Hits 21 - 2000 (4): Madison Avenue, Billie Piper, Sonique, Black Legend, Kylie Minogue

Episode Date: July 24, 2022

Hello again, everyone! And welcome back to Hits 21, the show that's taking a look back at every single UK #1 hit of the 21st century - from from January 2000 right through to the present day. You can follow us on Twitter: https://www.twitter.com/Hits21UK You can email us: [e-mail] Don't Call Me Baby - Madison Avenue Day & Night - Billie Piper It Feels So Good - Sonique You See the Trouble with Me - Black Legend Spinning Around - Kylie Minogue

Hits 21 Alright there everyone And welcome back to Hits 21 Where me, Rob Me, Andy And me, Lizzy Look back at every single UK number one of the 21st century From January 2000 right through to the present day If you want to get in touch with us you can find us over on Twitter We are at Hits21UK

That is at Hits21UK. That is at Hits21UK. And you can email us as well. Just send it over to Hits21Podcast at gmail.com. Thank you so much for joining us once again. Just like our previous episodes, we're going to be looking back at five UK number one singles. This time we'll be covering the period between the 14th of May through to the 1st of July. I hope everybody survived the heatwave in the

week. I hope we're all doing okay on that regard. Andy, how did you cope with the soaring temperatures? Yeah, I don't know if you've heard, we had a bit of weather this week. It was quite easy to miss. Really? Yeah. I am currently, I must admit, sorry to our listeners, but I am in a state of mild undress because it is still very, very hot. We're currently in a stage where we're talking about 25 degrees, as if that's not warm, where we're like, oh, it's only 25 today. All right.

Yeah. Okay. That's a perfectly comfortable working temperature. Great. Okay. Let's all stick the heating on. Yes, it's been okay. I've followed all the advice, tinfoiled our windows in the loft,

kept everything shut, kept the blinds shut, and managed to keep relatively cool. I have survived. I can confirm I survived the 2022 heat wave. I'm so blessed. Lizzie, what about you? How did you cope? Yeah, I'm glad we're time-dating this episode right off the bat. I feel it's a solid strategy for a podcast.

You know, yeah. Well, yeah, I tried doing my homework this week. I looked for the last number one when the UK hit 40 degrees centigrade. And lo and behold, I didn't find one because it's UK hit 40 degrees centigrade and lo and behold I didn't find one because it's never hit 40 degrees centigrade in the UK because that's not fucking normal it's the new normal

it's the new normal well before we carry on with this week's episode just want to take a look back at last week and just let everybody know that the listeners poll was in agreement with us again. It was, oops, I did it again, Britney Spears that won the poll. The correct choice.

Yes, the correct choice, well done everyone. I know we said last week that it might be a bit of a tough one to decide what our song of the week was. Not anticipating what was going to happen this week. I think it's also a very tough week this week to decide between about two or three of them as to what my favourite is. Yeah, I mean, there's a lot of really good ones this week. It's crowded at the top rather than at the bottom.

Yeah, yeah. Yeah, yeah. All right, then. On to this week's episode and as always we're just gonna give out some headlines from the time period that we're covering on the episode so chelsea beat aston villa in the last fa cup final at the old wembley stadium with ro with Roberto Di Matteo scoring the only goal of the game in a 1-0 win, while in golf, Tiger Woods wins his first ever US Open Championship by a huge margin of 15 strokes. The much-anticipated Millennium Bridge is open to visitors in London for the first time,

but has to close again shortly afterwards when it starts to sway as people walk across it. It is henceforth referred to as the Wobbly Bridge by local residents and ends up staying closed for two more years while repairs are made, before being sadly demolished in Harry Potter and the Half-Blood Prince in 2009 by deaf haters. Section 28, a law introduced by Margaret Thatcher's government in 1988 forbidding the quote promotion of homosexuality in the uk is repealed in scotland it will be another three years until the law is overturned in england well done scotland i'm always promoting homosexuality not gonna lie yeah same this is the best way to be are you a walking promotion for it Andy? I pretty much am, yeah, I'm out there. This is what you could have. And England are knocked out of Euro 2000 in the group stages heading home

from the tournament after just eight days. The tournament's eventual winners were France who beat Italy 2-1 in the final. Alright then, we're going to give you some pop culture stuff from around that time as well. So at the top of the UK box office, nice and simple for me this week, is Ridley Scott's Gladiator starring Russell Crowe and a young Joaquin Phoenix. It will stay at the top of the UK box office for the entire period that we're covering in this episode which is a total of seven weeks which is matching Toy Story's run from earlier in the year. Meanwhile Eminem's mother Debbie Nelson files a 10 million dollar defamation lawsuit against her son after taking exception to his

1999 single My Name Is and more specifically the lyric My mum smokes more dope than I do. She was eventually awarded $25,000 and Eminem continued to make lyrical references to her in his songs. What an interesting story. Wow. Only $25,000?

