doesn’t sound like anybody but at the same time her voice is timeless yet contemporary. She can re-interpret these classic songs and put her own spin on them without sounding like a tribute - thats a real talent I think. Plus of course she has the pure star quality when it comes to holding an audience so for me that puts her in the Streisand area very easily.

Beyond Elouise’s Little Belter, what next for your work with Elouise? Isn’t a single and follow-up album already in the works?

We are working on an album at the moment which will be new material and some covers in a similar way to how Michael Buble worked on his first 2 albums. We’re hoping to have new material out later this year but hoping to work with orchestras to push the sound even further.

The thrilling strings of Love Takes Over Me by Kylie (one of my Kylie songs) and the immense string section of Tainted Love (Elouise) could both be James Bond songs. Is there a John Barry James Bond anthem in your veins just waiting to be written and recorded?

I love both John Barry and David Arnold so yes there is always an influence especially in the brass sections, how could there not be with Elouise singing at the front!

Popgeek time! Are there arrangements that you, William and Kylie agreed and then went “oooh this might night seem right?” …but you do fondly look back and go “awww’.

Not really - everything we do is only right when we are all happy with it. That process takes a long time and our quality control level is so high that nothing but the absolute best gets through. I pretty much fondly look back at everything we’ve done and go ‘aww’.

So how do you initiate the first song for a monumental Kylie tour like Les Follies. I mean where does one start to piece together an overture for a show that sees Kylie perform on Pegasus, a chariot, on an angel and so forth?

Exactly that - I get a visual brief from William describing what he sees happening on stage and work from there. For Les Folies the show starts and ends with water from the Birth Of Aphrodite from water into Greek mythology going through Heavenly Hosts, Chariots and ending as a Million Dollar Mermaid in amongst fountains. Thats really all it takes for me, then I’m off!

So how many versions overtures did you compose before you realized you had the start befitting Aphrodite?

There were two quite different ideas for the intro and various versions of both but Will is very reactionary so once he hears something it immediately inspires him to know what he wants more or less of. This is great for me as we bat things back and forth to each other and send something to Kylie when we think we have the right one. It usually comes back and forth again for a bit until its signed off by everyone.

Kylie has rarely, if ever, had a fifth single but if there was one song from Aphrodite what track would you have liked to see given single privilege?

I adore “Can't Beat The Feeling” - it just makes me smile and for me is classic Kylie. Sometimes people are shocked that I tend to pick pop songs of hers as my favourites but I am still a massive fan and I love what I call the ‘Kylie moment’ and that song has a bunch of them all going on at the same time! I adore what Stuart did with that album.

Steve Anderson world is incredibly busy at the moment. You’ve just completed work on Christophe’s English version of his Prismophonic album. How was that experience as a whole and when will that English version be made available?

I’m so proud of the Christophe album and was really lucky to pull together such an amazing team for it including Freemasons, Biff Stannard, Karen Poole, Richard X , Cliff Masterson and Sarah deCourcy amongst many others. I love working with Christophe, he’s such a superstar and so ahead of his time in France. It was a brave move for him to make this album in the UK and have all English songs that were then so brilliantly adapted by Zaho for France. We got such great reviews to from people like yourself and Popjustice so I can’t wait for the English version to be released later this year.

The song-writers involved look like a who-who of British and Scandanavian pop! Being at the helm of putting such an album together, where do you start when thinking of songwriters you wish to submit tracks for an album like Christophe’s?

I just surrounded myself with the most talented , loveliest people and sold them on Christophe being a superstar which wasn’t hard. After that the tracks started coming in and I was thrilled with the results. Also there was a lot of songwriting sessions for me and various co -writers most of which ended up on the record.

Right after Christophe’s pop album, you jumped into putting together a new album by Kylie. What was that like?

It has always been a dream of mine to produce a Kylie album with acoustic instruments and also to produce an album at Abbey Road so when the two came together I could not have been happier. I worked with the lovely Colin Elliot on the production who has been responsible for the Richard Hawley albums which all have a beautiful darkness and warmth to them which we wanted to incorporate in this project. Also I knew the back catalogue like the back of my hand but he didn’t so much which was good as he came from a different angle on some of the songs. We recorded a whole bunch of songs , some with orchestra and band, some just band and some just piano or guitar. It was Kylie’s amazing Aphrodite band with a beautiful BV section and we spent the happiest 3 weeks in Abbey Road Studio 2 where the Beatles famously recorded throughout their career. I can’t tell you what an honour it was to go to work there every day only to be eclipsed by how truly great Kylie’s performance is on this record. Its true, honest vocal takes recorded on a beautiful valve mic and left very upfront in the mix as if she’s there right with you in the room. I could not be more proud of what we achieved there and I’m so incredibly thankful of the opportunity to do it, its an experience none of us will ever forget. There will be an YouTube video from the sessions uploaded on the 25th of every month to celebrate Kylie’s 25th Anniversary this year.

Abbey Road Studios is of course steeped in history. Did you happen to squeeze any time popping into the room where Yoko & John lived for months while recording his album?

We were recording in that very room - Studio 2 at Abbey Road is where the Beatles recorded the majority of their material and apparently John and Yoko set up home in the corner. We put the table with the kettle and biscuits over there.

Kylie kicks off K25 with Finer Feelings & Mardi Gra Announcement!

2012-01-25T22:33:00.002Z

How wonderful! The beautiful arrangement of Finer Feelings recorded at Abbey Road Studios went live today. A song that started the sublime partnership with Steve Anderson, Finer Feelings became a firm favourite amongst fans and the perfect start to K25!

POPTRASHADDICTS BEDS LUCIANA!!!

2012-01-23T10:32:00.002Z

Here's a video interview Mike of PTA did with pop queen Luciana while she was in Oz hit "I'm Still Hot". Mike penetrates Luciana on her songwriting duties for the likes of Cheryl Cole, T-Pain, PCD and Nicki Minaj. NB: Kylie fans will be particularly interested in her comments about her 12th album!!!!

DSTP's songs of 2011

2012-01-02T01:00:00.004Z

I've done something a bit different with this review of 2011. Rather than be restricted solely by pop, area of release or genre this time out is based on songs that has pleased and wowed me whether originating from some side-street show in some salubrious Soho soiree or a part of a multi-selling-starbucks-globalizing tour put on by a dominating diva of staggering proportions. In no particular order...

Soraya - Stickshift (Spain)

Soraya released this in the earlier quarter of 2011. This is a very rare example of pop song with lyrics about getting wasted on ten martini's followed by drunk driving and riding something stiff all night. Her cries "of changing lanes" is one of the best euphemisms for butty sex if there ever was. So proud of Soraya.

Christophe Willem - Automatik (France)

One of few individuals who secured a double whammy appearance in my best of 2011 list. And deservedly so. Written by Tortuga and Isabel Guzman, Automatik easily became one of my favourite songs of 2011.

Monica Naranjo - Dream Alive (Spain)

Monica has two songs on my list. This is her collaboration with Brian Cross. Dream Alive is ripping up the sauna's and dark rooms of Cheuca. She's obviously seen the mental success of Soraya's Stick Shift and wanted a piece of it. Amazing.

Prance Fares - Flares (Sweden)

With one of finest names in pop as it stands, Flares was always going to be amazing. And it was. More please. A lot more!

Auryn - Breathe in the Light (Spain)

Auryn are truly becoming huge here in Spain. Breathe In The Light was written by Ruth Lorenzo (Of Dannii Minogue's X Factor contestants) and to be honest Ruth should of kept it for herself as its a pretty fine pop song of polemic proportions.

Natalia - GO! (Spain)

This was pretty epic. Taking off where Dannii had finished, Natalia went all donkalicious and then some. Go was a huge anthem last year. It was the song that shaped my Madrid Gay Pride experiences with wonderful lyrics like "I become the queen/i put the finger on!". Which makes a lot of sense. I think. Everyone needs this in their lives. I hope it is named after British Airways cheapo airline GO! Natalia could be Spain's Cascada....

Natalia Lesz - Beat Of My Heart (Poland)

Natalia re-introduced herself with a brilliant poptastic second album that was a cross between Kylie's Light Years and Aphrodite. Pretty fabulous. That Girl was a perfect slice of bubblepop.

Lena Meyer-Landrut - Taken By A Stranger (Germany)

A very good record that was an odd choice to represent Germany at this years Eurovision Song Contest. Still, its an exuberantly brilliant track.

Le Kid - America (Sweden)

Beautifully constructed, this distant relative to Kylie's The One warmed my heart and became a preview to a very good album indeed. Top marks!

Queen of Hearts - Where Are You Now (United Kingdom)

Like sonic honey, this was not only very good music but sparkled like one of the most diamonds in the shiniest crowns if there ever was one. Fitting, as its the Queens Diamond Jubilee year this year...

Marta Sanchez - Get Together (Spain)

I've seen Marta perform this in a gold catsuit, on a bike and surrounded by bikers from a the Castro. Amazing. One of the finest songs to ever come from a drinks advert!

Elva Hsiao - I Love Myself (China)

Irresistibly catchy, Elva's latest album came out a day before Christmas and what an amazing gift it was! Why? It included this brilliant addictive superpop. I Love Myself is perhaps the poppiest track of the year.

La Oreja Van Gogh -La Nina (Spain)

Stealing certain strands of sounds most commonly associated to Alaska, La Oreja returned all electroclash and shocked the music scene in Spain. An amazing pop song. Alaska fans were livid.

Gisela - El Es Ella (Spain)

Written just because, this ode to lesbianism was not of the "I kissed a girl" cash-in variety. It simply was a love song between two women. Nothing scandalous. Just a simply good love song.

Smith & Thell - Keep The Beat In Your Heart (Sweden)

Once you get passed the law-office-sounding name of the band, you couldn't help fall head over heals for this new synth pop band hailing from Sweden. Keep The Beat In Your Heart had me doing the cabbage-patch dance in my studio with no regard to the neighbours below. Pop never sounded so good. Irresistible.

The Sound Of Arrows - Magic (Sweden)

Technically this hails from 2010 but bends the rules a bit, Magic warmed the cockles of even the coldest of regions. Sounding like the best Robyn song mixed with the Grange Hill theme song, Magic burnt a massive hole in my most played charts this year.

Emili Sande - Heaven (United Kingdom)

Add a touch of Massive Attack and a big vocal with wonderful lyrics and you've got an epic pop song.

Ronika - Forget Yourself (United Kingdom)

Amazing pop reminiscent of classic Jellybean, Ronika arrived on the scene with not one but two stunning EP's. Can't wait for more Ronika please.

SoSo - Who's Gonna Love Me (Sweden)

Been a long time in waiting, I hold a torch for Sophia Somajo. Writer behind Robyn's Time Machine, SoSo is one of the most fascinating pop engineers of recent years. With harsh electro synths she relishes in refusing to accept half-measures and compromises.

Christophe Willem - Jamais Du (France)

Beautiful electro-pop from France that has become the soundtrack to my lazy Sundays.
I can't wait for the English translation of Prismophonic.

Karin Park - Tiger Dreams (Norway)

Truly dirty electronic pop at its finest.

Tiger Baby - Landscapes (Denmark)

Absolutely stunning electrosoftpop from CPH, their album Open Windows Open Hills is one of the finest albums of the year. Criminally under-noticed.

Emmon - Distance (Sweden)

If you like Human League with shades of LadyTron, Emmons album Nomme was and is one of my favourite albums of last year. Distance pushed it over the top for me.

Dionisis Makris - Mono esy (Greece)

With eyes that would melt mountains, Dionisis delivered this year with a bombastic pop song that rejected the usual occidental traits of past. Delicious.

Sandra Kolstad - Fire, Burn Blood Flow (Norway)

Fucking ridiculously odd - Sandra ticks all the boxes for me. More of her next year please.

Wolf Box - Mirror Image (Sweden)

One of the finest songs of 2011. This stuck to my mind like chewing gum on jeans. Except I never want this to ever ever leave. It crept up onto my synapses and refused to leave. Haunting. Deliriously beautiful.

HandS - No Romance (Norway)

Another brilliant song from 2011. Started off small but ended up being explosive by the end. Incredibly large. Electropop but with organic trimmings secured No Romance as a firm favourite in my Itunes.

Beth Ditto - I Wrote The Book (USA)

Putting aside the pretentious video (which was nothing more than a re-rendering of Victoria Beckham's Let Your Head Go), I Wrote The Book was one of my favourite pop songs of last year. Deeply wonderful.

Monica Naranjo - Nessun Dorma (Spain)

Her Madame Noire was wonderfully received when it premiered in Madrid earlier this year so much so that backers pushed for it to go international. A meta show that saw a popstar put on a concert stripped from its usual largeness where its star portrayed a movie star, Nessun Dorma saw Monica eclipse herself as she entered the realm of opera. Quite a marvel to watch.

Despina Vandi - Mou xeis perasei (Greece)

A beautiful return to form for Despina. Not outrageously camp, just a simple organic song with delicate twinges of soft rock.

LETS CELEBRATE THE NEW YEAR WITH MIRANDA (ROBYN)

2012-01-01T18:51:00.004Z

Its Robyn!

Yeeeeeeesssss, back in the day...when Robyn was a bit of a child-star-actress in Robyn she voiced a role in the kids movie Rasan Till Melonia! Which was the cutest! PopStar in the making.

Stars4EVER!

CLOETTA PARIS - LOOKING FOR LOVE

2011-12-28T22:20:00.001Z

I cannot wait for their second album. Their first was a joy of joys....

LE KID Human Behaviour (new single)

2011-12-18T18:00:00.002Z

As they set they're sights on shores outside Sweden, Le Kid will release their new single that is NOT on their 2011 album Oh Alright. The song, which is said to be like a filthy version of Bigger Than Jesus, includes the lyrics ""Let's get down, let's get physical, we're nothing but animals". We can't wait for the electro slice of paradise to nestle itself in our salivating inbox.

Rendered Speechless - O Holy Night by Hannah Waddingham

2011-12-08T23:11:00.000Z

The Spanish Divas Round Up: Monica Naranjo, Marta Sanchez, Soraya, Edurne

2011-12-04T09:55:00.006Z

First lets start with Monica! She's taking her ground breaking concert-musical-gig hybrid where she plays herself playing mixed in with a legendary actress at the end of her career to the United States. She's also completing her album but as we wait for that to come out she's collaborated with Marta Sanchez and has two Euro-dance tracks on the Brian Cross dance album (Dream Alive & Crying For Heaven). The diva is also currently one of the judges on a Spanish TV show that bridges X Factor with Idol and Celebrity Stars In Their Eyes. She is also releasing a greatest hits too which features one or two new(ish) songs. Oh, and only released in Mexico. Monica's single with Brian Cross, Dream Alive, will be released in Spain on the 13th of December.

Soraya has a new single! Its with her collaborator Antoine Clamaran and its called Feeling You. Soraya seems to be spending some energy on France of late. As you can see below she sounds pretty fabulous live performing in front of thousands in Paris.

She does a medley of Dreamer and Stick Shift finishing off with the new single. Along with dance work with Brian Cross Soraya is firmly putting down her roots as the Spanish Queen of Clubs. I can't wait for her 2012 album.

Edurne, a fellow OT starlet, has just announced that she's in the midst of recording her fifth album which is great considering the last album had a bumpy ride in the Spanish charts. While we wait for her new album, Edurne fans could satiate their ears by listening to her interesting collaboration with Miguel Costas on his new album Costas is Back. I suppose this is somewhat similar to when Kylie worked with Nick Cave on his Murder Ballads album. I don't think anyone would of expected the two names Edurne and Miguel Costas looped together in the same sentence let alone on an album together. This is miles away from her previous album. Judge for yourself here.

While it would seem Edurne is venturing away from her pop roots with Miguel Costas, Marta Sanchez is consolidating. With her huge dance hit Get Together clinging onto the dance charts in Spain, the world - well, my world - waits like a child on Christmas eve for the impending reveal of the Monica Naranjo & Marta duet. This comes after Monica declined Marta's invite to collaborate on her last album which former diva, rightfully I must add, predicted wouldn't do as well as expected. I don't know under what auspices the duet has emerged but some believe it could of arisen from the two working closely together with Brian Cross and his impending dance album (her song titled Whatever It Takes). As such the duet could be high voltage pop.

Her new single, Dancing In Spain, screams explosive pop. I love how Marta passes off a little fail in her very first performance of Dancing In Spain when she takes the mic to her mouth too early. Brilliant. Anyway, at a preview party, I only managed to hear it once but its considerably like Infernal. In short, rather amaze. One could envisage this doing it well during the summer season in 2012. It is clear Marta has put aside her previous album and venturing deep into pop - a path paved after the release of her studio album Miss Sanchez. A nice return to form. In fact, 2012 is gonna be a great time for all four popstars as each plan to release new albums. I can't wait!

The Pierces - Kissing You Goodbye

2011-11-29T14:32:00.002Z

I can't express how much I adore this band & this particular song in question. The Pierces are the sister duo, of Allison and Catherine Pierce, who've taken the milky froth of ‘California Dreaming’ and layered it over their latest single. I love them.

Prismophonic - Christophe Willem Pop Album of 2011

2011-11-20T15:56:00.005Z

This Monday sees the release of the pop album of the year. Prismophonic by Christophe Willem. Combining the electronic strands of Kylie Minogue’s Aphrodite with the bolds of neon fragility of Robyn’s Body Talk, Christophe Willem has delivered a collection of songs that go to the core of why I love pop music. Prismophonic is the pop album of 2011.