Yeah, they famously do not get on. Yeah. He just settled all these lawsuits fuck you Debbie and the American reality series

Survivor airs its very first episode Survivor has since gone on to have 42 seasons what and is credited

with influencing the format of reality TV competitions worldwide ever since hmm yeah alright then Andy what's going on credited with influencing the format of reality TV competitions worldwide ever since. Alright then, Andy, what's going on in the album charts during this period?

Thank you, Rob. Yes, over in the album charts. So you may remember last week that Moby completely dominated. He spent five weeks atop the UK albums chart. This week it's very different. It's a free-for-all this time around with five different albums reaching the top during this period. First of all, Tom Jones's Reload makes an impressive return to the top for one week after first hitting number one in October 1999. Whitney Houston's Whitney the Greatest Hits, which my sister owns a copy of I remember, Whitney's the Greatest Hits which my sister owns a copy of I remember Whitney's the Greatest Hits then knocks Tom Jones off the top and achieves two weeks at number one

after that we get Bon Jovi's Crush which manages one week at the top and then Tom Jones returns to the top again for one more week people couldn't get enough of Sex Bomb apparently at this time and then we get Seven by S Club Seven their first album was called

s club so the second album was creatively titled seven which hits the top for one week before we finally round off with m&ms the marshall mathers lp which i'm sure we're all familiar with reaching the top at the end of june and it would go on to score eight times platinum as the years went by. And it was ultimately the third highest selling album of the year in the UK and the 16th highest selling album of the decade in the UK. Yeah, it's a fantastic record. Lizzie, what's the report from Stateside? Yeah, let's have a look at what these idiots are buying in America. In the US album's charts, No Strings Attached by NSYNC was still at number one until the first week of June,

before finally being dethroned by Britney Spears' Oops, parentheses, I did it again, close parentheses, for one week. And then the Marshall Mathers LP would be the next album to top the charts, and would spend eight weeks at number one between June and the beginning of August. It would go on to be the second biggest selling album of the year behind No Strings Attached by NSYNC and the fourth best selling album of the decade in the US. All three albums would sell over 10 million copies in the US and be certified Diamond, with the Marshall Mathers LP being one of only seven rap albums to receive the Diamond certification. In the US singles charts meanwhile, Maria Maria by Santana featuring the product G&B enters this

period still at number one, eventually giving way to Try Again by Aaliyah for one week in the middle of June. The number one for the 1st of July is Be With You by Enrique Iglesias, which is on its second of three weeks at number one. I have a quick follow-up question about No Strings Attached by NSYNC.

I'm not really particularly familiar with NSYNC, and I just have to ask, is that title in connection to the Bye Bye Bye video where they're all puppets? Yes, it is. Ah, there we go. That was the lead-off single from it. Great, okay. God, I bet Eminem would have been well annoyed at the time having a boy band beat him to the biggest selling album of the year.

Ah, well. Anyway, enough about Eminem, because I think we have a bit more from him coming up in our show in the year. Ah, well. Anyway, enough about Eminem because I think we have a bit more from him coming up in our show in the future. We're going to come to the number one singles that we're going to look at over the next sort of hour and a bit. And the first one up is this. 🎵 You and me, we have an opportunity And we can make it something really cool

But you, you think I'm not that kind of girl I'm here to tell you, baby, I know how to rock you Well, girl, don't think that I'm not strong I'm the one to take you on Don't underestimate me, boy I'll make you sorry, you are wrong You don't know me The way you really should

You're sure misunderstood Don't call me baby You got some nerve and baby, that'll never do You know I don't belong to you It's time you knew I'm not your baby I belong to me, so don't call me baby Okay, so this is Madison Avenue with Don't Call Me Baby, released as the lead single from the group's debut and only album,

The Polyester Embassy. Don't Call Me Baby is Madison Avenue's only UK number one single to date. Their follow-up singles, Who the Hell Are You and Everything You Need, reached number 10 and number 33 respectively respectively, later in the year. The Australian duo knocked Britney Spears off the top spot and stayed at number one for one week, fighting off competition from Tom Jones and Moose T's Sex Bomb and Armin van Helden's Coochie.

Just for God's sake. Jesus. When it was knocked off number one, it fell one place to number two, and by the time it left the charts, it had been inside the top 100 for 12 weeks. Lizzie, what do we make of Madison Avenue? Yeah, this is pretty good. There's a definite Aventees disco influence to at least three of this episode's tracks, and this one feels the most like something Thomas Bangalter might have put out

on the Roulette label back in the day. You know, that minimal sample loop backing is such a late 90s Bangalter trick. I suspect most people will think back to some of the earlier Daft Punk tracks, but I was specifically thinking like Bangalter's remix of Vertigo by Alan Brakes, which is built on about two seconds worth of sample,

but built to this absolutely seismic, unforgettable drop. And like this obviously doesn't have a big drop moment, but it has a great sort of disco funk backing that doesn't outstay its welcome, despite its repetition, particularly with that you know that awesome Bernard Edward Desk bass line from the Pino D'Angio sample. And like unlike some of the previous dance songs we've covered it's aged quite well because of how it balances that nightclub house vibe with some solid pop hooks and it therefore doesn't feel out of place when you listen to it kind of independently just in your bedroom or whatever so i mean it's definitely not

the best of the handbag house tracks that hit number one this year more on that in a future episode but you just try listening to this while managing to sit still and see how far you get like if you're anything like me, you won't make it past the opening verse. Really good stuff. Yeah. All right, then. Andy?