Starlite 10/10

(Zaho / Richard Stannard - James Wiltshire - Russell Small - Amanda Wilson - Tom Kent - Hawk Wolinski)

Poppers-o-clock alert! Where the hell did I put that glowstick! This includes a sample of Ain’t Nobody by Chaka. And it totally works. Starlite features the production lines of Freemasons and you can feel their magic sparkle over the anthem in the waiting. Christophe doesn’t mess with a club classic in the way Cher Lloyd abused Buffalo Stance. Rather, this is one mighty tribute to the genre of sound that courses through the album like a river that has broke its banks. Pure electro heaven. Put this song on, Pass the poppers, let the muscles expand, get onto the podium, take centre stage and dance.

Cool 3/10

(Franck Deweare / Jean-Pierre Pilot - William Rousseau - Olivier Schultheis)

After the sublime high of Starlite, Cool appears like an unsightly stain on diamond encrusted disco hotpants. Moreover, when placed next to the other pop anthems that follow Cool screams everything but its title suggests. Sorry. Maybe it's a grower not a shower.

Le temps qu'il reste 10/10

(Zaho / Steve Anderson - Karen Poole)

Absolutely stunning. With the exception of Cool, the album suddenly emerges as a love letter to London’s club world and its sparkling nightlife. Herein, the throbbing baselines wrap around a breathtaking classical string arrangement. Delicious. This is an opus.

Si mes larmes tombent 10/10

(Zaho / Steve Anderson - Karen Poole)

There are two brilliant dance-pop albums of the last ten years that I hold close to my heart. One being Light Years by Kylie Minogue and the other is Robyn’s self-titled album that contained the hits Be Mine and With every heartbeat. Both Kylie & Robyn also included ballads in amongst the pop-club epics. The stunning Bittersweet Goodbye and chilling Eclipse. Si Mes Larmes Tombent is now a member of that club. Breathtaking.

Indélébile – 7/10

(Zaho / Phil Greiss)

This only suffers from one thing: it takes sometime to take flight and as that Swedish pop royal duet once opined ‘don’t bore us get to the chorus’. Next to the love letters to London’s club scene, Indélébile is the albums only rnb moment.

Jamais Dû 11/10

(Zaho – Christophe Willem / Steve Anderson – Jamie Hartman – Tina Harris)

WOW. This is like putting on a really nice moisturizer and then feeling the softness of the skin the day afterwards. Or that breezy feeling when jetlag has lifted and you're at your destination. And the sun rises above the clouds. Body clock tells ya, you're still in the mess of London, but the warmth on the skin tells you you're miles away. Watching the sun rise over the sea with the closest of friends. You've left the streets of London and now your feet are in between the warm sands of some far away place as the hot sea lashes the shore. One of the finest pop songs of the year. By the way, love the organ in the middle eight. Altogether absolutely amazing.

Ennemis In L.O.V.E 9/10

(Zaho / Steve Anderson - Karen Poole)

Time to get funky! Madonna would kill for a song like this on her new album. It is drenched in pop brilliance. At every turn, Prismophonic offers trinkets of creamy pop which bolt into the sky soaring above recent efforts by Lady Gaga, Parade, The Saturdays and Katy Perry.

Automatik 11/10

(Zaho / Joakim Olovsson – Björn Olovsson - Isabel Guzman - Pär Andreas)

Check those credits people! Its Isabel Guzman! Of Love Song, Kill The Boy and Mysterious! Straight from Sweden, this is made for the dancefloors of London Another song Madonna would start a killing spree to have on her album. This so bombastic, it catapults itself into a place of pop brilliance and consumes the aural passages with delirious dancetastic pleasure. Automatik also includes one of the finest middle eight of the last twelve months so much so that the inner organs have found their dancing boots and are on the guestlist of Fabric by the time the song is over. Pure pop perfection.

Pas si loin 10/10

(Zaho / Kylie Minogue - Richard Stannard - Ash Howes - Carl Ryden - Seton Daunt)

How does one follow a song like Automatik & written by Isabel Guzman. Steve Anderson (the albums producer) and Christophe invite one Kylie Minogue and pop legend Richard Stannard to the Prismophonic party. With touches of Fever, Give It To Me & Aphrodite, Pas Si Loin is the icing on the cake if the cake was a drug called pop. Yummy.

Je rejoins la scène 10/10

(Christophe Willem / Steve Anderson - Lisa Greene)

I love Lisa Greene. Along with the Elouise album, I can’t wait for her album. Lisa and Steve have wrote some of my favourite songs for popstars together (Breathe On Me by Britney for example). The collaboration of the two with Christophe repeats the wonderment first realized in songs like Breathe On Me, Dentro Me, Hypnotic, Roll Over and State Of Grace. At first, Je rejoins la scène starts of small but by the end it comes out of its closet and sparkles like a firework. Its only a return visit to the song that it emerges as a throb that emerges into one permanent climax perpetually erupting into pop deliverance. Constantly stunning.

L'amour me gagne 11/10

(Christophe Willem / Richard X - Hannah Robinson)

Written by Richard X and pop pioneer Hannah Robinson, L'amour me gagne slides in-between the dark nightclubs of Berlin and the neon-lit corridors of East London. Here we have a type of song that Jake Shears would pant for. This is the lovechild of George Michael’s Fastlove and Star People layered with the spunky dna of trance hits by Infernal such as From Paris To Berlin. Glorious

Falling 11/10

(Christophe Willem / Sarah deCourcy - Steve Reed)

Absolutely fucking speechless. If it was ever possible to capture the beauty of a falling snowflake via sound without it ever melting away Falling does so. Written by Sarah DeCourcy and Steve Reed, Falling underscores why, for me, Prismophonic is the pop album of 2011. Yes, Coldplay are amazing writers and Fix You is a brilliant song but Falling runs circles around Fix You and still manages to feel so at home on an album that also contains songs written by the likes of Kylie Minogue, Isabel Guzman and Richard X. It simply seals the deal. Punctures through the need for classification, alienation and correlation. Epic.

There has not been album quite like this released in 2011. Darren Hayes has tried his utter best to deliver an album of this quality and strength throughout his career but always comes off incredibly pretentious. Christophe Willem avoids such pitfalls and remains firmly rooted in the objective of delivering bloody good pop music. This is also an album that I could also see doing really well here in UK but also in Germany and Spain who’ll slurp up the buckets of delicious creamy pop in their droves. Excellent pop music with only one aim: to get the listener to hit instant replay once its over.

The best song about Donuts?

2011-11-13T23:00:00.001Z

ULTRA NATE GOES SWISS!

2011-11-07T16:45:00.003Z

She's Same Difference's big rival to represent the state known for its cheese at next years Eurovision. I rather love it!

NATALIA - RHYTHM IS A DANCER & GO!

2011-11-06T20:00:00.000Z

Spain's version of X Factor/Idol gave us not one but a number of dancetastic disco divas. Most will of course remember the original winner Rosa Lopez but we've of course had the amazing and legendary Soraya. In the very same season we had Rosa, there was also the mighty Natalia. I've always loved her. She simply delivers exactly what I expect from her. She's also been rather successful with the first set of albums working with Xenomania, Lucie Silvas, amongst others.

Chart-wise she did really well until she went rnb with the awful album Radikal. Her audience are mostly also have Monica Naranjo & Marta Sanchez in their collections. Not Ghostface Killah. The decision was disastrous. The album crashed in at number number 55 which is terrible for Spain. However her last two singles Go (above) and Rhythm Is A Dancer is a clear attempt by Natalia to reclaim her dancefloor queen status in the tasty nightclubs of Chueca. Personally, her album can't come soon enough.

SAME DIFFERENCE - MUSIC

2011-11-06T00:22:00.002Z

How Eurovision is this? Which kinda makes it a perfect song for Same Difference and really...what they should be doing is submitting themselves for the UK. But they've instead opted for Switzerland. A country who did very well the last time they picked a foreign singer to represent them...one Celine Dion! Full marks!

Stilettos - Click Click Click

2011-10-27T12:47:00.004Z

Don't get me wrong, I love the Sirens original but this all sorts of fierceness. Yes, I used the F word. How 2004. But hey they made Mean Girls in 2004 so yeah, whatever. This is amazing.

HELEN MERRILL - MY ONLY MAN

2011-10-25T22:59:00.001Z

This is perfection in music

THE THREE DEGREES-Live in London!!!!

2011-10-16T22:03:00.010Z

This Monday, the legendary band The Three Degrees took the stage, belted and danced the night away. The band are the oldest longest running girl band in history and alone deserves a standing ovation. The moment the delicious beats of Shake Your Groove Thing began an instant smile wrapped around my face. Valerie Holiday, Helen Scott and newest member Freddie Pool sidestepped and bounced through the Peaches and Herb classic and neatly breezed into their rip-roaring disco anthem Giving Up Giving In. What some describe in current vernacular as "swagger" the Three Degrees displayed every swirl, and snarl only with class, decadence and glamour. In the past I’ve heard a few covers of Giving Up Giving Up. You’ve got your amazing versions by Sheena Easton & Elouise and then you have The Nolans version who butchered the feisty disco classic. Giving Up Giving In is a song that requires intense concentration on the harmonies and is a bewilderingly difficult song to perform yet the women unveiled the anthem like it only just fresh out of the oven.

As the Three Degrees, originally hailing from a Philadelphia wall of sound, coursed into Year of Decision and My Simply Heart it dawned on me that every move and graceful inflection seemed somewhat ever so similar to that almighty trio Destiny’s Child. Whilst Motown babes Supremes provided pop of the bubblegum variety, at the core of the Three Degrees was, and still is, orchestrated classy soul. Something later girlbands such as Destiny’s Child have done their best to harness. The Three Degrees were the originals at this typology of pop, melody and that all important powerful sweeping chorus.

The Three Degrees cruised through a fantastic version of Get Your Love Back and beautifully performed Woman in Love without ever sounding like they’re going through the motions. Dirty O’l Man fused neatly into a brilliant Philly medley that included Love Train, Ain’t No Stopping Us Now, If You Don’t Know Me By Now and Disco Inferno. The audience were suitably well-oiled up now. Finally. You see the concert was in a church. As such, this particular audience seemed stapled to the pews sadly. The band did their best to get their audience up and after the medley they were justly rewarded. Indeed, with the lush harmonies of their biggest hit When Will I See You Again swam through the air, their fans bolted up and remembered that this was actually a concert. While the show was electric and dynamic sadly members of the audience failed to match that energy of the band. But, this could be down to the venue.

The Three Degrees said their goodbyes after an indefatigable interpretation of Boogie Wonderland and they proved that they truly deserve the nomenclature of legend under their by-line. One omission was The Runner. Recently covered by British supergirlband Bananarama, The Runner would have been an amazing icing on the cake if added to the setlist. For sure, a cover of Boogie Wonderland – originally by Los Angeles band Earth, Wind & Fire – is extremely welcomed and The Three Degrees would of made its writers Willis and Lind incredibly proud but perhaps The Runner could of been included in the encore. On the night The Three Degrees were tantalizing and vibrant. It would of been incredible to see them actually perform a new song as though I enjoy the hits, the medleys and the covers I would of loved to hear something of a new recording. Or perhaps an acoustic version. Anyway, minor remarks! It was an honour to be in the same company as one of the oldest and longest running girl pop groups in history. It was clear as to why. They were amazing. Still pinching myself!

SWEDISH GANSTA RAPPERS EQUALS LOVE

2011-09-29T21:24:00.000Z

SMITH & THELL - you're..my ever lasting love!

2011-09-25T12:32:00.004Z

Listen here

A few weeks ago Smith & Thell gave their first ever interview to Dontstopthepop (here) and ever since I've been addicted to their new song Keep The Beat In Your Heart. Reminiscent of classic Madonna (Vogue/Rescue Era) meets Ace of Base (when they were good), Keep The Beat In Your Heart has been causing havoc since it was revealed not to mention shooting up my most played song list on me itunes. Fellow blogger Paul of MyFizzyPop has developed a crush on the band and deservedly so (link). They are a band who refuse to offer one good song in exchange for 3 paltry mediocre tunes. Instead each song they've thrown at our ears has massaged our aural passages and I'm proud to say every time I've laid back bewildered at their brilliance. Wunderbar!

LE KID OH ALRIGHT! The album is here, ready to download and love!

2011-09-07T10:34:00.003Z

Lets be frank. Le Kid have delivered the pop album of 2011. It emerges as a leviathan of incredibly good well-woven music that shimmers like an exuberant oyez. 'Oh Alright' shakes the pop fan down to the core. I first discovered the band via the sorely missed girlgroup MissMatch back in 2006-7 as the team of writers Marta, Felix and Anton at Cocktail Studios worked on their first album Just Push Play which you can still buy here. I highly highly recommend it. But to the release at hand! Oh Alright is pop on full ignition.

Bigger Than Jesus

Fans of MissMatch will remember their lush single Breathe In Breathe Out. Well Bigger Than Jesus is like that if it had hot steamy sex with Kylie Minogue's The One. And the result? Quite amazing. The soft vocals interweave with the electric sonic beats like skin on silk. This song is a beautiful baroque fling into a poptastic sunrise. This song is essentially about big love and by the end of its three minute play-span, you start looking for wedding rings so as to marry yourself off to the ditty. It is that seductive.

Escape

Escape is a polemic of a pop song. It practically becomes one singular sensation. By its middle eight the ditty not only emerges as an anthem that manages to march out like a tintinnabulate but also inosculate old school sounds like St Etienne or Strawberry Switchblade with their very unique sound which now permeates rather magically from Cocktail Studios.

Kiss Me

Woah, this is more bubblegum than chewing gum. Kiss Me is a cute honkey-plonkey pop tune where one might say that if Oh Right was a body, this song would be its callipygean. Perfectly formed, you can't wait to "pop the zipper" and unleash the juicy monster hidden underneath. Excellent.

America

I love America. I truly do. However it suffers from the mere fact that Le Kid have gone and written some amazing pop gems on the rest of the album that manage to overshadow America. This isn't America's fault. This is Le Kids fault. For providing an amazing album. Oh Alright contains no filler. Its all killer.

Telephone

If the Spice Girls ever wanted give the world Wannabe II or Spice Up Your Life II, they'd need to tap into Telephone (awww, see what I did there?) and sit with this song in the studio before they started their eventual comeback. Telephone is zesty, bouncy and sparkles with attitude.

Mercy Mercy

The song is, perhaps, the song that started it all. Heads turned, we received a pop video on a lake and finally got to know the band beyond the demos loaded on myspace. This song is proof that Le Kid have delivered a perfect pop album in the form of Oh Alright.

Oh My God

If there was ever another Austin Powers film this has to be the theme tune. Not particularly retro in sound per se but catches all those bubbles of joy that those movies contained. I can almost envisage the spy in flares with his immense smile dancing down Carnaby Street to this.

Seventeen

This is the kind of song I'm waiting Britney release. Its so zeitpop it even namechecks Betty Boop. Despite its fluffy nature, on Seventeen we hear more guitars and appear to hear Le Kid's very social discourse on the over-sexualisation of the teenage youth. So, one day perhaps Seventeen will be studied in gender studies class. I hope so.

We Are The Drums

One of the finest MissMatch track was called Unabashed and We Are The Drums takes me right there. In short, its brilliant. Too cool for school in many ways. Within We Are The Drums Le Kid emerge as 'the chords, the lyrics and the melodies' thus music itself becomes a metaphor for the band to strum out. If so, I've repeatedly slept with each Le Kid song on Oh Alright thus making me an absolute brazen drazel.

We Should Go Home Together

Talking of sleeping around, I think I've become passionately addicted to We Should Go Home Together. It is amazingly subtle. Just when you think its going one way, it flashes its beauty and one is hooked. For me, I will always return to this song as its my favourite.

Mr.Brightside

Oh. Dear. Dear. Dear. Dear Me. They've included a cover to wrap up the album. Was this a wise choice? Next to ten original brilliant anthems that will end up becoming invincible templates for how to write great pop songs. Do they pull it off? Should they have done it? Yes! Yes! Yes! I could actually envisage a day when Le Kid decide to release a covers album and I'd be just as happy if they'd release an album of originals. They take the risk and actually improve on the original. There I said it. Le Kid trump The Killers original. Destiny is calling you Le Kid, come in now your time is now....

In conclusion...

This is the album I've been waiting for ages. Ever since Le Kid first gave a lil' interview on Dontstopthepop a few years ago (see here) they promised an album with no fillers and boy have they delivered on that. Oh Alright is a geason album. You will not find another set of songs on one album release this year. They'll always be the one track that will have you hitting the skip button. Not Oh Alright. It is apparent for Le Kid mediocre is a swearword. As I said, it contains ten crunchy wonderful pop songs that will inevitibly emerge as invincible templates as how to write great pop songs in the future. Oh Alright is Oh Wonderful! Get it here.

***

HandS present NO ROMANCE (A song that i like very much!).

2011-08-22T10:51:00.004Z

Ever since hearing Hands I've been playing their music ever since. When No Romance arrived it was like a teardrop from the music goddesses landing in the palm of my hand and illuminating my soul with bolts of blissful shimmering sonic sounds. My ears have smiled and danced with joy ever since. How can I best describe No Romance? Impossible. However, it has immediately emerged as my favourite song of the last eighteen months. Could it be my song of the year? I can't quite convey how much I love the song and the band (hailing from Norway).

I literally had to stand back from the speakers. It fried my brains. Was I imagining it? How could it be so good? So different? So beyond the outrageous pale of brilliance? It reminded me of ABBA, New Order, XX and Depeche Mode without ever sounding ridiculously retro, paltry and pouting. I really hope you like them too! No Romance is a modern pop song with real vocals, shards of excellent baseline, catchy and most of all, it has attitude. Moreover, it has balls! Big balls. No Romance has an organic texture to it that I love. It feels somewhat unfinished and raw which conveys an explosive and angry aura around its perfectly formed body. Unlike many ridiculously pop records which are so good you feel they're buffed and manicured to the extent any bluntness seems nuetralized and numbed, No Romance refuses to clean its act up and decides to expose its fantastic energy in all its disheveled glory. This is relentless pop at its fucking finest. Welcome Hands, I adore.

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WOLF BOX MIRROR WISDOM

2011-08-10T17:53:00.003Z

Since arriving with her One For The Radio, Wolf Box have ensured that our eyes firmly set on her gallop towards that airspace where fucking beautiful music is made. Its quite hard to describe Mirror Wisdom. If there was ever an attempt to soundtrack the tender arrival of the full moon as it clashed with dusk, dawn and twilight this would be it. You just have to listen to really get it.

"The words won't play. There's no easy way to say goodbye"

2011-07-24T12:06:00.001Z

SMITH & THELL: THEIR FIRST INTERVIEW

2011-07-17T13:55:00.004Z

Delicious fragile electropop from Smith & Thell (listen)

What does it feel like when your work finally takes flight and is out there so it speak?

It's great! This is what we have been waiting for. As an artist there’s nothing greater than finally setting your pieces free.

What are your inspirations?

The inspiration to our music comes from our life, thoughts and wonderings. We write our music

and lyrics straight from the heart and we think it's time to put more poetry out on the dancefloor.

What do you make of the Swedish music scene at the moment?

It’s incredible and we are so proud to be a part of it. Hopefully we stand out and is seen as unique amongst all talent!

From an outsiders viewpoint, it seems vibrant with creativity and unique sounds. Why do you think there is this intense level of musical creativity from Sweden?

Hm....We've actually been discussing this! Maybe it's because of the long winters, they make us nuts. Too much darkness, so we start being very deep and philosophical. Maybe it's because the typical Swede are very closed up, so we have to put music to our emotions not to blow up inside…..Haha. Tough question….

In the UK has become very open to electronic artists from Sweden in part thanks to Robyn. Was her music an important soundboard for you both?

Robyn is a fantastic artist and we enjoy her music a lot. So of course she's an inspiration, her latest music is amazing. She has taken the more electronic vibe into our popular music. Her music is great, but we have our own sound and our own visions with our music.

So, do you have any plans to tour and release in the UK?

And we would love to release in the UK and tour the hell out of the region… just book us!

Yay! Where did you both meet?

We met at a local concert in our hometown.

Both of your previous creative output might be described as folky and acoustic so this current synth-pop change is quite a turn-around. What caused the tidal-change?

At some point you get curious of new music and new ways to sound. We became totally amazed by the energy in electronic music and it was a completely new way for us to express ourselves. We needed it to move forward in our creativity. With the computer as your bandmate there were suddenly no limits.

There are shades of your earlier acoustic work within the current sound. Kiss and Tell is essentially a club track that shimmers with soft and delicate undertones. One has fused into the other....

Yes. We can't wash away where we come from, and we don't want to. The delicate sound is a big part of us.

When I first heard your sound I was immediately struck by the unique sound…

We make music from our heart and we guess this is what it sounds like. Our sound is influenced by non electronic music such as funk, indie, ambient and pop music. We're musicians head over heals in love with trance, electro, dubstep and house. We started cheating on the guitars, and this is the result.

I would refuse to even say that your sound is somehow influenced by a decade. Let me explain…It is not retro electro synth pop as one might say the latest Gaga album is utterly defined by the decades of 1980s and 1990s. Do you both have a Dolorean?

Hahaha… are you referring to the Back To The Future movies? As artists its important not to think or dwell too much over what you create and share with the world. This is us now and we might sound completely different in 6 months from now. We do not know… we are just happy that we right now get so much positive feedback and reactions and that in return make us more motivated and wanting to do more, more, more…

So was there a moment when you were both writing together and just struck gold and went down this path?

We have from the beginning enjoyed making music together because of the exchange of our individual abilities, we complement each other. It's more like a musical journey that we've made together. Perhaps we need to just stop for a minute and realize we´ve done something great but on the other hand we just want to go on and just become better and better… the gold can only become shinier…

I’ve often wondered where songwriters especially within the pop genre draw their lyrics from? Is it from your own life? Or do you imagine what it would be like and create a hypothetical situation which might allow for some fabulous lyrics for a future track?

We write our lyrics from our life, but it don't necessary have to be things that have happened. Lyrics can be wonderings, just an emotion or visions of what we want life to be like. So yes they can be hypothetical.

So when you do draw from situations in your own life have there been any moments when you felt, in the writing process, that those emotions would be too difficult to sing live and as such maybe had to be shelved from the album? Or do you allow the song writing process sooth the pain perhaps?

There are those moments, but the songwriting does sooth the pain and put emotions in place again. The song Drive is a very emotional song, and it was hard making. But we have never taken songs away because of them hurting, emotions is a big part of songwriting.

So would you say that songwriting is therapeutic?

Very much. Without the songwriting we would be nuts for real…

How eager are you both to perform these songs?

We want to play live and perform as much as possible, as soon as possible!

How far are you into your recording your album?

We are on our way and we are close, very close...

What will be the general feel of it?

Electronic, poetic dancemadness!

And when do you think we’ll get a chance to hear it?

If things keep on going this well, it wont take long….

***

Smith & Thell Soundcloud

Leona Lewis Collides.......with Ministry and etc

2011-07-15T16:58:00.002Z

The Leona Lewis song has premiered! It sounds great. Utilizes strings which for me is always a good thang. But it sounds a lot like something else. A lot like something else. Apparently another label have argued that their song has been plagiarized...(Digitalspy) Even so, that was a simply a sample of the piece of music called Perpetuum Mobile by Simon Jeffes. As such I think Ministry have their knickers slightly in a twist. The piece of music has been out there since the 1970s. However, I know it purely because of the fabulous Australian movie Mary and Max which gives me an opportunity to recommend the film in this update. Its brilliant!

POP ROUND UP! KYLIE! POLLY! ELOUISE! CHRISTOPHE!

2011-07-01T16:25:00.013Z

The legend that is Larry Flick of OUTQ has just completed an uberfabulous interview with Kylie Minogue. Its a big long one and very very special. This is a must listen to any Kylie fan. They go back. Really back but also its incredibly in-depth. Part One of the interview is up and online for your ears now....and here is the sublime second part:

♥♥♥♥

Fresh from releasing her version of Tainted Love (available here) Elouise has just completed a set of shows in the heart of Soho as part of her monthly residency at Madame Jojo's. She's on the verge of releasing her take on Barry Manilow's epic disco anthem Could It Be Magic. Listen to Tainted Love here:

Not only will she be appearing at Gay Pride in Manchester and London's Summer Rites festival but has also confirmed a string of Little Belter concerts during the summer (dates here).

The next one is on 20th of July (click here for tickets)!

♥♥♥♥

Talking of amazing shows...Polly Rae has announced that she's about to return to the stage with her umaaaaamazing Hurly Burly West End show this winter. I can't wait! Woop! Follow Polly on twitter here to receive news about her new show before anyone else.

♥♥♥♥

Christophe Willem just performed a brilliant medley on X Factor over in France (see above). I need his album he's been recording like already!!!! I've heard whispers about it: the french Body Talk has been mentioned on the french music gossip sites. My lips are wet with anticipation! His last album was airtight pop (buy it here via Fnac) and I have such a feeling that his stint on X Factor France has bolted up the follow-up to Caffeine as an "event-album" of his career.

THE LE KIDS ARE ALRIGHT!

2011-06-29T14:35:00.003Z

My favourite band.

AURYN - Breathe In The Light

2011-06-09T15:08:00.003Z

I love this boyband. Auryn hail from Spain and their new single is by....Ruth Lorenzo. And its wonderful. I don't usually go for boybands but Auryn tick all my boxes. They were supposed to represent Spain at this years Eurovision in Germany but came second. A crime as the song is absolutely brilliant. Breathe In The Light is one of my songs of the year. Ruth Lorenzo truly has written a really tight little pop anthem for Auryn. It makes me wet my lips for her debut album. The key thing about Auryn is their harmonies. They're not about back-flips. Although I'm sure they could dance rather well. Listening to the lead single its great vocals and great pop songs are what make Auryn. The lyrics arn't trite but rather warm and have a dash of Take That (especially Rule The World). A great debut. Certainly a band to watch out for this 2011. Official site.

MONICA NARANJO MADAME NOIR

2011-06-02T10:50:00.012Z

The other night I went to see Monica Naranjo's new show Madame Noir in Madrid. I have to say it was a rare occasion indeed. Incredibly experimental, Monica has always pushed the envelope when it comes to her pop concerts. She's done the pop arena spectacle of the kind many of her fellow superstars present to their fans. Now it seems Monica has the habit of always attempting to do something not seen previously. I don't merely mean changing the name of the tour and adding male dancers as the "extra" element or building huge sets in a phallic beating of the chest (see Take That's amazing yet ridiculous new show currently sweeping the UK). Monica instead deconstructs herself as a performer and the notion of a pop concert each and every time she sits down with her creative team to embark on a new set of shows. This is why I marvel at Monica Naranjo. She is truly one of a kind and you'll never see the same show twice with her. Each tour, each night and each show is utterly different to the previous. When Monica reinvents, it is an absolute and utter reinvention not solely of her music but also of her profile, tour and reconceptualisation of the genres that define and delineate pop, cabaret, theatre and concert too. Exhilarating and incredibly brave.

I last saw Monica in Madrid promoting her 2010 Adagio tour. This saw a reconstruction of her pop anthems that have filled European discos and clubs for the past 15 years into soaring classical arrangements with a Philharmonic orchestra under the magisterial conduction of Pepe Herrero as her collaborators. This was a sight to be seen and heard. The show was epic in all senses of the word. How on earth could Monica top this? I just had to fly out to Spain and see her next move in the flesh. Indeed, she could easily have repeated the same sort of show again come 2011. For sure, she seemed to have certainly found her comfort zone as Spain's ultimate singer. No, forget that. On the Adagio tour Monica Naranjo claimed her rightful title as Europe's pop-prima-extraordinaire diva following the likes of Maria Callas, Renata Tebaldi, Mina and Shirley Bassey who've owned that special moniker in the past.

However Monica did something very different with Madame Noir. Perhaps realizing she'd reached the diva summit she'd climbed in Adagio, Monica examined the ego of such performers and their spotlight this time around by kissing her Philharmonic goodbye and filling the stage with just herself and her stalwart polymath collaborator Herrero at the piano. Monica essentially created the character of Madame Noir with all her intricate, tragic, comic and hilarious psychoses revealed in front of her audience. This was no one-woman show however. This was a true exploration of what it means to be a diva and singer on the stage with just a spotlight, the song and her audience as company.

The result? Like nothing I've ever experienced before. How can I best describe the show? It certainly wasn't a concert in the strictest sense of the word. It was cabaret, musical and theatre all combined into one. The show is a story with a narrative including performances of European standards like Miedo, Para Siempre and E Poi in-between acted-out scenes of the performer, her long-suffering assistants, bumbling director and wonderfully rendered soliloquies by Monica. Absolutely groundbreaking.

One might say the show was collectively inspired by End of The Rainbow (Al Final Del Arco Iris), A Star Is Born, and Mommie Dearest. She began the show dressed in a beautiful white gown singing through the audience and down the aisle as if she was a ghost walking back to the stage. With a starlit staircase to guide her home, symbolically working much like a lost plane finding its runaway after a bitter storm. Once landed, Madame Noir had truly arrived and the play of the diva's life consequently unfolded. This was not Monica Naranjo but rather Madame Noir's story. The character was unbearable, beautiful, adorable and critically Monica had managed to convey a glorious sense of tender vulnerability.

Madame Noir may have been a show set in the 1950s but it was incredibly modern. Very rarely do performers go this far. For sure, artists will often don a role for a tour and even adopt a stage name to help them comprehend the dynamics of singing, the spotlight, fame and the stage. This was very different however. This was not simply Monica does Madame (like Stefani Germanotta does Lady Gaga for instance). Madame Noir reinvented the reality of the performance by collapsing the lines between theatre, musical and concert and making it work.

So much so that when the fire alarm went off backstage at the Teatro Arteria Coliseum, the audience were so drawn into Madame's realm one couldn't be sure whether it was part of the show or not. The boundaries of reality, stage, audience and performance had been blurred by Monica, her singing and the show's creative director Vanessa Jose. The theatre may have been burning down yet the show continued. Only the metal safety curtain beginning to descend over Monica (naturally still singing in character as Madame Noir despite the alarm) saw the eventual erosion of the illusion.

Oh how I would love to see Madame Noir again! Merely to hear Monica sing again would be a treat. She has a fire in her voice that can rise to a feverish inferno belting out notes with fragility and strength and yet she manages to convey the softer moments with a tenderness that had me in tears and goosebumps throughout the night. One only has to refer to her final song: the aria Nessun Dorma from Puccini's Turandot, which she conquered to a multitude of standing ovations. An amazing night.

Gracias!

***

KYLIE APHRODITE LIVE: LES FOLIES

2011-05-06T00:10:00.005Z

2010. A year or so earlier.

Fingers in ears. Eyes closed. Avoid Kylie. Avoid technology. Whispers of a tour have now become screaming shouts all over the place. She’s released her twelfth album and she now plans to take the show around the world as you do. In its build-up, details of its content start to leak which is only to be expected as water is apparently a critical ingredient. Ahhhhh, I shouldn’t even know about the water stuff. Why do I know this? Already? Ah! I don’t want to know. Fingers in ears and eyes closed. You see, ever since I was eight I’ve never known what I would end up seeing on stage. The entire thing is a mystery, like Christmas presents. It’s always been that way. So I close my eyes and ears. I just don’t want to know and ruin the surprise. Ever since that shindig in 1998 at Shepherds Bush Empire (otherwise known as the UK leg of Live & Intimate tour) I’ve been bowled over by what Kylie, Steve Anderson and William Baker have in store. And now, eight tours and over a decade later, the moment I know a tour is being arranged, I avoid whispers, comments, discussions and photos.

I think I do it for two reasons. The first being that I simply don’t want to spoil anything and I love the surprise factor of it all. It’s like finding out all your presents on Christmas day two weeks before.

1991: Some Rainy Sunday

The second reason is something more personal. I do it for the eight year old dancing around with his mum in the front room to Turn It Into Love and Things Can Only Get Better. That’s just how we rocked out in 1991! I remember one particular rainy Sunday we shuffled around, my mum sat down, looked out at me using the sofa as my stage as I disco-diva’d out and told me how she loved the lyrics of those two songs. I had no idea what she was on about. I shrugged her comments off as I was having far too much fun in my sparkly gown made of tinsel from the old Christmas decorations and bed sheets stolen from our guestroom. She snapped out of it and danced away returning to the imagined stage (sofa) as backing singer (of course). For some reason, when I attend the concert and I don’t know what I am about to see, I feel my mum is there with me and those lyrics come to life.

Feb-March-April 2011

So fingers in ears. Eyes closed. Avoid Kylie. Avoid technology. This means: bye bye twitter, and consequent dinner dates with friends who know the show are interrupted with me going to powder my nose whenever the concert comes up or they communicate about the setlist by sign language and oblique references. They know me by now and understand that the first I know about what is in the show is when I am at the show and not before. It is my little weird thing I do. I just avoid it all. Absolutely no spoilers.

I think not knowing the show may also have some kind of pervasive influence over the outcome of this review. In that every thing in the show was a mouth opener to me. After a year of shutting them, my ears and eyes at the show were as open as they could be so please forgive me if I forgot anything or occasionally slip into hyperbole. This isn’t a normal review. It comes from my heart. That is both bewildered and amazed. Still.

9th April 2011

So now it is April and tonight is the night. I find myself in the Splash zone. I’ve heard this term being used in relation to this Kylie tour but I’d no idea what it involves. Residents of the space are given an assortment of goodies: towels, books, signed stuff, passes and a fetching mackintosh. Everything you need for a nice picnic on the heath. It also turns out to be an area right at the front of the stage. Close doesn’t quite describe it. Fingers are removed from those ears and the eyes start to open…

The show begins with the beautiful Le Carnaval des Animaux by the French romantic composer Camille Saint-Saens’ with silk-draped bodies emerging onto the stage somewhat like Naiads, which in Greek mythology are a type of nymph who look after fountains, streams, brooks and springs or their sisters, known as Nereides who tend for the seas. They stand still and watch over the water preparing the way for the impending arrival of Kylie – Aphrodite. Other concerts of this magnitude feel it necessary to drown the eyes with bombastic and brutish choreography from the offset. Stars and their conceptual musical directors often want to start the show with fireworks. However, observing the start of Les Folies, it is clear that a bigger start is not always the best way to kick off proceedings. The show is more epic, electric and bold simply by having its dancers stand before us as if to say “you have no idea what you're about to see so we’re just going to stand here and let you get ready!”. Consequently, the audience are put in a frenzy. Not because of fireworks, explosions and early overcomplicated choreography that you might see at other tours. Rather, because they allow the audience time to take on board the electricity of the spectacle they’re building it up in a more climatic and fun way, instead of a rush to the top. You can taste the energy.

The stage reveals itself and appears to double-up as Zeus’ very own beach-house. The Naiads are joined by gladiators while Kylie is flanked by two dancers who’ve clearly taken their fashion tips from Hermes himself with golden-winged helmets in this deep-sea dive into Greek mythology. I am in rapture. The dancers are strong, bold and incredibly athletic. If Kylie had opened the first Olympics back in 776 BC in Olympia, this is EXACTLY how it would have looked!