Yeah, I have to completely echo what Lizzie said there. I really, really, really like this. I'm very, very fond of this particular niche thing where I just love it when you get a mild backing synth or something that is just a little bit discordant, just a little bit out of tune. It makes it just sound a little bit quirky. It's one of the things I love about Mucho Mambo Sway from 1999. Oh, yeah. And Starships by Nicki Minaj does it quite loudly in those weird breakdown bits in the middle. I

just love a bit of quirkiness in a genre that could very easily be very straightforward and tame, you know, where this is fairly accessible. I wouldn't even say dance music, really. I'd say this is sort of music for a bar rather than a nightclub, I guess. Nothing wrong with that at all, but it's something that you could very easily make quite boring, but is really really fresh and interesting I completely agree with you Lizzie about how this is still relatively timeless I would have no hesitation putting this on a party playlist now I think it's absolutely no problem with that at all it has a lovely sound to it really really lovely sound I enjoy the vocal performance as well. I'm not familiar with the singer's

name. I should have looked that up, I'm afraid. But I enjoy the very kind of disinterested style of singing, the kind of, huh, yeah, I'm too good for you. I'm going to sing a song about you, but I'm not going to enjoy it. And I like this kind of substance of the lyrics that it's fairly convoluted, fairly involved lyrics to express a very simple point which is like i don't belong to you go away and it just really paints a picture very very well it's if i was to make a positive comparison to last week's fill me in by craig david where i really laid into him about going way too heavy on the lyrics and needing to reign it back a bit this is the sweet I think, where there's some nice little lines in there but it's not overly descriptive. It still has that punch to it, it still has that lightness of touch to it. I think it's very very good there.

It also has loads of hooks, loads and loads of hooks, and I think that's, you know, maybe an obvious point but that's why it's so hard to sit still through this and not get carried away with it. The chorus is just full of them. Like every line in the chorus is slightly different to the rest. It's, it's a really important thing for me in pop songs that it gets in my head and that I'm able to sing along to it. And it's something that this song does really, really well.

It's just, it gets the fundamentals right. It's just very, very good on the basics, which means it's kind of timeless in that way. One final comment on this, which I think we've, we've kind of mentioned this privately, but it's kind of timeless in that way one final comment on this which i think we've kind of mentioned this privately but it's very very reminiscent of groove jet sophie ellis beckster um definitely that style of singing i think is something that sophie ellis beckster became known

for but i think this type of song as well was very very in vogue at this time i think you can see a fairly straight evolution from some of the other dance tracks we've covered in the show so far to this sort of thing where it's got more substance to it than something like Don't Give Up by Chicane, but it's not over the top. It's still nice and accessible and nice and dancey.

I really, really like this. Yeah, I've got very few criticisms of it at all. I really like it. What you said there andy about um where you feel like this is music to play in a bar yeah kind of chimes with what you were saying lizzy where there's dance elements to it but you could not you know you you could imagine yourself kind of just listening to this at home i think yeah yeah definitely there's definitely a lounge influence in the way that the especially the percussion behaves um but i get that vibe

from the video as well because i know that a lot of um a lot of uh daft punk stuff on on homework rather than discovery um reminded me a little bit of this but we're just beginning to see in this episode like you were saying there lizzie you you dropped daft punk i mean it'll be a while before we discuss daft punk on this show but oh yeah the french house influences that are just beginning to creep into the charts and they have a big commercial explosion over the next couple of years. Even with tracks that don't make it to number one, like I'm thinking about the one that What's His Face was on,

David Byrne, Lazy. Oh, yeah, yeah. There's a couple more of those that just begin to creep into the charts. And I think this is maybe not the beginning of it, but at least in terms of the context of our show it's the first time i think we've picked this up and gone ah there's a clear through line here from yeah this is definitely a thing yeah yeah i think that and

it's not something i realized before but this is a kind of mini genre at this time and i hadn't realized that before we started making our way through these yeah but yeah i enjoyed this too um quite a lot the i think this is the first of like lizzie was saying two or three songs this week to kind of argue that disco and 70 soul aren't dead and hopefully they'll never die um i think once that bass hook comes in it's a decent impression of something that maybe Nile Rodgers might have used for an album track for like Sister Sledge in the 70s or something like that. And then the thing I kept thinking of, and I tested it on YouTube, if you slow it down, if you find the song on YouTube and play it at like 0.85 speed so that the bass hook goes do do do do do do do do do do do do like that it sounds a little bit like something that diana ross might have done in the really early 80s you know like the i'm coming out upside down kind of yeah when she when she was working with niall rogers and bernard ed. Exactly. Maybe a little bit of Jocelyn Brown a couple of years after that as well.