When Kylie arrives singing the title track of her previous album, she appears like Botticelli’s Birth of Venus as well as William-Adolphe Bouguereau’s transportation of Venus from the shell. Dressed somewhat similar to the legendary Princess of Power, She-Ra, Kylie declares her status as the fierce and mighty Aphrodite to the 02 and to reinforce the message her underwater angels burst from pools located on the stage and seem to dance in the air. The entire tableau is a total feast for the eyes. The aqua-acrobats soar into the air and descend back into the water only to pick up more bodies which cling onto their fellow athletes' bodies as they're pulled above our heads. It is quite hard to describe the process but basically the athlete bobs up and down and as he’s lowered back into the pool he pulls out another and once this process is repeated a third person is located and extricated from the pool and attaches themselves so two become three. Very amazing.

When Kylie says “this is where the fun begins” she is being coy. This is when I start to see a performer provide a show that says “follow this”. The Aphrodite tour is a show that will not be topped for many years to come. It is clearly Kylie’s unique way of upstaging her fellow performers, drawing the line in the sand, setting the bar and making sure that standard is so high chart rivals couldn’t even dream of devising a show like this even if they wanted to.

The arrival of The One see's the narrative become a song about decadent monotheism in a splendid and hyberbolic delivery befitting a show that George Quaintance himself would have painted. Indeed, by the time Wow arrives we step right back into time as the dancers show-off their gold shields transforming from Olympic athletes to Roman Guards. Oh, if George Quaintance were alive now he would have been in heaven. In fact he is! Looking down at the show with a massive grin on his face. Kylie performs rather tasty hybrid version of the album mix and the poptastic Death Metal Disco Scene Mix. Perfect.

Steve Anderson takes Illusion to the deserts of Arabia as Kylie arrives on her Pegasus. Both the lyrics of Illusion and its interwoven choreography see Kylie exploring that other Greek story of Sappho. To feverish levels. It becomes clear that this could be a massive film from Hollywood’s Golden Era. I’m talking about those classic films that, despite the arrival of bulky budgets and special effects, will never quite be outshone for their inner warmth. Films like Cleopatra, Ben Hur and The Wizard of Oz. Cupid Boy sees Kylie either tell the story of Aphrodite’s love affair with Nerites or Helen Of Troy's, where incredibly beautiful dancers shimmer, parade and preen like peacocks on acid, jostling for attention, lust and adoration. She, as Helen, refuses the suitors' stunning advances for the vision of the true love she holds in her heart (and neatly projected on the screens behind her). This becomes a tribute to love as well as drawing upon glorious inspirations from Bob Mizer’s Physique Pictoral, James Bidgood's Pink Narcissus, and of course the previously mentioned George Quaintance.

Talking of which, Everything Is Beautiful is the soundscape for a fashion show put on by the gods' own designers. Each majestic item of clothing whether it be her dancers or Kylie’s own wardrobe transcends into pure artwork. One is immediately taken to that classic scene in Funny Face when Maggie Prescott (Kay Thompson) celebrates the latest big fashion trend which in this case is pink! Utterly Hollywood. The point is reinforced with the arrival of suited gentlemen wearing distinctive bow-ties. From here we are transported to Paris and Folies Bergere with a rather burlesque re-imagining of Slow. Fans of Polly-Rae’s amazing Hurly Burly show will love this. Steve Anderson morphs the slick electronic original to a sexually charged jazz number which sees even the stage become rather erect with excitement. Miss Gypsy Rose Lee herself would be bursting with pride. William Baker's direction here also proves his brilliant ability of managing to include smaller and intimate moments in a gargantuan tour like Les Folies without them feeling lost. Indeed, Slow is rendered small and yet not swallowed up by the show itself; it remains large and sparkles its own star just as brightly as the larger numbers in the concert.

After Slow, Steve flings out a rather excellent re-working of the Big Brother remix of Confide In Me. As Kylie changes, her dancers work the stage into a boxing ring throwing fists into the air followed by flicks, kicks and relentless punches. By the time of Kylie’s arrival for the body of the song she emerges in a sparkly new dress. Next we’re catapulted into some far-away galaxy, past beautiful looking azure planets and purple nebulae. The strings of Looking for An Angel (my favourite song from the album) soar and what a beautiful flight it is. Kylie shimmers in a gold outfit somewhat like an adapted Doric chiton. Right on cue an actual feathered angel arrives. Here Les Follies spirals into an utter celebration of fragile opulence. Kylie rides the angel and actually flies out over her audience immediately raising a toast to Barbarella. With Closer completed Kylie opts for a bombastic cover of the Eurythmics There Must Be An Angel. The trinity of Looking for an Angel, Closer and this cover seals the deal for Les Folies as it soars way beyond cloud 9 and into bubbles of happiness. Everything here is indeed beautiful. Into this comes the poptastic family of songs Love at First Sight, Locomotion, Better Than Today, Better The Devil You Know and Put Your Hands Up.

And in-between this quintet came If You Don’t Love Me. The inclusion of this ultra rare b-side at this precise moment is pure genius. Originally a Prefab Sprout hit, If You Don’t Love Me was one of the first Kylie songs recovered after leaving PWL. As I watch Kylie perform the pretty rare Deconstruction song I suddenly feel that, in some way, Les Folies could be a swan song of sorts. A change is in the air. Like the gods (and goddesses) are writing a new chapter in the path of Kylie’s music(al) odyssey. I feel a tremendous awareness that Kylie and her creative team have reached a beautiful summit and this is the moment they can stand back and be incredibly proud of themselves. This show is a pinnacle that no other act out there will reach for some time to come and as the embers of If You Don’t Love Me finally go cold I get the feeling that the next show Kylie will put on will be completely different to the epic spectacular that is Les Folies.

Indeed, making sure the show can’t be topped, Kylie delivers the ultimate in the beloved performance of All The Lovers. Demi-gods soar into the air in an absolute tribute to Busby Berkley. Oh he’d be in seventh heaven with Les Folies. To say All The Lovers is the icing on the cake doesn’t quite describe what unfolds on stage. All the Lovers is like the best dessert to the best dinner party you’ve never wanted to end. I could write a review on it alone and it would be equally long. To me this seemed a perfect ending to the show but also emerged as a wonderful book-end to those bone-chilling heart-racing early moments of Kylie’s Live and Intimate tour during Too Far back in 1998. The start of the tour seems, to me, powerfully linked to the last song performed at Les Folies. I can’t quite describe what it is exactly that bonds the two especially as they are both incredibly different songs. I think it could be the pulsating electricity, the eyes that pervade the audience, the spiraling shadow play or perhaps it could be the fluidity of both performances. What I do know is this: the spectacle that began with Too far seems to me to have reached a wondrous conclusion with All the Lovers. And, it has left me with the biggest smile on my face.

***

Let's hear it for the boys!

2011-05-02T13:42:00.011Z

For sure, I adore girlbands, disco divas and Eurovision melodramas. Occasionally however, I do dip my fingers in my c.d collection (I know, retro!) and dig out my tuxedo-loving men who recall a time when only a few traveled by plane, Queen Elizabeth hadn't yet heard of Camilla and big bold melodies ruled supreme in the charts via mighty and smooth baritone voices. No samples, rappers or Fern Cotton, this was a golden era of music. This post is to raise a toast to the new acts who've brought back yesterday, spun it around and provided some albums in the past few years.

Michael Feinstein

First off is the iconic Michael Feinstein. He's got his own institute of music and a little ballroom in New York . He taught the boys below pretty much all the tricks of the trade when it comes to big band, Cole Porter and swing. Namely, never ever try and be a tribute act, basically. When attempting to cover the masters already made famous by the likes of Frank, Dean Martin, Andy Williams, Tom Jones, Matt Monroe and so forth stylize it in your very unique way. This is so important. Deconstruct it if you can. Otherwise, you are just one step away from producing an album that sounds like what some shake-and-bake reality television contest winner might rush out before the Christmas sales. Michael Feinstein is the kid that started off the interest pre-rock-and-roll music and when he got married to his long time partner Terrence Flannery it was Judge Judy (!) who presided over the ceremony. He's produced so many albums it's impossible for me to point to one recording. However, I always have time for Michael Feinsteins music and his lush arrangements. In short, they're all good. An incredibly talented man and a real asset to the world of music. Download tip: Pure Imagination, Angels on Your Pillow.

Tom Gabel

Hailing from Germany, Tom sounds ridiculously like Frank Sinatra. It is unbelievable. Rarely doing covers, Tom Gabel's albums constantly renew the field of swing, jazz and the big band genre. Moreover, they are packed with brilliantly arranged epics like Where Do You Start, You Took Your Love Away and Catch Me If You Can. Where Tom Gabel (sometimes written as Gaebel) leads, Michael Bublé will follow. Take Bublé's Haven't Met You Yet. Wonderfully cute, bespoke, retro and thoroughly contemporary, it's truly a lovely ditty if ever there was one. Then listen to Tom's Its A Good Life. The similarity is "intriguing". I don't want to slight Bublé in any way. He's fab. But Tom Gabel's already been there and done it. So, highly recommended for the glorious arrangements alone. Download tips: Catch Me If You Can, You Took Your Love Away.

Matt Dusk

Matt's first two big albums Back In Town and Two Shots are an absolute joy. I haven't had a real chance to get down and listen to his 2009 release, Good News, but the aforementioned releases are well worth it and contain absolutely stunning string arrangements that make you feel a thousand bucks, dressed in a t so op hat and off to some exclusive members' bar that time long lost forgot. Shame he always dresses in what seems to be "bank manager" couture. Or at worst, estate agent chic. Big band and ultra dramatic, Matt always dips his perky twinkle toes in the modern swing scene for instance the title track of Back In Town will have shades of 1980s hip hop in the production while the beautiful Don't Go Looking has aspects of contemporary pop in-between classic strands of 1960's Bacharach-esque melodic narratives. The boy loves a challenge and covering The Proppellerheads/Shirley Bassey's History Repeating from 1997 illustrates the point. Download tips: Back In Town, The Theme from Loaded Gun, Don't Go Looking

Michael Bublé

Not only is this Canadian boy absolutely ravishing, but his stage persona truly sparkles. Initially, Michael Bublé started with small residencies in and around Canada and New York state and released cover albums that were always keen to stress that, despite not being original, they instilled Michael's bombastic character. The covers have led to more amazing covers (his version of Cry Me A River is absolutely epic) which eventually led to original songs doing rather well in the mainstream charts. Download tips: Cry Me A River, Stardust, Feeling Good

Cheyenne Jackson

I first came accross this boy when he did an album with Michael Feinstein on the highly recommended album The Power Of Two. Not only is he a fab singer, excruciatingly beautiful but also a hilarious actor often seen in Tina Fey's Emmy award winning show 30 Rock. I am now a bit of a Cheyenne fan. Hailing from an strict Christian family in Idaho, Cheyenne's star promises to burn bright this year with a solo tour (11 of November he's at Carnegie Hall!) and his first debut solo album. Download tips: Me and My Shadow, I'm Checking Out!

Rick Guard

I don't understand how this boy didn't quite take-off. I think it was the unfortunately pretty naff lead-single (Stop It, I like It) that caused all the problems. The album that followed is pretty fabulous however. Coming from Salford, Rick Guard might have launched his big band albums perhaps before the world was ready for that sound. Putting aside that leacherous first single, the first album, Hands of a Giant, contains absolutely wonderfully fun big band choonage. The songs Love Bug, Show Me Yours and Balls need to be heard to believed. Looking back, I can understand why the album Hands Of A Giant had issues when finding an appropriate runway to land on. I mean the chorus of Balls includes the rather dodgy lyric "Drop, they're waiting for their balls to drop! Waiting for their balls to drop!". Not suave, smooth or dapper. But highly recommended. When it was time to brush himself down and release a second album he included the awful Stop It, I Like It again but this time proffered a far more refined and polished piece of musical meat. Anything But Me is an album by a British crooner that has really got the balance of interesting covers (his version of Big Spender is brilliant) and nu-jazz originals down to a key.
I can't listen to his tribute to his mother who suffered from Alzheimers and died in 2008 without getting emotional and it's not schmaltzy or anything. Missing Person is simply just an absolutely beautiful song that conveys the story perfectly. Anyway, I can't wait for his third album! Download tips: The Truth, Making Movies, Show Me Yours, All or Nothing, Balls

Peter Grant

A crooner from the north of England, Peter has one of the warmest voices "on the nu-jazz scene" so to speak. He's released two very strong albums New Vintage and Traditional. He reminds me of a young Matt Monroe. He's just wrapped up the mixing for his 3rd album which I hope is going to final break away from his cover song comfort zone. For me, Traditional was a bit of a let down after the breathtaking New Vintage. Suddenly he sounded like he was auditioning for some corporate function in Norway, which anyone doing this sort of music must be incredibly aware of when covering these monumental decade-defining songs. The singer has got to impart his own story within the already known epic. Peter nails the gem that is The Windmills Of Your Mind on his album and makes New Vintage a brilliant debut. Download tips: The Windmills of Your Mind, The Fool of The Hill, Didn't We

Spencer Day

After coming second in Star Search (America's original Idol-type show) Spencer had his card marked. His 2009 release Vagabond is an beautiful and subtle release. Whereas all the other lads above and below all go for huge soaring orchestral runs, Spencer has moved away from his earlier albums and instead released a soft blues/jazz collection of songs that even include fusions of southern blue grass country textures. If you loved the softer moments of Dana Glover's Testimony, Vagabond might be up your street. This could be because of his Mormon upbringing and how he came terms with his homosexuality. Indeed the song Joe is a (Self)-testimony of sorts. He's recently done a stint in London's West End supporting Polly Rae in her Hurly Burly Show where he set the audience aflame with his Buddy Holly cover of Oh Boy that was an absolute revelation. Download tips: Joe, Better Day

***

ULTRA GIRLS - live at London's 02!

2011-04-16T16:57:00.005Z

After interviewing the band a few weeks ago, I was incredibly eager to see them actually doing their stuff and performing their single, Girls Will Be Girls, live on stage. Would they turn out to be all mouth and no trousers? Well they didn't disappoint. Supporting Kylie Minogue on the UK and Ireland leg of her World Tour, they stormed the stadium like mini-Aphrodites themselves. Very fierce and very, very mighty. They kicked off the set arriving, like Persephone herself, rising from the underworld through two trap doors in the stage just as the gorgeous introductory synths of Girls Will Be Girls struck up. Sharp choreography and strong vocals immediately won over the fans in the splash zone. Laura and Lauren's powerful lungs strike the sound system as they declare their 'electric heartbeats' in the neon-fused Birds and the Bees which doubles up as You Spin Me Around (Like A Record) for 2011 with a touch of Robyn's Who's That Girl in there for good measure.

Once the rush of the first songs dies down, it soon becomes evident that the Ultra Girls do not only have a tendency to provide ridiculously catchy pop music, but they couldn't give a fuck about flogging the dead donkey that is being the 'next Spice Girls' or 'future Girls Aloud' monikers. I imagine such comparisons could be drawn but to me that's painting a very monochromatic picture. The double-whammy of Gonna Stay and I O U emerges with such exuberance that I not only want to get up and become the fifth Ultra but recognize clearly that the band refuses to play the 'the next [insert band here]' card and instead provide a menu of pop that is entirely of their own making.

Amy performs the ringmaster role while Lucy takes charge as the uber-fun master of ceremonies. All equally vocally strong, by the time the girls rock out to the excellent mash-up of Blur's Song 2 and Pink's Get The Party Started, I'm hooked. Fan for life. I want the album, like yesterday!

Girls Will Be Girls is released on Monday!

***

QUEEN OF HEARTS-Arrives, sees and commands 'let them eat pop! - and let that pop be brilliant!'

2011-04-07T16:33:00.011Z

Last night I witnessed Queen of Hearts glisten and sparkle on stage at Madame Jojo's. This was an arrival. Her music clearly symbolizes her statement which was 'let them eat pop and let that pop be fucking amazing.' Her crown? An amazing modern twist of the traditional Spanish peineta. Very nice. Her jewels? Absolutely stunning songs that hold within them the promise that her album will be one that thrusts into the most played lists on one's iTunes.

As the throbbing baseline of the first track rushes from the sound system and penetrates the ears, one instantly realizes that the court the Queen of Hearts confidently strides into has many contenders all vying for success and approval: electronic-synth pop. Observing the newbies are Kylie, Madonna and Britney, all nonchalantly fanning themselves as a crowned trinity of genre icons. Then the likes of Lady Gaga, Princess Robyn and Duchess Goldfrapp waving to their fans and in a strategic corner Gabriella Cilmi, Annie, La Roux and Little Boots taking notes and curtsying at all the right moments. This is the scene in the Ballroom into which the Queen of Hearts irrupted last night, cementing herself firmly in close proximity to the throne.

The lead off track Freestyle was a throbbing electronic number that began with sparse rhythms that slowly built. By its chorus, it was clear that this was the 2011 hybrid of Donna Summer's I Feel Love and the Scissor Sisters' vastly superior cover of Pink Floyd's Comfortably Numb. Resplendence personified in a high couture number by Kruszynska, Queen of Hearts clearly laid out her manifesto with Freestyle and its follow-up Overcome by the Rhythm, as a monarch relentlessly dedicated to neon beats, the mid-90's rave scene and the Dalston Superstore.

However just before the sovereign is lost to incredibly trendy electronica, she lobs out Premonition which not only screams MEGA HIT SINGLE! (hear the song and you'll understand its description require capitals) but also sees the Queen of Hearts loosen up and relax. This allows her subjects a chance to eat a rather yummy slice of the italo-disco cake she's provided. An apocryphal story tells of another Queen once tragically suggesting her angry population eat cake to resolve their lack of bread, their bitterness, the political problems and general dissatisfaction with the system. In a time of renewed austerity and terrible cutbacks it is nice to see this Queen eschew such unfairness and instead proffer up the feast that is Where Are You Now.

So. Where are You Now. What can I say about this song that hasn't already been said before? It was recently given a little tiara of its own when it was selected the record of the day. It engenders amazingness. What can I add? I'd like to say Where are you now...where have you been all my life? It blossoms like the most beautiful flower in one's ears and radiates sunshine. The minute it approaches its end, I press replay and it's become a habit I can't break. The Queen of Hearts truly must commission an extended mix. Surely that is within her powers of royal command? Love it.

Despite entering the ballroom drama of electronic pop music, Queen of Hearts does use her moment in the spotlight to mirror or clone other acts we've heard and seen before. She simply arrives. The Queen of Hearts is the Queen of Hearts. There is no competition. She just is. Whether it be the serious neon-blue tracks like Freestyle or No More, or the rather irresistible pop anthem Premonition, the Queen of Hearts is ready to provide an absolutely amazing first album and I for one can't wait to eat the cake this queen is about to supply!

***

POP ROUND UP!

2011-04-05T13:40:00.010Z

First, DSTP must start with Elouise's version of Gaga's ode to liberty, rights and equality Born This Way. Elouise and Steve Anderson strip back the dancetastic original an acoustic root and slightly re-work the structure with their arrangement so certain phrases are punctuated and embellished. The result? It becomes a rather lush power ballad. I am incredibly biased when it comes to Elouise (yes, I put my hands up) but this cover has immediately burnt a hole in my ipod player. The song is now available for a free download too (here). Woo!

So here it is! The Ultra Girls video. It screams girlband fun. And that's the point. Theres so much serious straight laced pop music going around at the moment. I love the fact the Ultra Girls refuse to play the snorefest card. The girls are currently flying around the UK supporting Kylie on her tour and I can't wait to see them strut their stuff this Saturday! I'm gonna do a phat big article on the Ultra Girls after I see them take on the world & conqueror the stage that is the London's 02!

I am loving this new mix of Kylie Minogue's Put Your Hands Up by Phil Hammond. I am so late on this but I've been a little busy bitch. I can't wait to see Kylie live (I've had small or no spoilers - in an age of twitter that has been incredibly difficult but with a few days before the show I've got a little idea of the setlist). What awaits - the mind boggles! This remix actually reminds me of a girlband hit that never was by the much missed Red Blooded Woman called Keep Up The Attraction which was a slice of three minute pure PWL pop bliss!

Talking of which, the Queen Of Hearts. I am going to a showcase tomorrow and I.CANT.WAIT! The Queen of Hearts has observed Goldfrapp, Kylie, Robyn, Daft Punk and Lady Gaga & added herself to the shelf but in a way that is constantly original, fresh and organic. Something that is incredibly difficult to do within in the field of electronic pop music. The Queen of Hearts adds to the genre rather than merely presenting herself as a copy or clone what's we've heard and seen before. That is difficult to do. Many get it wrong. Few get it right. Look at Natalia Kills for instance. It's a balance that is so rarely obtained. Yet, Queen of Hearts produces pop music resplendent, original, fragile and constantly enjoyable.

Another cute video is by Nick Hagelin. He is cute as buttons. Not many pop videos come with dancing pandas these days so its totally worth the mention. I wanna wrap him up and get him to do a duet with Elouise. I can see both of them in their very own episode of Glee for some reason. Funnily enough, just like I've fallen hard for Elouise's acoustic take of an heavy BPM track I actually prefer Nick's stripped down version of ICU over the dancetastic original. Maybe I'm just in that kind of mood at the moment.

***

Its not all about the tits!

2011-03-23T17:53:00.014Z

It seems strange to review a West End production here on Dontstopthepop, but Polly Rae's burlesque extravaganza is a show that re-examines the genre we softly generalize as "popular music" and re-constructs the hits much in the same fashion as Glee. But that's just half the story. The All New Hurly Burly show is like nothing out there. For me, the red thread running through the show is a delicate narrative in which director William Baker takes the audience on a global journey of the world using the artform of burlesque as his chosen language and Polly Rae as his interpreter. We the audience go from a posh British boarding school during Polly's brilliantly rude Hit Me Baby One More Time, through a beautiful exploration of 1920's Japan in the stunning Umbrella/Hung Up medley, over to Pittsburgh in the effervescent Flashdance, into 1970's London in the gloriously punky Fuck Off, New York's Cotton Club in I Must Have That Man all the way into the very heart of the French palace of Versailles during Bad Romance. Yes, with Polly Rae as the audience's pilot we go down every nook and cranny imaginable. It is truly the world's first ever global exploration of burlesque using contemporary pop music. And even this description sells it short. For Polly Rae does something few within burlesque have done before: she sings too!

It starts with an amazing version of It's A Sin. Notions of the Pet Shop Boys original song slowly ebbs away as Mother Superior rides her crucifix and sings her take on the 1980's ode to shame, intolerance and bigotry. I can no longer hear the original without seeing Polly Rae rise from the floorboards and ripping up a picture of the grandest frock-wearer of western civilization: the pope. From this moment on, we're herded on board the Polly Rae private jet arriving at nearly every landing strip that one can squeeze into the flight-time allotted. And there's a lot of squeezing.

For me the three pillars of the show are Steve Anderson's arrangements, William Baker's direction and Polly Rae herself. After the interval, there are two medleys that leave the audience with their mouths open, lips moist and ears outrageously fulfilled. These for me illustrate the amazing skill of Anderson's arrangements in the show. Kylie fans will have heard Anderson's productions during the last eight, yes eight, Kylie tours where massive songs become epic saga's of Homeric proportions. Take for instance the medley of Japanese Boy (Aneka), Hung Up (Madonna) and Umbrella (Rihanna). This part is not only a feast for the eyes, but the manner in which Anderson interweaves the compositions simply breaks the mold. I can no longer hear the tracks individually: they now exist in Anderson's triumvirate form. Without Japanese Boy leading into Hung Up and then flourishing into Umbrella the three never realize their potential in isolation. This is the power of the medley and Andersons ability to fuse the songs together. The music of the show radiates out of The Garrick and shines into the neon skyline of London's West End.

This part of the show also conveys the brilliance of William Baker's direction (and Ashley Wallen's choreography). The stage invites the eyes into a Japanese garden, of say, the 1920s. A time which saw Japan see unprecedented prosperity and what is known as the Taishō Democracy. Polly Rae gently unwraps her azure irotomesode kimono with coy fluidity and telling exuberance where you can almost imagine the cherry blossom sakura flowers dance in the wind. It's breathtakingly beautiful. The lighting itself sparkles around the audience and stage ensuring we are not merely watching the performance unfold from afar isolated in our seats but instead seem actually invited as part of the experience.

Bakers collaborative work with the shows lighting designers creates a powerful sense of intimacy so the stage is not flooded with light but carefully outlined so as to guarantee the beautiful nuances of Polly Rae's art are not just seen but also felt. In this way, the sumptuous tableaux of burlesque that are presented and constructed by William Baker and Polly Rae shift between lush luminosity and erotic penumbra. Baker utilizes this so cleverly that there's one moment in the show when the audience find themselves under the spell of a slowly disrobing sailor boy only to find their desire and notions of masculinity subverted.

Last Sunday I saw something else unfolding in front of me. Whether it be during Polly's quirky moments like her hilarious original song It's Not About The Tits or more songbird moments like I Must Have That Man, I was lifted by Polly's voice. It resonates with a beautiful vibrato bringing to mind my time favourite singers Blossom Dearie mixed in with the tender tones of Peggy Lee. I walked out the theatre feeling I'd seen and heard a show by a singer at its very core. The burlesque aspect is a brilliant icing on the cake. The smile of the show was its singer Polly Rae. And that's what I walked out with. A massive, large, gargantuan and rather throbbing memory of Polly Rae entering her stage, taking to the spotlight and singing her heart out.

The All New Hurly Burly Show
Starring Polly Rae
At The Garrick Theatre
Until 1st May
Tickets

2011-03-23T14:12:00.001Z

TERRY RONALD INTERVIEWED

2011-03-09T17:24:00.007Z

To anyone who owns a Minogue record, Terry Ronald needs no introduction. His production work features on everything from Kylie Minogue's seminal work Confide In Me to Dannii Minogue's excellent Neon Nights album. His name also appears on Girls Aloud releases, Sheena Easton cult classics and Le French pop princess Lorie amongst many others (including his own solo albums). Come 2011, Terry is the verge of releasing his first ever book called Becoming Nancy (Bantam Press) and is involved in not one but two pop orientated shows in London's West End. So it seemed about fucking time to chat with Mr.Ronald on all things pop, books, friendships and burly lumberjacks.

****

Hello dear, how are you!!!! You've got so much going on at the moment. Can you see the wood from the trees? Or you do you need a nice burly lumberjack to...er clean it up somewhat?

I suppose a burly lumberjack will always be a boon, but yes, it does seem to be silly season for me, work-wise, at the moment!

Do you secretly actually love it?

I really do like being busy, yes, but only with stuff I love doing. Sitting in a TV studio for hours waiting around for various artists and bands to get their hair and make up done.. to get their hair done is not my idea of fun anymore.

DeeDee Loves Me

You've got two shows that you've either written or helped create now both appearing in the west end, a novel, plus you're supporting the new artist DeeDee Loves Me.

Yes there's lots of good things happening so I'm happy and grateful. People say that being a jack-of-all-trades isn't a good thing, but in my case it's what keeps me fresh. It's also keeps me employed. I do find it's feast or famine, though. The big projects all come at once and then I get stressed that I'm missing all my favourite TV shows. DeeDee Loves Me is the one pop project I'm working on at the moment. She's a super talented writer and fabulously quirky performer. I adore her songs and we're putting together live shows for her now. She is going to have a great career in music. We also found a great talent called Rudi Douglas who's a singer/ songwriter. I'd like to spend some more time developing his project too.

Do you have moods for each thing? Do you have like "a deedee day" and then "a little belter" moment in the shower and then perhaps a "hurly burly evening"? and then a "becoming nancy weekend?" And after all of that a "fuck off-i'm on holiday" month?

Pretty much. I have to know what I'm doing each day. I can't blunder around from one thing to another. The other thing is when you're self employed is that you have to do all the admin, which takes up loads of time. I can't afford assistants or obliging house- boys to do that shit for me.

Little Belter. How has that come about and what's it about?

I've known Elouise, who is the star of the show for a while. She has an incredible and special voice- it's timeless. The show is a set of classic songs, which Elouise performs, and the stories around why she sings them and what they mean to her. It's dramatic, camp and funny all at once. She is a lovely, tiny northern gal with an immense voice- and I guess that's the crux of the show. When I saw her last show I felt that we just didn't get enough of her personality, so Elouise asked me to help her bring it out in the script and Little Belter was born.

Elouise

You've also written songs for the performer in the show. What was it like hearing Elouise perform, what seem to me, as incredibly personal songs in front of you?

I wrote Pretender ten years ago. There are very few singers around that could do it justice, i think. It's a joy for a writer to hear their songs performed brilliantly.

Another Day is incredibly James Bond. Was that your intention when putting that together with Steve Anderson.

Steve and I wrote it for Shirley Bassey but it never made her record. Once again, it fitted Elouise like a glove. It was Shirley's loss.. Haha!

It had a huge response in the States and incredibly good feedback from around the world. Some heralding Elouise as the next Dusty. Are you both intending to write more massive songs for her studio album?

I'd love to make an album like that with Elouise. It's so rare you get to do it in pop these days. When Ian Masterson & me did 'Fabulous' with Sheena Easton, we had huge budgets for orchestras on every song. It was great. No one bought the fucker, but we had a marvellous time.

I think your work with Elouise really punctuates your massive versatility (and glorious skill) as a songwriter. You can write some of the slickest dance tracks on Neon Nights by Dannii Minogue which was totally made for the coolest clubs of Ibiza and then give us a song like Another Day...which is like a song written for the Royal Albert Hall. Where did this come from?

I have no real idea. I just love good music, whether it's Dusty Springfield or Arcade Fire; Stephen Sondhiem or Bowie. It's all about great melodies for me. I'm self taught. I can't read music. I listened to Blondie, Abba, and Burt Bacharach when I was a kid: the best pop writers. They were my inspiration. I found Eric Clapton and Led Zeppelin, Dire Straights and the like fucking boring. I was also into new wave and punk, though, so I always like that little left of centre or alternative edge in a pop tune. My other passion is collecting 70's and 80's disco music, especially the rarer, lesser known tracks.

Did you inherit it perhaps from your parents. I vividly remember dancing with my mum to Stevie Nicks. She'd drape me in shawls and we'd parade about in the living room to Donna, Kate Bush, and Motown and Doris. I think I must get predilection of songs by Dannii to Judy to Edith Piaf from these many childhood moments. So where am I going with this? I suppose..where did you get that sense of melody from? Do you think... you could trace it back to your childhood?

Yes. As I said it was the music I listened to. My nan gave me a Judy Garland record when I was seven and my mum was mad on Elvis. I developed my own tastes fairly early, though. Seeing Roy Wood & Wizzard on Top of The Pops doing 'See My Baby Jive' changed my life. I stood there agog in my nan's lounge thinking: I wanna do that! The first record I bought with my own money was Bowie's 'Life on Mars'.

Terry's new book innit!

Ah so to Becoming Nancy. What inspired it and where did it come from?

Becoming Nancy is the story I always wanted to tell. Although the characters in the book are fictional, much of the story was based on true events. It's set in South East London in 1979 and it's about a 15 year old music obsessed boy who gets the part of Nancy in the school production of Oliver! It's a love story really.

How much of you is David Starr?

David is much cleverer than I was, but I was definitely more worldly. He is the best and worst of me at that age I guess.

Frances Bassey. Is this like the best name that there ever was.

She's a great feisty character too. My best friend when I was 15 was Kenny Stanton. We're still like brothers now. Although Kenny was a white boy and Frances is a black girl, David's friendship with Frances was definitely based on Kenny and me. We were always hanging out together at the local record shops- obsessed with pop music- and we had smart mouths that got us into trouble, just like David and Frances. My husband, Mark, spotted it straight away. "Frances is Kenny!" he announced while he was reading it.

Reading the Dannii Minogue biography that you helped Dannii write, it was clear that friendships are important to her (and you) and how that is interwoven within life in general. So Friendship. Do you think Becoming Nancy is a celebration of that bond in as much as a hilarious journey back in time to the 1970s?

Definitely. Friends are the most important thing in life. In some cases more than family. I'm very lucky with both and I discovered just how lucky when I was diagnosed with cancer in 2001. You find out who your real friends are then I'll tell ya! Becoming Nancy is most certainly about friendship and family. And also shagging, cross dressing teenage boys.

What was it like embarking on writing your first novel? Did you find out stuff about yourself that you hadn't imagined before?

I'm not sure what I discovered. It was a scary prospect doing a whole novel when I'd only ever done short stories, but when the publisher said they loved my work I knew I had to have a crack at it. You don't get that sort of chance twice, do you? One thing that dawned on me recently was the fact that i've now done three of the things I always dreamed of doing: to release my own, self penned, album, to produce a show in the west end, and to have a novel published. It's taken 20 years to achieve all three but there you go. Even though they might not set the world on fire, they're all out there. It's a nice feeling.

Dannii's story...

When writing the Dannii autobiography where there aspects that you'd wished you'd included but couldn't because of space?

Not really: I think we got it all in. It went on and on. Haha! That woman has packed it in I'll tell you. She actually thought she had nothing to tell. Hilarious! However, there is a paperback version coming out-that will include extra bits!

You've been incredibly central to a series of Dannii's releases over the years. What was that like and what is your favourite all time Dannii Minogue record?

Dannii has literally helped me keep a roof over my head and that's the truth. I've worked on virtually everything she's ever done since 1993 in one capacity or another: from producer & songwriter to The X Factor & then the book. It's a pretty relaxed environment when we work togethe r- especially when you throw Ian Masterson into the mix. We work hard but laugh a lot too. I used to make her smoke cigarettes to help give her voice the soulful rasp we liked. She'd be coughing in the control room and I'd be saying, 'It sounds fabulous, dear, trust me.' Obviously 'Neon Nights' was a personal highlight. I love all the songs we wrote on that, and I was very happy when 'Don't wanna lose this Feeling' went Top 5. Dannii is a real old school hard working professional, as is Kylie. Both very loyal to the people that work with them. We've been friends for almost 20 years now so it's like family. As for my favourite Dannii song, it's 'Who do you love now?' I love the dark melancholy vibe of it. Such a gorgeous sounding track.

Very good pop album

Are they're any Dannii songs in the vaults that you'd love to be buffed-up and released perhaps for her multitude of fans. Songs such as The Sounds and Devil On My Shoulders?

No. I don't really understand that obsession with some fans who want to hear every single cough and sneeze their favourite artists ever make. Yes, there might be a few lost gems but many songs don't get released because they just turn out shit. There have been so many Dannii Demos commercially released: some really great, some not so much. Enough already! For the record I co- wrote both those titles you mentioned and they were minty.

Does writing a pop song stem from the same creative space as putting together a book like Becoming Nancy? Do you start with a skeletal story/narrative and start from there and just let it build. Or is the melody usually the first thing that's required?

I don't know how other people work, but when I write prose I have to have the story all mapped out. I need to know where I'm heading with it or there's a danger of rambling. With songs it's always melody first for me. It's what people hum even if they don't know the words. I'd let myself be led more by a song than I would with a story I think.