And played at a slower speed. This actually kind of reminded me by Street Life. You know, Randy Crawford? Yeah, yeah. It's a similar kind of atmosphere and attitude to it. But yeah, you've got that, like the Nile Rodgers kind of like chicka-chicka guitar sound. You know, the... the narrow rogers kind of like chica chica guitar sound you know the

the lick that it keeps coming back to that kind of reminded me of things like you know Luther's Never Too Much where it's just kind of built on the and it's just how one or two notes can propel a song quite far forward and they become mesmeric rather than annoying um and something like all the vegetums um get down

saturday night which will become very important later on this show so once i get this yeah so once i get this image in my head can't really get it out this feels like maybe something from the site you say that sort of late 70s early 80s kind of disco period but it's all done quite clearly shown in the video with computers and laptops and 20th century production the vocalist whose name is Shane Coates I think or April Coates it depends what she goes by I think Shane Coates is a stage name

she's less soulful, she's more of a modern pop vocalist I love the message of the song as well I'm a bit of a sucker especially this week I've found this out for myself, I'm a bit of a sucker, I think especially this week I've kind of found this out for myself, I'm a big fan of pop songs that are just kind of women kind of proudly declaring that like they own their sexuality and there's nothing anyone

else can do about it, like it reminds me of the, it makes me think about the many many reasons that I love pop and there are obviously hundreds and one of the you know one of the reasons is that I think it's one of the few kind of mainstream spaces where women and to be honest anybody can be very forthright with their sexuality and not be totally smacked down for it like you'll always get like your pearl clutchy mobs and your hate groups and they'll try and get back at you in other ways uh which i'll go to in a second and of course like there'll always be censors and cases of women and minorities being shut out but like this got to number one it was a number one single it got mainstream public

approval and acceptance and i don't want to reference like future number ones too much but one thing i will kind of say about this being not just women i'm just sort of thinking about we've got will young coming up very soon and he was getting number one singles while section 28 was being enforced yeah yeah and yeah that's what i meant about them maybe getting you back in other ways um it somehow manages to be a safe space and a public forum at the same time and i'm not saying that like this song has necessarily radical intentions it seems like a bit of a you know it's got broad appeal but it seems like it's coming from a personal place rather than a a political place it's not a polemic

or anything like that but you know i wonder how the world would be if the if it was more like the pop charts make it seem um yeah yeah but i don't i don't think i love this because okay after a certain point i just wish it did something else because it never really moves away from that baseline and it starts to rely on it a bit too much and I think that what separates this from some of the tracks I referenced before is that as compositions those songs they grow and they keep changing and they add in new ideas kind of past the halfway point like I mentioned Get Down Saturday Night before that ends up introducing that i can't wait for saturday to begin which eventually gets sampled by um what's his face for that um i can't wait yeah i know you mean yeah yeah i know

you mean yeah and never too much has after about that minute and a half it has that never too much never too much never too much and then the various kind of syncopated and delayed restarts after every break that it has and i think that after that second chorus i'm kind of looking for it to go somewhere and it in instead it kind of strips itself back and then repeats the final chorus um i think a lot of its ideas are a bit front loaded and they're cool and i like it i love what it stands for i love how it makes me feel but when i get down to like the nitty-gritty of it i think you know if i'm kind of splitting hairs deciding do i just really like this all of it i think i just kind of side on just really liking it i just

think it's it's really cool it just has it just has a vibe to it that's very very like huh i want to make music like these guys. It really kind of, for some reason, is reminiscent to me of Groovers in the Heart, which similarly has that vibe about it of just, this is just very cool. This is very good production. This is very good use of ideas.

It just feels very, very different. Maybe that's in context where we've had, you know, some more kind of gloopyied old songs preceding this but I just think it's just a really cool piece of music and it, yeah I really liked it, I considered putting this forward for The Vault but I decided not to

because I thought it's not that special but I do have quite a special place in my heart for this one yeah, I agree with the cool aspect, I know what you're saying rob where you feel like it needs something else but i think the kind of the fact that it doesn't need to be showy that it can just it it's sort of self-assured like that that it doesn't need to move beyond what it already knows and what it's already saying it's laid back and confident Yeah exactly Definitely Okay

Next up is this It feels so right, my shining star, my shining light It's the day and night, babe It just ain't the same when you're away You are my inspiration I'm hanging on to every word you say Cause you were my motivation You make me feel so right Every day and night

Cause the only time I think of you Is every day and all night through Whenever I breathe, You're on my mind Every day and night, babe All of the day All of the night You do the things That make me feel so right

My shining star My shining light. It's the day and night, baby. All of the day. The day. All of the night. So, as you heard Man and Andy's wonderful impression of it, this is Day and Night by Billy Piper.

Released as the lead single from Billy Piper's second and final Solo album Walk of Life Day and Night is Billy Piper's Sixth UK single overall And a third to reach number one After Because We Want To and Girlfriend Reached the summit in the late 90s This knocked Madison Avenue

Off the top spot and stayed at number one For one week fighting off competition From Master Blaster 2000 By DJ Look and MC Neat off the top spot and stayed at number one for one week fighting off competition from master blaster 2000 by dj look and mc neat which reached number five when it was knocked off number one it fell three places to number four and by the time it left the charts it had been inside the top 100 for 13 weeks andy yes thank you how do we feel about Billy Piper I know Billy Piper has a special place in your heart for different reasons

I have to address this elephant in the room right from the start that I am a huge Doctor Who fan and so for me Billy Piper is well not just for me for any Doctor Who fan really you cannot quite overstate the importance that she has in the history of Doctor Who fan really that she you cannot quite overstate the importance that she has um in the

history of Doctor Who that she may not be everybody's favorite companion but she's I think at this point by far and away the most famous and most iconic and it's very weird in comparison to look back in retrospect I mean it's very weird to look back on her pop career long before that because what's interesting is that when she first got that role, there was quite a lot of derision of like, Billy Piper, she's a pop star. She's going to be rubbish. That's silly stunt casting, isn't it? And she turned out to be a tremendous actress and she's done all sorts of brilliant things ever since then.

And she now is so well known as a award-winning actress that I think people probably now have started to forget about her pop career which is also strange because she was a really big star she's had two independently very successful careers and I kind of love her I think she's great what's interesting to me about this song is that it's it's actually very different to a lot of her earlier stuff I say earlier it's all in a fairly compressed time period, but because you want to sort of start it as a kind of teeny bopper, hey, parents, don't tell me what to do, kind of, you know, bit of fluff, really. And then Honey to the Bee, which is a kind of, you know,

relaxed sort of seductress kind of piece of pop. And then you get this, which has that kind of slam drumbeat and the heavy, heavy backing and it's quite obvious why she's trying to do Britney Spears that's just what everybody's doing at this time, and I thought you could give this song to Britney and it would work

it's clearly designed that way is that just me? Is everybody else getting that as well? No, you are not the only person who thought that no yeah it's very very britney inspired um which is not a bad thing you know britney's very successful at this time but that very very heavy on the beat um style of this song soaked in reverb absolutely soaked in it the loudness and a similar kind of lyrical approach as well, it's very very reminiscent. I don't think this is anything special and I think it probably did find its way to number one by aping a very popular sound of the time through Britney. That's not to diminish this in any way because so many songs do that with

different genres but I don't think this is anything particularly special but i couldn't help singing along to this in the car when it came on it's um it has stuck around it has stuck around i do think it's got a very very easy sing-along chorus to it don't think it's anything special but i don't think there's anything bad about it either i think it's a clear attempt at trying to be the UK's next big Britney wannabe, which always happens when someone new appears on the scene, you know, Cliff Richard trying to be Elvis rather unsuccessfully, and then all sorts of people trying to be the Beatles somewhat unsuccessfully after they went to America, and then people try to be the big pop stars. Billie Piper didn't need to do that because she had an enormous career ahead of her

in a completely different way. So this is just a bit of a novelty looking back, but I quite like it. I have no real problems with this. I quite enjoy this song. Yeah. Yeah. I have a bit of a confession to make.

I think Honey to the Bee, the album that she did before this one, I think that was the first album i ever kind of owned obviously my parents bought it for me because i was only four or five but my first kind of my first right proper that i can remember my first love in my first loves in pop music when i was around four and five years old were were like Spice Girls, Steps, Bewitched, and Billy Piper. And then when she turned up in Doctor Who years later, at the time, I really fancied her,

and I was dead sad when she left the show. But, like, even now, like, I kind of look back, and obviously, like, I don't fancy her because she's only, like, I don't know, she's, like, 19 in this video or something like that. So, you know, it's all a bit like, you know, times move on, things change. But she has such a distinctive look. Like, if the song isn't distinctive, like, you never forget that face. Yeah.

I don't know what it is, like, the deep eyes and, like, the very prominent jawline. She just has a very, very distinctive face. jawline she just has a very very distinctive face and I think it's a sorry to interrupt you on that Rob but it is interesting that they it is kind of the point of Rose in Doctor Who as well that they the reason that she is special is that she just has something about her whether it's the personality the look there's just something about her that is very very special that no one ever quite put their finger on so it's very interesting that you say that yeah and it's a bit of a shame

because i think as much as i'm in favor of the song i i don't love it i think if you're going to try and rip off the sound that brittany basically cornered in a matter of seconds you might as well you know make a good go of it and it it does it, make a good go of it. And it does, it does make a good go of it. I love songs that have bridge sections that sound like choruses so that when the chorus comes around, it sounds massive. Like the Scissor Sisters do it a couple of times. Bit of a weird tangent to go off on, but Recover by Churches has got one of my all-time favourite bridges that sounds like a chorus,