At the Garrick Theatre

Yes! The song Its Not about The Tits in the Hurly Burly show is a great example of how a small 3 minute ditty embodies the entire show that yourself, Polly Rae, Steve Anderson and William Baker have crafted.

Yes! It's about what being a burlesque artiste means to Polly Rae, the show's star. It's more of a musical monologue really, and it's quite rude in an old fashioned 'Carry on film' way. Polly, William Baker and I talked it through and then I put it all into a lyric. Steve Anderson then arranged a brilliantly cheeky arrangement around it. I'm very proud of 'Tits'.

And, now its returned to the west end under the glorious auspices of the Garrick theatre in central London...standing back at it all, what do you make of the show and why do you think its become such a sell-out success?

The Hurly Burly show is different. It's Pop songs in a burlesque style with the brilliant arrangements of Steve Anderson. 'Tits, tassels and tunes.' Some of the song mash-ups are hysterical and Polly is amazing. William Baker is so great at iconography, too. He knows what's going to work and he isn't afraid to toss something out that isn't working. It's rude, funny, sexy, camp, glamorous, exciting... what's not to like?

Polly Rae

What was like working with Polly Rae, the worlds first burlesque singer?

Polly works so fucking hard it's ridiculous. She wants everything to be perfect and I adore her because she listens to what you suggest and then makes it even better. We have a lot of fun working out things like how a German, dominatrix stripper should sing a Britney Spears song.

Now that the show has begun to soar, I'd like to ask a very deep question. How much boobage have you seen this month?

Oh too fucking much. Because I'm gay the ladies don't cover up anything when I'm in the dressing room. There's one particular girl in the show, Sophie, who is so sexy that I sometimes think I might be 'on the turn'. HA!

Do you think our David Starr would end up backstage working for shows like Little belter and The Hurly Burly Show? Or do you think his destiny is under a different star?

OH yes! I definitely think our David would love to work on Little Belter AND Hurly Burly: though he'd probably rather be in Hurly Burly truth be told, as would I!

Talking of which, are you considering writing a second part of Becoming Nancy. Maybe Flourishing Nancy? Davids life a year or so later?

Absolutely. I have four more David Starr stories up my sleeve. If Becoming Nancy takes off, there will certainly be another book or two. The next one would be set in the era of the New Romantics.

If you could say anything to the young Terry Ronald what would it be? And any advice? To the boy that became Terry?

Oh, so, so many things. Stay away from stonewashed denim; don't shag the drummer; no, that's not just a cyst! Loads of things. Mostly I'd tell him to go for it faster and with more confidence than I have. I spent too long thinking that other people around me were better at what they did than I was; not having the confidence to push myself. I'd tell the young Terry to do all the things I'm doing now fifteen years earlier. And not to be afraid to say 'no'. That's something else very valuable I've learned.

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Terry Ronald Official Site

Becoming Nancy On Sale Here

The Hurly Burly Show (At the Garrick)

Tickets for Little Belter (At Madame Jojos)

DeeDee Loves Me
Dannii Minogue
Terry's Twitter

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WOLF BOX - ONE FOR THE RADIO (STARS ARE SHOOTING....)

2011-03-02T12:07:00.002Z

Listen here

Wednesday 2nd of March. I first heard the song One For The Radio by Wolf Box. It has me rising above this chesty infection I've been lumbered since January. The song is like a tidal wave of honey against a field of blunt razors. Though just a sneak peek I'm already excited for the album and whatever may be round the corner. I can already envisage a video for this. The singer is singing in a forgotten forest with the city looming large behind her. Then she heads over to stream where a classic 1980's ghettoblaster pops out of the water and the girl examines this weird instrument of sound in the setting of nature behind her. She scrutinizes the music system. Even performs for it. She looks up to the sky and soars above the tips of the trees like she's some vampire. Yeh, can see it all now. Anyway, an amazing pop song. Welcome Wolf Box....

JADE MIMING TO KYLIE? Pourquoi?

2011-02-23T11:05:00.001Z

DUSTY DID IT FIRST! BORN THIS WAY

2011-02-11T16:18:00.002Z

I do indeed like Lady GaGa's brilliant new single. The hype surrounding it might do it a little bit of a disservice however. Slicing out all the overcontextualisation though, its an extraordinary little ditty that see's Gaga simply do a wonderfully tight pop song. I love it. But guess what, it just had me pining me for Dusty Springfield. Dusty's Born This Way is currently burning up my Itunes. Its a fabulous anthem which may reveal some ground in Gaga's detractors that argue she vacuums lyrics and styles already out there and unpicks it and reintroduces it for a 2011 audience.

BORN THIS WAY by ATOMIC GAGA!

2011-02-11T09:59:00.004Z

Perez Hilton's website has opined rather wonderfully hyperbolically that the song is "everything".Well not everything. I mean, that would be actually impossible. I don't look at books on tax law and suddenly feel Born This Way represents articles on fiduciary claims. Its failure to be all inclusive and universal (as Perez claims) does not distract from the fact it is a FABULOUS POP SONG (capitals required). The new song sizzles you up in greasy bubbles of dirty disco that would put S Club 8 most poptastic moments to shade. Its on a constant and perpetual journey of becoming an explosive dancefloor track. Wonderful. Wonderful. All very nice and dandy.

But on repeated listens I can't help but feel that Perez was indeed onto something in his "everything" remark. The song is everything: Dannii Minogue, PINK, Anastacia, Madonna and Atomic Kitten. I can't help but think of the girlband from Liverpool whenever I hear this song WHICH IS A LOT AS I TEND TO HIT REPEAT every moment GaGa's personal reinterpretation of I Am What I am and Express Yourself wraps up.

Anyone who owns Atomic Kitten's albums will remember how they never relented on shaking their very unique can of frenzy pop with songs like energetic songs like Feels So Good, I Want Your Love, Right Now, Be With You, and Turn Me On. It is this batch of songs that I hear when I listen to Lady GaGa's new one.

Which is a very good thing.

***

SOPHIA SOMAJO "SHE'S A TWISTED WRISTCUTTER"

2011-01-30T22:26:00.004Z

Sophia first appeared on DSTP a few years back when I discovered her seminal debut "The Laptop Diaries". She can do no wrong in my books. SHE IS AMAZING. Capitals are very necessary. Last year, she released her brilliant EP Chinese Techno and Wristcutters is the natural extension to the narratives examined within. Those new to Sophia might be interested to know that aside from her solo popstar status she's an incredibly talented songwriter with the rather amazing album cut on the recent release by Robyn Time Machine.

Sophia Somajo - Wristcutters Inc. by UniversalMusicSweden

She is ultimate badass. Ever since the early days of her first few initial releases, I knew I was gonna be in it for the long run. Pop runs thick through her veins. It courses back to the listener and pumps into the eardrums until they're totally signed up the Somajo Social Club. Wristcutters, with its ten-outta-ten prose, is Sophia Somajo at her most natural. The moment she breaks into her stride there's absolutely no going back. When Sophia lays out her feast upon the table of pop it is always amazing.

Read also what Popjustice (here) and Scandipop (here) said about the amazing Sophia!

ULTRA GIRLS INTERVIEWED

2011-01-09T20:24:00.021Z

Continuing the series of chats with acts featured in DSTP's Top Tips of 2011, we proudly present the Ultra Girls interview on the very day it is confirmed that they will be supporting Kylie Minogue on her new tour. As the snow roared through the country it felt right to interview the girlband just as they are about to embark on a year that will be filled with fountains on 'Les Follies', their album and their very first single...

How are you dears?

UG: We’re good thank you!

What did it feel like to be selected amongst the lucky handful of acts that made DSTP’s tips of 2011? Amazing and Magical?

Lucy: I’ll answer this first! It felt really good to be selected as DSTP’s top tips of 2011. Obviously WE ARE going to live up to those expectations and deliver some really good songs. And, basically, take on the world. So yeah, we really appreciate you putting us out there. And yeah, we’re gonna rise to the challenge!

If pop music was a number what would it be?

Amy: ONE! Always number 1!

Lucy: Sometimes though, Amy likes number 2 hehehe!

Amy: Sometimes 1 and 2 equals 3.

Laura: A good pop song is ALWAYS number 1.

If The Ultra Girls were a soap opera which would it be, who would play who and why?

Lucy: Oh, it would be like the Only way is Essex!

Amy: That’s not a soap opera! It would be like Coronation Street. Lucy would be Bet Lynch! Lauren would be like Maria.

Lucy: Don’t go there.

Lauren: MARIA!?!

Amy: Definitely Corrie ‘cos Eastenders is a bit depressing isn’t it?

Lauren: I got an A in English.

Laura: Erm, actually I think Lauren would be Dev.

Amy: Which one won the award for best soap? Corrie?

Lauren: DEV!!!!???

Amy: We’d always be the soap that’s always the best

Laura: Yeah, cos everything is going alright and then we come along and put a spanner in the works.

Lucy: It would have to be Corrie…

Amy: Cos it's northern!

The winter snow this year was a bit... festive. Did you make your Ultra Snowman yet?

UG: No cos we weren’t here.

Laura: Cos we were in London when it snowed really heavily in Yorkshire and we were in Yorkshire when it snowed really heavily in London.

Amy: And, just ain’t had time cos we’ve been so busy finishing the album, photoshoot... so why don’t we go and make one this afternoon?

Lauren: Yeah, we’ll stop on the motorway.

Ultra Girls…what will you be wanting to unwrap next Christmas?

Lucy: Preferably The Wanted!

UG: hahaha!

Laura: I want to unwrap Dougie from McFly.

Lauren: Amy wants to unwrap Peter Andre!

Amy: Or I’d like to unwrap a big… massive… Range Rover.

Lauren: I’d like to unwrap a pug.

When I interviewed the Saturdays just before they launched we discussed the important issue of what colour Tuesday was. Rochelle and Una thought it was pink. Frankie and Vanessa thought it was green. While Mollie argued that it was, in her words, “Definitely Brown because it's pretty boring, but not quite as boring as a Monday, which is SO grey!”. Do you agree? What colour would be the Ultra Girls' Friday?

Lucy: I don’t agree with ANYTHING they said! Why? Because the day is only as boring as you make it! Why make a day boring!?!?! By giving it a grey colour? If you give every day a bright colour, every day is bright! Make your life bright! You only get one!

Lauren: You get seven actually.

Lucy: No you get one life….

Amy: Every day in the Ultra Girls' week is bright. But certainly blue on Fridays.

Lucy: It's the start of the weekend

Lauren & Laura: Yes!

Seriously though, how was this year for you girls?

Laura: Amazeballs!

Amy: Really good.

Lucy: I can’t believe what’s happened this year. Under this new management and getting the team fully together. It feels like its been forever cos we’ve known everyone for ages and we all get on really well. We’ve learnt and done sooooo much in the past nine months.

Amy: And us four have known each other for the past five years already.

Lucy: So yeah, its been a really good year and many many more to come!

Amy: Hear hear!

Laura: Woohoo.

You’ve just covered The Wanted and given it to lucky individuals who signed up to your website (get it free here). What made The Ultra Girls finger The Wanted?

Laura: How did you know we did that? Hahaha!

Amy: Well the most obvious cover to do was the most current boyband. Hottest boyband of 2010.

Laura: And we love the song.

Lucy: That’s why we fingered it.

Lauren: I love your choice of words there Bobby!

Amy: Finger!!!!!!

Lauren: You dirty little rascal, Bobby!

Laura: It's rude that.

Amy: Hehe, Ooooooooh you dirty rascal!

Laura: Who would you most like to finger Bobby?

Lucy: Can I just say… Laura likes a four finger, don’t ya Laura?

Laura: A four finger kit-kat… oh yes!

The reaction has been rather fantastic. People have been asking for the first single. When do you think will The Ultra Girls be ready to release the single?

Lauren: April

Amy: We’ve got a really exciting support slot!

Lucy: Hmmmmmm who could that be!?

Laura: So April. So keep your eyes peeled.

Amy: Eyes peeled back.

Laura: Amy, demonstrate how to peel your eyes.

Amy peels back her eye-lids.

Laura: That. is. horrible.

Watching you girls strut your stuff at Popshow….there was such an energy. So, beyond the current schools tour do you have more live dates in store for 2011?

Lucy: I think we’ve got like another 4 months of live dates. We’ve got another schools tour lined up. That starts on the tenth of January. And then… we’re going onto something else…

You’ve had a little bit of reality tv experience. Do you feel that the energy that you girls instantly give off could never really be conveyed through such shows like X Factor?

Lauren: We loved being on the X Factor and it was a great experience. But obviously with airtime and stuff it's never your decision, like how much you say and how you come across. That's up to them. So now I think we can get across who we are and we’ve four different personalities, and we didn't actually get the opportunity to do that on X Factor. But it's more about the singing and the acts anyway. It was wicked.

Did that entire experience make your group a tighter and stronger band?

Lucy: I think me and Amy can give the answer to this cos we are the strongest members of the band as we saw in the tug of war yesterday.

Lauren & Laura: Oh really?

Lauren: I think we actually let them win didn't we, Laura?

Laura: I think I got really severe cramp in my leg.

Lauren: Hahaha, you were injured!

Laura: Amy is just freakishly strong.

Lauren: Can I just say; it was planned to let them win.

Lucy: We were lucky to get Amy in the band cos she was was gonna be a Tug-o-war champion.

Amy: Yeah, I was the world Olympic champion last year in tug-o-war.

Laura: Yeah, X Factor did make us stronger as a band. Definitely. Because obviously X Factor was the first thing we did as a group. And we went through a lot before X Factor. Emotionally.

Lucy: Yeah, there were a lot late nights!

Laura: Yeah late nights and early mornings. Boot camp was hard.

Lucy: Tense.

Laura: Yeah, obviously boot camp is really tough. We had like an hour's sleep a night. And you know, four girls together. On no sleep and a lot of caffeine. And, we can get ratty.

Lauren: Laura got ratty with me.

Laura: No, Lauren started hallucinating at one point.

Lauren: I did hallucinate! It was quite a funny experience. Happened for about 30 seconds.

Laura: Yeah, we grew a lot closer obviously because ….

Lauren: Bloody hell, we can't shut you up!

Amy: The tenderness of the situation brought us together.

Lauren: Yeah very highs and very lows.

If you had to cover any other British girlband, which one would it be and what song?

UG: SPICE GIRLS!

Amy: Who Do You Think You Are!

Spice Girls…. Ultra Girls. It's clear you're bringing that sense of fun pop back to the charts just as they did. The Ultra Girls to me… are big bolts of colour. Is this the vibe we’ll get to hear on the album?

Lucy: Well we can't be anything other than what we are and what we are is bright... and we are a bit bold. Our songs DO portray that. Even our ballads. Only a few on there. But they’re still very powerful.

Laura: Yeah we don’t do songs by halves. When you listen to the album it's like “omg, I love this song” and then next its “omg I love this song, next”.

Lucy: “Omg, I’m having an orgasm over this song, next”.

The Ultra Girls album will probably see you girls take on the world. Which is your favourite song recorded for the album so far?

Amy: Ooooh that's a good question!

Lauren: I think mine is Girls Will Be Girls because it's really upbeat and encapsulates everything about what we are…

Lucy: It Encapsulates?

Lauren: Yes, encapsulates.

Lucy: Is that a word…?

Lauren: It's a word.

Lucy: Mine is a secret one. It's a secret weapon. Can’t tell ya. It's the one after Girls Will Be Girls. But can’t say.

Amy: I can’t either cos if we told you, you know, we’d have to kill ya.

Laura: I really like IOU For Love. It's really upbeat and has that High School Musical feel.

Lucy: Yup, it's for all your cheeseheads out there.

JLS have condoms as merchandise. Which is a tiny bit weird but hey, it promotes safe sex which can only be a good thing! Beyond the music realm, what industry will the Ultra Girls be targeting? Will we see Ultra Girls dolls next Christmas?

Lucy: Dildos.

Amy: Dolls!

Lauren: Bratz dolls. We need a deal with Bratz.

Laura: I think an underwear range for those less endowed.

Lucy: I think we should bring out toilet roll.

Amy: Oh yeah! I think so too. Great minds think alike.

Lucy: Yeah, cos we do use a lot of it. If you know what I mean.

Amy: And yeah, you’d have like this signature of Ultra Girls written on the toilet roll.

Lauren: Er, Definitely clothes. Cos we’re all so different.

Laura: And jewelry.

You weren’t the only act featured in DSTP’s top tips for 2011. If you had to pick any of the others, who would you love to go on a roadshow tour with and why!?

Laura: DeeDee Loves me! Cos' Terry loves DeeDee and we love Terry Ronald.

Lucy: Elouise!

Laura: Elouise in fact! I’ve changed my mind! Elouise! Sorry guys. We’re gonna say Elouise…

Amy: Christophe?

Lucy: We love em all.

Laura: Yeah, we’re gonna say Elouise and Christophe because we’ve met them and they’re really great. Met Elouise at her show and had a blast.

Lucy: She’s fab!

Laura: Got a little bit tipsy.

Amy: Elouise had hunky firemen.

Lucy: Of my dreams!

Lauren: She seems like a laugh!

Laura: She’s northern!

Lucy: Northern!!!

Laura: Christophe is hilarious

Amy: And Christophe. Gotta keep it in the family.

Other than live dates, what’s next for the Ultra Girls? Is there anything you can tell us here at DSTP HQ? What is in store for 2011?

Lucy: Do you know something you shouldn’t know Mr. Bobbypop?

Lauren: I don’t think he does…

Lucy: Well, we have a massive secret.

Lauren: We’re not allowed say just yet.