and then when the chorus comes, it's like you've been shot into space. This has quite a good one as well, because you have the... Because the only time I think of you... That sounds like a chorus melody, but then it goes... All of the day... And it returns to that introduction chorus that they do and it's a good moment i think it lifts this song from being kind of like a bit forgettable and a bit oh it's a bit of a shame that they took someone with such a potentially very unique pop personality and kind of just

pushed her through a britney filter and see what fell out the other side um it also reminded me a little bit of everybody yes every now and again i was expecting the bass line in the back to just go bow you know the kind of like souped up overproduced hip-hop beat the orchestral stabs like i was half expecting it to kind of kick into the Backstreet Boys song. Makes it hard for me to separate the song in my mind from those two. And I think that's what drags it down. Plus the end, which I'm going to call the top of the pops finish. Where it kind of has, you can imagine them all like on top of the pops. With four or five backing dancers from the video.

And then you can just imagine it going, day and night, babe, zoom, like that. And they all do a pose at the end and the camera freezes and then the audience go, woo! And then it goes back to, I don't know, whoever's presenting it. And that was Billie Piper with her smash new number one. And this whole thing shot into my head and it was a bit like, okay. It would make a great lip sync, wouldn't it, it for that reason you could finish on a death drop yeah i am always

surprised that more kind of cheesy british goes at american r&b in the early 2000s haven't come up on uh drag race lip sync for your life stuff yeah yeah yeah um i did a little bit of reading about this and i found out why her pop career wasn't longer. And the circumstances are quite unfortunate and quite sad, actually. Well, like, she ended up in court because a stalker made threats against her and her family's lives.

And after that point, she just sort of went, I think this has probably gone too far. Like, I'd rather just back away. And that eventually results in another song that Billie recorded and was going to release as a single being remixed and being given to another artist that we will eventually cover on this show in the future, which was The Tide Is High so oh I see yeah so obviously

we'll talk about that when it comes around but yeah it's just strange story and a bit of an unfortunate ending really

Lizzie how do we feel about Day and Night yeah well there was that stalker thing and there was also like she was in the press a couple of years ago saying that she was essentially well well not not literally but

she sort of talks about being pimp like young stars being essentially pimped out by agents and yeah um she also said some stuff i disagree with about about me too and how she's like talks about over sexualized women in social media it's like you know okay your it's your life but anyway i didn't know about that oh dear yeah billy yeah um well they do say that invitation is the sincerest form of flattery like if you're gonna copy something you may as well copy something good, right? And with this single, Piper's moved on from her shaking spice phase and into her shaking spears era.

I do prefer this sound to the likes of Because We Want To and Girlfriend, and the song itself is decent, but I don't think that Piper's performance is strong enough to really do it justice. Instead, I just get this sense of, like, a British peg being shoved into an American hole, which always sounds like a cheap imitation

unless you really have the energy and the charisma to pull it off and make it your own, which I don't think she really had at this time. And also, I don't care a jot had at this time and also I don't care a jot about Doctor Who so I've never seen any of that she might be a great actress for all I know so yeah I can't really can't really say if she improved but yeah I'm not convinced by this performance but like I say the song is okay the highlight here is obviously the production. Much like Oops I Did It Again, it has that spiky, hard-edged sound that was so popular around this time.

But yeah, I wish the performance was slightly more convincing, though that's easier said than done when being compared to the effortlessness and immediacy of Britney Spears' output from this time. Sorry, Andy. Well, it's okay. You don't have to say sorry to me. And I completely, once again, acknowledge that my enjoyment, if you like, of Billy Piper is entirely based on Doctor Who

because she is fantastic in that. No, I won't take it personally. It's okay. I only have mild liking for this song I was going to say I feel like if you did give this to Britney Spears it would not sound out of place on her album at all

it's one of those where I'm not saying it's generic it's just it has that strong production where it's like a nailed on number one unless you're an american because she didn't do shit over there but yeah yeah no i agree i find myself i like the song but i do find myself distracted that you can i think you can see what they're going for

so transparently and so clearly that it's like, hmm, I need to remember that this is the song I'm listening to, not, you know, I did, I did honestly always, every time, half expect that bass line to just start doing the Backstreet Boys, like I said, quite a lot, but it does knock a couple of points off it for me oh well more than a couple but uh yeah it's not well actually i think you know it's definitely a decent single and like if it was in maybe like the first week or the second week of our show it may have stood a bit of a chance at being like my favorite one of the week but not this week there's much higher standards around yeah much better this week.

Yeah, it doesn't... Because someone pointed out on our Twitter that... You know that Max Martin trick of doing the alternate chorus? Yeah. If only this song did that. It kind of... It sort of kind of does by using the bridge as a chorus. It kind of does that. That thing that Rob mentioned.

That's a sort of half-baked attempt at that. Yeah, the aping Britney bingo card that Billy Piper's been ticking off. All right, then. Next up is this. This. You always make me smile When I'm feeling down You give me such a vibe

It's totally bonafide It's not the way you walk And it ain't the way you talk It ain't the job you got, that keeps me satisfied Your love, it feels so good And that's what takes me high How you loving me, boy? Your love, it keeps me alive All right then, this is Sonic with It Feels So Good, released as the second single from

Sonic's debut album, Hear My Cry. It Feels So Good is her third single overall and her first to reach number one. It Feels So Good was originally released in November 1998 and it got to number 24 and that was considered to be that. But after it was slightly remixed and released in the United States in January of 2000, it got to number 8 on the Billboard charts, and Sonic's record label decided to give it another go. After its re-release, it knocked Billy Piper off the top spot and stayed at number 1 for 3 weeks, which means that it had the joint longest reign at the top of the charts for the whole of the calendar year 2000 it fought off competition

from reach by s club 7 it's my life by bon jovi new beginning by stephen gately and mama huda man by richard blackwood when it was knocked off number one it fell one place to number two and by the time it left the charts both versions of the song had racked up a total of 24 weeks inside the top 100. Lizzy, how do we feel about Sonique? Not as a person, the song, I mean. Yeah, of course. This is one of the very few number one singles from around this time that I still hear on a fairly regular basis, like you know on the radio or on TV. Like I still,

because I know it still pops up in sort of adverts and things like that, it's very radio 2 friendly, not in a bad way just in a kind of, it has that sort of lasting feel and it still sounds great i think that's probably what the main reason why you still hear it because it sounds great it's a really good song like there's not a lot going on lyrically in this but what really carries this is the combination of that angular amorphous production juxtaposed with Sonique's velvety voice which itself switches from like smooth and sulfine verses to passionate and almost anguished in the chorus like there's that there's like this is full of little moments like there's like one bit at the end of the chorus that I especially love where you know she goes into falsetto and the timbre

of her voice changes so strange yeah it's really strange yeah it's like she sort of opens her vocal chords like how do you do that but and then it's like it never happened it just sounds completely natural because like I say she just sort of slides into it like it's nothing and there's early chorus parts as well where her vocals are like multi-tracked and she harmonizes with herself but sort of closely enough so that it has this unusual like alien quality about it it's really interesting and like speaking of alien the backing track has this uneasy distant quality about it which i love especially those abrasive synth pulses combined with the string stabs in the chorus and like there's a better way of explaining this i'm sure

but um much like don't call me baby this is a nightclub track that embraces pop rather than trying to bend itself around it. Something like Don't Give Up from a few episodes ago sounds very much to me like a dance track first and a pop song second, which is fine in its own regard but not necessarily what i look for in a pop song i feel like this gets the balance just right and because of that it's probably my favorite song of this week's selection as a result yeah i it's funny how like lizzie you have expressed things that i have in my notes but just with slightly different words yeah me, me too. And slightly different references. Like the slightly alien quality to the whole song, the way that it feels like it's, like you say, a club track that has embraced,

or specifically a nightclub track that has embraced pop and welcomed it in. First of all, to slightly paraphrase super hands uh break beats are the best get high all the time slightly paraphrase yes yeah um because man like i'm gonna be a fan of almost anything that uses break beats because i love them but i just love the kind of quality to base it yeah reminds me of a couple of the Garage tracks that we were going through over previous weeks. Yeah, and we'll get a couple more.

Yes, definitely. I like this so much that I think, not to kind of spoil it looking ahead, I may have to reconsider, but I think this is probably my single of the week. It's a really close one, I will say. Yeah, I think this is my personal

favourite how do we feel about it vault wise before I go any further like I'm nominating it for the vault I'm close yeah I think after I'm finished talking I may tip myself over the edge because I can't decide because I love

this but I can't decide to what degree and I was hoping that while I was talking about it I'd sort of meander my way to a conclusion but there's this intense and immediate sense of atmosphere to this like it's dark and it's brooding and it's even slightly threatening in a good way. I like this sense of anticipation that's brought on by those staccato strings, the doom, doom, doom, doom at the beginning. And it sounds future. This is where I was talking about the alien sci-fi thing that you mentioned. It sounds futuristic and slightly sci-fi, like it should be playing in the background of nightclub scenes in things like tron legacy a few years later you know like maybe daft punk could remix this

for me please and stick it on in the back while michael sheen's wearing a hilarious white wig and you were talking about the lyrics i love the way that this really cleverly disguises what it actually is because it's a love song with very simple sentiments and kind of basic lyrics they're short and simple and effective and direct in a way that kind of reminds me of beach boys records where often like the simplest sentiments communicated in the most direct way can be the most effective like i always think about um i just wasn't made for these times where the chorus is just sometimes i feel very sad yeah yeah but the way that brian wilson performs them they just ache with that kind of melancholy

and bittersweet sadness that the beach boys are always so beautiful at conjuring and the way that sonique performs these lyrics and the way that the track envelops always so beautiful at conjuring the way that Sonique performs these lyrics and the way that the track envelops her words, it makes it all sound really sleek and sophisticated and it makes it I mean it's in a minor mode and it just means that there's this slightly pitch bent