Amy: Well, we have the album. We’re doing all the summer shows like the festivals.

Lucy: The world is our oyster.

Lauren: The single Girls Will Be Girls will be coming out and our first ever video. There'll be a lot of firsts which is very exciting.

Amy: And I hope you’ll be there to share it with us!

***

Official Ultra Girls Website

Chat to them on Twitter

***

Other interviews with DSTP's top tips of 2011:

DeeDee Loves Me

Elouise

***

ELOUISE INTERVIEWED

2010-12-31T16:17:00.009Z

A few days ago, I did a piece on a number of acts to watch out for this new year (see here). This list is by no means exhaustive. There are so many acts that I feel will provide great pop music come 2011. There is the delicious Isabel Guzman who'll return to music 2011 but in a way no one could ever have imagined and a rather interesting new pop princess called Queen of Hearts on the horizon and acts who've already started to sparkle bright in 2010 like O'Spada, Le Kid, Sound Of Arrows and the sumptuous Clare Maguire. I highly recommend similar articles on up and coming artists by Larry Flick, Steve Anderson and MyFizzyPop. They feature a wider range of artists and are must reads. So, I decided to chat with some of the artists that I featured in my piece starting with DeeDee LovesMe in the run-up to Christmas. We talked about Natalie Wood, her studies on Greek literature and our mums favourite track from her Lowdown EP. This time I sat down and spoke with the singer Elouise who is no stranger to this blog. In fact, DSTP has watched her closely for sometime now and been there as she released her first two physical EP's Stardust & Stardust Melodies in 2010. It seemed right to reflect on her year and plans for 2011.

***

How are you darling?

Hi! I’m very well thank you, happy new year!

I am currently interviewing some of the acts featured in 2011’s top tips in pop! What did feel like to be selected in DSTP’s lucky handful of acts? Magical? Amazing! Hehehe!

Yes, thank you for featuring me in your special select few! Hahaha! Seriously though, Dontstopthepop was the very first blog to talk about me so it will always hold a special place in my heart, and I’m thrilled to be in your top tips for 2011! There seems to be exciting times ahead for each artist so I’m delighted to be one of them!

How was this year for you?

This year has been wonderful for me, so much has happened! I released my debut ‘The Stardust EP’ in March which meant so much to me. I’d wanted to release something for such a long time, and finally with the support of Steve Anderson who produced the EP, and the support of so many wonderful fans the time just felt right.

And most recently I released my second EP ‘Stardust Melodies’. This time the EP consisted of three covers, all of which I think are some of the most beautiful melodies of all time. Recording these songs was one of the best things I’ve ever done.

Then there was the launch of ‘Stardust’ the show which myself and my creative team put together. We created Stardust to make one of my live gigs truly special and a night that people will remember. The show is packed with some of the greatest songs of all time, not to mention jaw dropping high fashion dresses! I’m very lucky!

And, now we’re approaching 2011. What do you have up your sequined sleeve?

Well, there’s always lots planned in the world of Stardust! My main focus for 2011 is an album and to create a show that reflects the world created on the album. Finally this is going to happen and I honestly couldn’t be more excited. I’ll be writing more original songs with Steve Anderson. I’m just itching to get in the studio.

Beyond the studio though, you really seem to have the time of your life when performing the songs live. Do you have more live dates in store for 2011?

I really do, it’s what I enjoy doing the most. There’s just such a special spark that you get on stage and to move people with your voice is a really amazing and humbling feeling.

I’m also hoping to get Stardust on the road next year and introduce lots of new live gig dates! I love performing live and the show is something that I’m so passionate about that I’m really excited about all new developments with Stardust and I can’t wait to start sprinkling the magic in 2011!

Looking back at it all, how do you feel about your first two releases? (available physically online her e)

Yes ‘The Stardust EP’ was my debut and so everything about it will always remain very special to me.

The second release 'Stardust Melodies' saw you and your musical producer Steve Anderson emerge from the studio clutching a collection of very impressive covers. How did you approach these huge anthems?

Yes, hand on heart I was in two minds about recording the particular covers as they’re such amazing and iconic songs. I really felt the pressure to do them justice! However under the guidance of Steve Anderson I knew we could give these songs the credit they deserve. I’m really proud of these songs and I feel I gave some of my best vocal performances to date on the recordings.

Why did you decide to do covers on Stardust Melodies?

Well, I feel that I am still defining myself as an singer and performer and I really wanted to try and give my take on some of what I think are the greatest melodies of all time. A celebration of the songs that have also ultimately shaped the way I approach music. It was quite a brave decision in song choices but each song meant something to me, and I just love the songs. I took on Abba’s classic ‘The Winner Takes It All’, and I feel this is one of the best things I’ve done. The song is so emotional with this beautiful story through the melody that is was an absolute pleasure to record. The third track on the EP is ‘You’ll Never Walk Alone’. I still find it hard listening to my version to be honest!

Why?

For me, it brings me to tears. The song has a lot of home ties so this always rings true for me every time I hear the song. I have to say Steve Anderson’s orchestration on this was simply beautiful, and I was blown away when I heard the final mix of this song. The music is just breathtaking.

Will the album see you undertake more massive standards?

Its early days yet but the album will be a mix of originals and covers. I can't wait to get in the studio and start writing the album.

As you’ve released two EP’s this year, if you had to which song from each release would you pick as your favourites?

Oh, that is so hard to answer! Honestly each EP contains three very special songs it would be impossible to choose! All three songs on the first EP hold a special place in my heart. It changes from day to day. 'Another Day' and 'Pretender' really means the world to me. ‘Another Day’ was the very first song I recorded with Steve and it really was the beginning of Stardust, but then ‘Pretender’ has become to feel like my anthem and I’m so privileged to sing this song. Then there’s ‘The Fireman of My Dreams’, and well what can I say.... how could I choose a favourite?

What about 'Stardust Melodies'?

Ah sorry to be so indecisive! I’d find it hard to choose a favourite on Stardust Melodies too! I don’t actually have a favourite out of these from the original versions either. I love them all equally as they are all really beautiful songs. To record ‘Stardust’ as the title track just felt so right. I was lucky enough to have Kylie’s brass team play on the record so as you can imagine I was completely overwhelmed!

I’m so proud of my version of ‘The Winner Takes It All’ and ‘You’ll Never Walk Alone’ though. Each song pulls on slightly different heart strings and I really couldn’t pick one over the other.

You weren’t the only act featured in DSTP’s top tips for 2011. If you had to pick any of the other picks who would you must love to go on a Poptastic roadshow tour with?

I loved all the acts in the 2011 Dontstopthepop feature!

Yay!

Who would I like to go on a road show with...? Oooo, I wouldn’t know where to start! Well I love The Ultra Girls, they really remind me of the Spice Girls.

Gosh, I think so too!

To quote a line from that Cyndi Lauper classic, they're just girls who want to have fun! I think pop really needs them at the moment. I met the girls actually at one of my shows and they are all so lovely and great fun. Exactly what fun pop music should be about. I think they would be great fun to be on the road with but I’m not sure I could keep up with them. Haha.

I’m loving DeeDee too at the minute, she’s just released her EP too and I love the track ‘Balls’ from it, it really puts a bounce in your step!

I see you had Mr Christophe Willem in there too! I was lucky enough to hear early whispers around Christophe’s next album as Steve Anderson is also putting together his album so I got a very lucky sneaky listen after a recording session! I really loved it, it’s brilliant.

So who would you like to go on a roadshow with?

Argh... All of them! I love Nick Hagelin I think he’s adorable! His track makes me want to simply dance! Emilia De Poret sounds really brilliant too. I love her hybrid sound of RnB and pop and think she’ll be one to watch out for next year without a doubt! She’s really bringing cutting-edge contemporary fashion to pop in a really cool way. She truly owns the dresses she wears. The dresses don’t own her. I think that’s really important for a performer.

So what would you say your fashion inspirations and favorite fashion houses?

Ooo I love fashion as I’m sure you can tell! I just can’t stop buying sequin dresses and fabulous gowns for my shows! My credit card isn’t too happy about this though! Honestly, my wardrobe is ridiculous! I need a new apartment just for my shoes. I just love fashion and I think it’s so important to make an effort. In my last show at Madame Jo Jo’s in London I wore a fabulous contemporary designer dress by Amaya Azuaga. She’s a Spanish designer and her dresses are jaw dropping! It felt amazing.

So you can understand where the likes of Lady GaGa are coming from then?

Yes! Totally. I admire singers who walk the line under the spotlight between fashion and pop. Whether it be Kylie and her white dress, Judy & her ruby slippers or Lady GaGa and her meat dress, I love the interaction and inter-play between music, performance and fashion & the stories or messages they tell.

So for this season, what designers who do you feel successfully bridged that interesting space of pop and fashion?

Without a doubt, I’m loving Project D. Their collection is simply stunning. I was lucky enough to wear a Project D long sequin dress in my shows. The audience’s reaction to the dresses alone were fantastic. Which is key. I love Rachel Gilbert too, she’s a favourite designer of mine. You just can’t go wrong with a classic dress. I also love designs by Cavalli, Temperley, Markus Lupfer and Oscar De La Renta! The list goes on....

And finally, if pop music was a colour, what would it be?

Pink. Always pink.

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Stardust Melodies (her most recent release) on Itunes
Elouiseofficial
ElouiseOnTwitter
Elouise on MuuMuse
Elouise on MyfizzyPop
Elouise on Popjustice
***

The New Kylie Video for Santa Baby: its adorable!

2010-12-24T16:26:00.001Z

Merry christmas!

DEEDEE LOVES ME - INTERVIEWED

2010-12-19T10:25:00.007Z

As part its 2011 top tips series, DSTP featured a heady collection of artists (see here) and I thought it might be nice to have a little chinwag with some of them. Who better start off proceedings than the delightful and delicious popstar DeeDee LovsMe who has just released her The Lowdown EP via Itunes. Working with the masters of pop Ian Masterson and Terry Ronald, her music has the power of all three Powerpuff Girls combined and yet contains the tenderness of a gentle of the first snowflake fallen as winter announces itself, DeeDee is definitely a pop tip for 2011...

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Hello Deedee, How are you dear?

Hi Bobbypop! I'm currently in bed wearing my polka dot pjs and trying with all my might to get rid of an epic cold. On a good note, my entire street is covered in snow, so I'm spying/ secretly laughing at people having snow fights and falling flat on their faces.

I do this too. I have a little evil streak in me. I occasionally youtube clips of people slipping and sliding on ice. It makes me laugh so much i scare the neighbours. I am easily pleased i think. So sorry to hear about the cold! Maybe watching others slip and slide might ease up those symptoms?

Yes, a sneeze, followed by a naughty giggle and then a cough is far better than just a sneeze and a cough. By the way, I feel sorry for your neighbours.

Me too. This winter snow is a bit festive. Have you made your randy Snowman yet?

I haven't physically made a snowman yet but I've created one in my imagination. His name is Randy Andy and his randiness is disturbing all the snowomen. I've told him to stop being so naughty but he can't control himself. He's like J-Lo and LL Cool J; I think Randy Andy actually inspired that song.

Your version of Winter Wonderland was rather fun (GET IT FREE HERE). What made you decide that song over many others you could of selected?

Well, any song that mentions Eskimos gets my vote. I secretly wish I was one.

If you were to release a Christmas EP, would you name it “Christmas Balls”? (Please do, btw…dontstopthepop wishes it so!).

I've already written a song called "Balls", so if Father Christmas isn't offended, why not?

Deedee what will you be wanting under the Christmas tree this year?

I'd like to unwrap Harry from Mcfly. Did you see him on Strictly Come Dancing? One word: hot.

I did not. Youtubing. I can confirm. Yes, hot. Which MyFly song would cover then?

I would do "Sorry's not good enough" because it's so catchy. Sometimes when people say, "sorry" without really meaning it, i feel like screaming the chorus in their disingenuous faces! Really. I've thought about that a couple of times in my head but obviously never gone through with it. Oh, that reminds me, "Obviously" is pretty good too. But singing about a girl who's out of my league might give off the wrong impression that I'm a lesbian. But, hey if it worked for Katy Perry and Tatu...

Before you came along, my favourite DeeDee was Dexter’s (from Dexter’s lab) wonderful sister! If you could be any cartoon character what would it be? Mine would have to be Catra from She-Ra: princess of power.

This is a really tough question. On any normal occasion I'd say Betty Boop because she's edgy; her overt sexuality was groundbreaking for a cartoon character. And plus she's super stylish with her hoop earrings and haircut. But because this cold has made me quite vulnerable, I'd have to say my green sleepy Care Bear. Care Bears are awesome because they have super power abilities just through rubbing their chubby tummies, which I've always thought is adorable. My sleepy Care Bear has the ability to bring night time and make everyone go to sleep... I kind of want sleep now... Jokes!

If the colour of Tuesday is purple, what would be your Friday be colour-wise and why?

Friday would be neon pink. Neon pink is great in small doses - it puts you in a let's get out our neon glow sticks and party mood! But if everyday was a Friday/ neon pink it would get boring and give me a 24/7 headache. Can't have too much of a good thing.

If pop music was a number what would it be?

Pop music is number 1 as it reigns supreme over all the other genres. I want a number 1, btw.

Lets make that happen! If you went to number one what would the first thing you do? Do the Macarena or the Bartman!?

I would so do the Macarena! And coerce everyone in the room to do it with me. They'll probably hate me for getting a number 1.

You’ve just released your EP on Itunes! (GET IT HERE). Whats it like to have your work out there and downloaded by the masses?

It feels AMaZing! I know this sounds like a cheesy cliche but I get really proud when my babies (songs) are being received well. I'm like a proud mum!

The reaction has been rather tastic! My mum loves Balls. Its become a bit of an anthem for mi madre! Whats your mums favourite track on the Lowdown EP?

Funnily enough, your mum isn't the only mum who likes "Balls". My mum and someone else's mum likes "Balls" too. I guess we can conclude that mums like balls. They're not as innocent as they seem.

I know it’s a bit Sophie’s choice, but if you were pushed to save one song from the EP which one would it be. For me it’s a tie-in between Been there done that and Balls.

As a proud mum I refuse to choose. I can't have favourites. If I choose one over the other, the rest will hate me and not do their chores.

Will you bringing anything you learnt on your degree to your music? Letting the two worlds collide? One inspire the other….

Although my degree was far from musical, there are definitely aspects of it that have inspired me when I write lyrics for my songs. I've actually written two songs that would never have been written if it wasn't for my degree: "Aphrodite's lovers" and "Catharsis". Ha! I'm such a geek.

I seriously want to hear these songs. I once wrote a pop song called Penelope's Boogie. Which was about Penelope's dreams about being a popstar as she awaited for Odysseus' return. I even did a dance routine. Does Cartharsis come with critical dancefloor choreography?

Ha! That's hilarious! I want to hear Penelope's Boogie. Umm, I haven't thought of the choreography for Catharsis yet but maybe I can steal it off Penelope's boogie?

Yes yes you may! What about DeeDee LovesMe: the musical? Who would play you and why?

Ummm... I'm really thinking hard about this. I literally have my hand on my chin. Ok, it would have to be Natalie Wood because I have a major girl crush on her and after I read her autobiography I fell in love with her. Because I know so much about her, it would only be fair if she knew about me. She's a fantastic actress and would play me quite well.

You were recently featured in DSTP’s top tips of 2011….what was that like?

Being featured on DSTP was the epitome of awesomeness! Am I making you blush?

Oh my yes, thank you! Looking at the other acts alongside you….what were your favs from the bunch?

Sorry to all the other acts, but i would have to say Elouise because she's the only one I've seen live and she has a beautiful voice. My mum was there with me too and concurs.

2011 is about to happen? what’s next for you?

2011... I'm going to be very ambitious and say WORLD DOMINATION!!! Not in a Disney villain kind of way but in pop star with hits under her belt kind of way!

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Get the EP here.

Chat to DeeDee here.

***

DONTSTOPTHEPOPS MASSIVE TIPS OF 2011 THINGYLIST

2010-12-08T22:56:00.008Z

Nick Hagelin

Website

Hailing from the USA, this boy will be absolutely massive. With dashing looks, Nick Hagelin has just unleashed the dancetastic ICU on the internet (here) which I've subsequently fallen head over heels over. Its a simple pop song which are just the ones you've got to keep an eye out as they tend to go global. Hailing from Atlanta, USA Nick caught my attention initially with this sweet as cherry blossom acoustic album Nice To Be Here released last year. Come late 2010, he's signed to a different label and Nick changed the pace of music and gone all dancing king decked out in strobe hotpants. Let's here it for the boy! Must download: ICU

Elouise
Website

The worlds next Dusty Springfield, Elouise had a busy 2010 with the release of her two Stardust EP's (both available here) and a series of live dates with music arranged and produced by Steve Anderson. However, its 2011 in which see's Elouise working on her debut album. Intent on creating an album that contains huge originals and anthems, next year will see Elouise also release her first single and tour. Her first release of 2010 was Stardust featuring three original recordings while its little sister EP, Stardust Melodies, saw Elouise pay tribute to the iconic melodies such as You'll Never Walk Alone and The Winner Takes It All. Must Download: Another Day

DeeDee Loves Me
Website

She released one of the EP's of the year. Her delivery is tight and her attitude reminds me of Betty Boo (pop royalty!). Writing all the the music herself, DeeDee is an act like no other out there at the moment. Her turbo type pop takes me back to my days "kotching" in the A-level block at secondary school nihilistically described as the post-16 centre. She's got that remarkable ability to spit out witty verse and addictive melodies in a manner that shows up a mirror to the world we all happen to live in. Sociological! Must download: The Lowdown EP

Fabio Lendrum
Website

The music Fabio supplies is damn hot. Drenched in glorious dance synths that make you want dance madly in the shower, 2011 should be Fabio's year. Fabio is ridiculously talented. When removing all the trippy discotastic beats, he decided to expose a beautiful layer to his artistry by loading four incredibly brilliant acoustic versions of songs originally meant for the club floor. The new versions, for me, enshrine his magic ability to prove just how versatile he is as a performer and the quality of his voice. Fabio Lendrum is a true pop pioneer. Must Download: Trouble (Acoustic)

Emilia De Poret
Website

Recently collaborating with Spanish pop queen Marta Sanchez, Emilia De Poret hails from Sweden. She's already huge in Spain but I think it will be in 2011 where she'll push through into other markets. I highly recommend her rnb/dance-infused album Pick Me Up. For Poret, 2011 looks bright. She's upping the ante on the dance side of her sound which makes me incredibly excited for her next album. Must download: Weightless

Set Fire Run
Website

What more can be said about my love for Set Fire Run that I've not already said and confessed. Their endless supply of synth-electro-pop anthems make them certs for bigness come the budding blossoms of 2011. They wiff amazingness. You only have to play a song like Back Where I Belong to lift those winter blues right up and you find yourself pretending to be Slash pretending to be Frida. Set Fire Run manage this shocking ability to provide an unhealthy majority of brilliant pop songs that leads me to conclude they don't know the meaning of an album filler. Must download: Everything

Ultra Girls
Website

The Ultra Girls! They will be absolutelyfuckinghuge next year. The Saturday's will be knocked so far into Friday they'll need a six month rest in St.Ives to recover. What gets me about the Ultra Girls is that they convey the type of energy and girl pop power realized and evidenced when I first saw the Spice Girls for the first time. Huge buffalo boots to fill, right? Totally. But they're up for the challenge. And you've got to be. I mean, if your going to do it, you may as well as aim for the biggest pinnacle there is. As much as I feel Wonderland and their sweet sensibilities I have a sense the British public want a bit of a bite at the moment. Wonderland seem to be the girls in the class who'd do their homework and wait to be told what to do next. Ultra Girls did the homework last week, ripped it up and started a new world order. Must download: Girls Will Be Girls

Christophe Willem
Website

He's big already. He's the French winner if Idol and thus signed to a massive label. So this is cheating. But its the album rumbling in the works that's earned him a top pop tip for 2011 here today. Produced by Steve Anderson, his next release will be swallowed up whole by my ipod. Its going to be very VERY good. Must download: Entre Nous Et Le Sol

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SET FIRE RUN: DESTROY DESTROY (songs of 2010)

2010-12-05T14:51:00.003Z

And so DSTP's little playlist continues. Today, I wanna spend some special time on one of my all time favourite bands Set Fire Run. Originally calling themselves Dyno, the group are criminally and unjustly unnoticed. Destroy, Destroy is just one of their powerful turbo anthems that they've recorded and released to the world this year. It really packs a punch. Every song I've ever heard them perform, record and permit me to listen, scrutiny and disseminate has just increased my passion for the group. Even in their subtle moments, every ounce of their sound is twisted and wrought with spikes of world-domineering anthems that have you demanding love, fraternity and equality. This is their tome. They make you feel empowered. Even if the songs of the lyrics suggest a different story. They write iconic melodies. Its infused in every chorus, middle eight and synth backbeat they do.

Destroy, Destroy by setfirerun

Comparisons to The Killers are natural but to me, they've released music that The Killers always potentially hint at but always seem to shy away from. Set Fire Run embrace whatever The Killers are afraid of. To me, the stories of the lyrics and the energy of the melodic anthems they're producing in this early stage make them, for me, Set Fire Run the most exciting and challenging new act to come from Sweden of 2010. Its with the deepest love, I raise a hopeful glass to their 2011. They really deserve it. Really deserve.

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KATIE MELUA-THE FLOOD-the countdown continues

2010-12-03T15:40:00.002Z

In April, DSTP featured the video for Katie Melua's amazing single produced by William Orbit. Sadly, it seemed to have been overlooked but its oddity ensures its place in this countdown of trinkets, soliloquies and confessions. Katie Melua changed the gear of her music, took a risk with the lead single and featured lots of men wearing very little. I can't tell what the video is about but it clearly played with symbolic references of the male body, warrior mentality and homosexuality. Of course, I'd take this song to heart. Epic and stunning, Melua's The Flood shines bright on the 2010 mantelpiece of pop.

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And so dstp starts its countdown of my songs of the year: It's Not About The Tits by Polly Rae

2010-12-01T11:14:00.005Z

As I prepare myself for 2011's embrace, Dontstopthepop kicks off its countdown of its songs of 2010. Not all of them are singles and hits. They did however warm the cockles of my heart & cheer me up throughout sunrise year of Aquarius. I've probably missed one or two brilliant big bellend pop anthems but that's life and they'll end up on some "Now that's what I Call Music 6969696" anyway so fuck it, this is my opportunity to raise a glass to the songs that sparkled deep in my aural passages & gave me repeated episodes of pop pleasure...

Where better to start with a hilarious song by Polly Rae which incidentally came to be at the start of 2010 in the debauched show that was the Hurly Burly show. It's sadly not online (yet) but snippets of the song can be traced and evidenced in Polly Rae's showreel embedded for the perverse pleasure above. Sizzling.

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DSTP INTERVIEWS THE MICROPOPS!

2010-11-29T14:55:00.005Z

I've loved The Micropops since hearing their first album. They sound a tad like a Norwegian cross between Kylie and St. Etienne. I jumped at the chance of interviewing the delicious Håkon and Sofie for dstp as they embark on releasing their überpop second installment of incredibly wonderful pop music....

How did the Micropops come into being?  

Hi! Hmm, Good question. I guess I started writing songs in 2002. Then I accidently joined Idol in 2004 and came in fifth place in Norway, which was pretty amazing at that time. My career had a commercial boost, but it never felt right singing famous cover-songs. I simply wanted to be less commercial and more like my “really cool” musician friends at the local bar. I continued my writing and played small gigs with my earlier pop-rock band.

Then, In 2007 something happened. I met the love of my life; Sofie. The pop-queen! Now I suddenly got the opportunity to show my strictly secret pop-songs to someone other then myself, and she liked it. She had many great ideas and she really was a great singer, so I told her; “You should sing in the band.” My band was positive to play more pop and less rock and we felt that we finally did what we were born to do. Make pop. After months of great practice we agreed that it was time to make our debut-album “Nintendo or devotion.” A small dream came true. We got national radio rotation with the singles “Moonlight” and “Zelda” and we finally got the amazing opportunity to play sold out gigs, with our own material. The Micropops came into being!

Amazing! How did come up with that name?  

The band members of The Micropops were at the wet, wet Roskilde festival in 2007. We felt so sorry for ourselves that we had to buy extra beer and micropopcorn to keep the good mood. We had a great time playing some pop-songs and the name “popped out.” Hahaha!

There are clearly light 70's influences in your sounds (I am thinking of delicious slicks of the album tracks like Vertigo for instance). Was that your intention or did they leak out naturally?  

We don’t think it was the intention. We never wanted to sound like anything concrete. But there is a bit. We listened a lot to the Jackson 5 and the Beach boys at the moment of writing and that probably influenced the songs more than we knew. It's easier to draw conclusions like that when it's been a while.

Where did you get the name Nintendo or Devotion?!

The five members of The Micropops are all massive fans of the old “Super Nintendo” from 1992, (I got one) and especially its edition of the game “Zelda.” Friends told us that we had some of the mystical Nintendo-sound in our music. What a great compliment! ;) On the other hand we considered our music as being very emotional. So we let the audience choose; Nintendo, or devotion?

For me, it sounds very much like The Cure meets Kylie!

That makes us smile! The Cure's simple melodic lines on a marimba, a guitar or a flute is amazing. The song “Close to me” may be our favorite. And Kylie... We notice that many think they are too cool to enjoy artists like Kylie. Well here is our opinion. Everything from “The loco-motion” to “Can't get you out of my head” is mind-blowing danceable pop-songs and deserves all respect. The answer is; Yes.

The new single, So Surreal (which is immense btw), sees the Micropops venture away from that organic sound we hear in the first album and emerge with delicate electronic sound. Why the adjustment? Was it simply time to re-work the ambiance of the group to a more neon sound?

Well, Yes. We met this awesome producer/artist (Thomas Eriksen) and we produced and partied great together! We actually lived in his house in Oslo during the process. His electronical sound is amazing and we think it suits “So surreal” and our new songs very well. Its time to get down and dirty, but not just dirty. We are the kind of band that love Lady Gaga and Justin Bieber as well as The XX and Deerhunter.

We forgot to tell you: Me and Sofie are not a kissing couple anymore, we “ended” our engagement in 2008, so when we sleep over at producers' apartments we have a two-inches limit between our skins. Sofie tells me to say that we have become soul mates. Well, that's true, almost.

So then with all due adoring respect to the first album, So Surreal appears to be the song that illustrates your arrival as a band. Falling into place sort of thing. Are we going to get an entire album of such turbo pop delicacies?  

Well, not all our songs on our upcoming album will be “Turbo pop delicacies” like So Surreal. We believe variation in intensity and tempo is crucial for a great album. We love “So surreal” and we promise you more of those “turbo pop songs.” Then we want to express something that is not turbo, but we still hope it's pop delicacies.

We have become a duo (with a band) now, writing songs together. It's more exiting. We have written for two years now which is quite a long time and we have massive ambitions. We are going to produce our new album this winter and Thomas Eriksen is definitely our mixer. We hope to give our fans some kind of a electronic, magic, hot winter-sound. A Micropops sound picture.

Do you have your eyes set on the UK? (and anywhere else outside Norway)?   What next for the Micropops? 

We have planned our virgin gigs in the UK and other European countries this spring. We really hope that we can give European youth something extra. We will love to make it big outside Norway. Can't wait to work our asses off to give our fans this second album.

www.micropops.com

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The Demise of Monrose

2010-11-27T22:20:00.000Z

Shame really. Another one bites the dust. Monrose had some major hot music on their albums. And that's the thing that probably led to their demise. They had great music that found itself wasting away on each and every album they released. Formed via the Popstars format in Germany, Monrose launched themselves with the stunning ballad Shame (which was simply a cover of Clea's The Lie). They had success with Shame and somehow got stuck in a fix thinking all their covers should be medium-paced pop songs or dreary ballads. This was a major contributing factor to the girlband's dwindling album sales (their last album Ladylike made a quick appearance in the top ten at no.10 and then vanished). Each of their four albums included material that, if picked as singles, could have kept those sales up.

On their debut we saw the release of Even Heaven Cries over 2 Of A Kind (written by Gary Barlow) and Push Up On Me. The second album started off well with Hot Summer but things went downhill when the admirable but nevertheless lacking songs Strictly Physical and What You Don't Know over the utterly amazing Dangerous, Golden, Rebound, Sooner or Later, Just Like That and of course Monrose Theme. Their third album I Am was a great collection of tracks but the singles were all wrong. I'd have gone for You Can Look, Certified, Tip Toe and No Never. The fourth and final album is their lowest selling album to date and it's pretty much devoid of great songs. Though I loved This Is Me, I think Catwalk V-o-g-u-e would have, as lead single, secured their future. Superstar DJ was another the band/record company wasted.

As such, Monrose have emerged as a band who, in their lifespan, recorded amazing pop songs but you'll have to find them on the albums not their impending collection The Songs Of Monrose (aptly titled as the band rarely had hits you could describe as the greatest). They've become the band of what-if's and lost chances. In a time when the pop act is judged on the pop song, I can't get my head around the constant willingness to give fans something they really didn't want: mediocre mid-tempo r'n'b ballads. Their biggest hit was their number one Hot Summer yet everything since was anything but hot or for the summer.

Considering the arrival of other girlbands who naturally took attention away from Monrose and the success of GaGa one may have expected Monrose to release the right songs from their albums yet time and time again they picked sweet and boring ballads that refused to keep up with their chart contemporaries.

Monrose, here's to you...the band of could haves and maybes

DontstopThePop Alternative Greatest Hits of Monrose

Shame
2 Of A Kind
Push Up On Me
Hot Summer
Rebound
Sooner or Later
Monrose Theme
Golden
You Can Look
Hit N Run
Certified
Tip Toe
Catwalk V-o-g-u-e
Superstar DJ
This Is Me
Scream
Say Yes
After Making Love
We Love

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This is a little bit amazing.

2010-11-25T02:44:00.000Z

I love it!

Currently to be seen in my manner (take a closer look)

2010-11-24T11:21:00.002Z

And whoever said these Shoreditch types arn't creative!

SISSE MARIE RETURNS BIG!

2010-11-20T10:58:00.001Z

I loved Sisse Marie's Boom! Remember it? Who she be!? She's the pop princess from Denmark that kinda vanished despite being pretty big after her smash In My Room (Boom!). A lot was expecting from Sisse Marie but nothing came to pass. Until now. She's returned big with big sponsorship and a big club track that has stormed the charts in Denmark. It has firmly rooted itself in the number 1 place there and I pray that it means we won't have to wait another couple years for the next single from Sisse Marie!

SORAYA....QUEEN OF CLUBS/LA REINA DEL DISCO!

2010-11-11T12:34:00.001Z

I love Soraya. Always have. So this is biased! Biased to the roof! I've loved even her interesting cover albums. She always delivered turbo pop. She always supplied pumping anthems decked out in summer disco cheese. Seeing her collaborator Kate Ryan take a small break, Soraya has taken to a new album to up the ante and sprint towards the Queen of Clubs crown. And, I think she's made a pretty strong claim with her latest longplayer, Dreamer.

Dreamer

The title track. Written by Paul Brandoli and Natalie Gauci. Yes Natalie Gauci! The winner of the 2007 series of Australian Idol. The title track is a clear statement of what the album contains. This is not a repeat performance of her previous album. Soraya sounds matured and lyrically it sounds like it too. Not actually the strongest of songs but I can understand why it's the title track and the first song on the album. It is the song that defines the album and the new direction for Soraya. 4/5

Runaway

I love this song. Written by Lucie Silvas and Steve Robson, Runaway is a simple slice of pop bliss. A big baseline reminds me somewhat of a eurovision version of Kylie's All The Lovers. 5/5

Give Me You

Here Soraya drenches herself in club sublimity and sublimation. If you like Iio of New York (Rapture), you will love this uber cool anthem. If Dannii was to release a second Neon Nights album for 2010 I'd imagine this song would be on it. 5/5

Ticking All The Boxes

Soraya goes a bit schlager on Ticking All The Boxes and as such we see Soraya take a few steps back in the sense that this was a feature of her previous release. Indeed, this song could have been released by any "Swedish Idol" starlet. You can almost imagine this being performed at the semi-final stages at Melodifestivalen. 3/5

I Got You

Now this is far more like it. Starts off all gospel-esque and then picks up into an upstanding uplifting anthem. Perhaps the best track on the album, I Got You is incredibly camp. If Mariah Carey did a turn-around and released a big ole' club track, it would sound something like I Got You. 5/5

You've Got The Music

And here is the song that should have been on Donna Summer's last album! There were also rumours it was going to be a duet on the album. But the disco legend is nowhere to be heard on the release. Its pretty anthemic but it's the sort of thing Madonna and Kylie did some years ago. 3/5

Electric Girl

Now this is a lot better. Incredibly hardcore, this is for the lads (and one Therese Granvkvist) strutting their stuff around Vauxhall. Featuring the club maestro Beduk, Electric Girl is almost anything Madonna's done, but on acid. Soraya is incredibly comfortable in the realm of pop neons and she plays around with disco electrons like it's second nature to her. This is very good dance music and squeezing this into tangible commercial pop trinkets makes tracks like Electric Girl delicious.

Twilight

Okay this is pure europop at its finest. Scan the credits and yup, its no suprise to find Hanne Sorvaag there. Twilight sees Soraya taking that club crown off of her head and munching down on that slice of purest teeth-rotting pop cheesecake. If she was ever to return to Eurovision, this is the song she'd use. On repeat listens, this euphoric tune is a bit of a grower but I do feel Soraya is playing it safe with this song as it is definitely ground she's covered before on Sin Miedo, her previous album. 2/5

Live Your Dreams

Featuring the legend that is Antoine Clamaran, Soraya immediately and firmly jams that club crown right back on her peroxided bonce . Every inch the anthem, Live Your Dreams rightly deserves to be the hit it is becoming. I can even see Soraya do an acoustic torch ballad version of this, perhaps proving the universality of the song. 5/5

In My Blood

WOAH! The club slicks of In My Blood are so ferosh. For sure, it doesn't scream clear hit single but it is the best club track song on the album. Perhaps the best club song to come out of Spain this year. There's something about the bouncy beats, the clicky irresistible baseline and the snarly vocal delivery make this a very delicious blue song put together by two Norwegian lads. It nearly upstages I Got You as the track of the album but In My Blood doesn't make me want to hug everyone on the street, which the former track does in buckets.

Close To Me-featuring Wally Lopez

This is a joke track. I don't know what to make of Close to Me. I want it to be an obtuse but clever cover like Dannii's brilliant reworking of Coconut. But Close To Me doesn't even sound finished. It is a disaster of a song. There is an instrument used in the song that does its very best to clash with the melody. Horrendous. They should have capped the album at track ten. 0/5

Smash Hits: I Got You, In My Blood, Runaway, Give Me You, Live Your Dreams, Dreamer
Maybe: Electric Girl, Twilight, You've Got The Music, Ticking All The Boxers
Miss: Close To Me

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