element to the story that's coming through in the song and it ends up sounding like something that should not be listened to in daylight. It feels like something that only suits the dark, and I don't really have much more to say about this. I think that maybe other than the bass getting a little bit wobblier,

there isn't much that announces the final chorus in a way that i would have expected or anticipated from a song that sounds like it's inches away from being sort of like rather like fantastic and like amongst one of my favorite songs of 2000 never let never mind singles or number one singles but that last chorus is not a huge problem for me because what's already going on i find it to be incredibly interesting and like you say her voice i haven't heard a voice like hers before really unusual isn't it yeah like you say the way that she pronounces that it's you i'm always thinking of and she brings a lot of variety and not not to, like, you know, slag them off,

I quite like some of their songs, but when I listen to Sonique, I think, like, why does Gary Lightbody always sound like that in every Snow Patrol song, when Sonique can sound like... What a bizarre reference point. Well, it's just Gary Lightbody never really does anything with his voice.

He always kind of performs with that kind of slightly hushed melodic whisper singing and he never really breaks up or down from that there's a couple of songs that he does it with it but whereas with this sonique takes on several voices and modes through this song and it's like i just think why can't more people do that why can't they add a bit of character to the voice why can't you play a protagonist? Why can't they add a bit of character to the voice? Why can't you play a protagonist in a song rather than just perform it?

But yeah, Andy, what do you think? Yeah, first of all, just to use some of my musical knowledge, there is a technical term for Snow Patrol which is that they're shit. Yeah, it's true. Just to put that in there. Anyway, it's uncanny how much you two have said exactly

what I wanted to say about this. You've hit some of the same keywords as me. I've got the word alien, I've got the word sci-fi. I've even got... So I think a possible explanation for the sci-fi sort of thing, not explanation as such but there is a common relationship with a certain type of futuristic dystopian

sci-fi and progressive kind of dance music that has a very strong backbeat in it the classic example would be Blade Runner that the score for that by Vangelis was very very clearly inspired by a lot of the late 70s dance tracks.

I Feel Love by Donna Summer is virtually sampled for the final track of Blade Runner. So I think that might be sort of what it is, that there is that kind of commonality there. But definitely, I know exactly what you're saying with sci-fi. That's exactly, I'm picturing a cityscape

at night with neon lights as i listen to this maybe that was in the video i don't know are we all kind of retrospectively remembering the video i didn't watch the video for this i don't know but it's definitely there and 100 agree about the voice as well and i to be fair rob i completely agree with you about how it is such a simple easy thing to do that very few artists actually bother to do, which is just do something interesting with your voice. Because when you do, it just instantly gives you a USP. It instantly makes you so much more interesting.

Obviously, Lady Gaga uses it to a very, very famous effect quite a lot. Shakira was quite known for it with the, I'll be there and you'll be near. It's really easy to do but it gives your songs a little bit of extra flair Yeah, we haven't gotten weaker in a couple of years Yeah, exactly Not that this one needs any extra flair

because it's got so much going on It's got amazing production It's also several different genre influences here It's a very difficult blend to get right and I think it's one of those songs that makes a very difficult idea sound very easy that it's,

it's, it sounds very flawless and like just a really chilled out, enjoyable track, but there's so many component parts here. There's so many odd things that are going on with Sonic's voice, with the production, with the choices of kind of structure. There is a lot going on in the song and I really, really admire it. I kind of had to look into

whatever happened to Sonic because she hasn't really been around since then. She did fairly quickly drop out of the mainstream spotlight after this album, but she's still plugging away. She's still doing collaborations all the time doing all sorts of songs yeah i am kind of intrigued um to see what she's doing because if i mean i'm not expecting everything to be of this quality but any artist that can release a song of this quality has certainly won my attention um so yeah i i think she may well be one that I do some extra research on after this week. Yeah. But yeah, absolutely love it. For me, just in terms of my history with it,

just because you mentioned, Lizzie, that you've heard this a lot consistently since then. I actually haven't. In terms of my history with it, this was another pure show. Loved it at the time and then went a clear 10 years without hearing it at all and then came back to it where without hearing it at all and then came back to it where it just popped up on my spotify and i was like whoa this is just as good as i remember this is really good this is really really great um and yeah absolute absolute my favorite song of the week without a doubt and going into the vault as well lizzie are you 100

on the vault absolutely there we go it's carried there hey well it's unanim, are you 100% on The Vault? Absolutely. There we go. As am I. Well, it's unanimous. Glad you got there, Rob, but if you were going to say no, then it doesn't matter anyway. Glad to have it unanimous. But yeah, it's a wonderful song. Easily my favourite of the week. I think other than Pure Shores, probably my

favourite song we've covered so far in the whole show. Yeah, absolutely love this. Alright then. Next up is this. 1975, we brought you an album with a song. Can't feel, can't feel nothing Come on, come on She trouble with me

Can't do nothing without my baby Lady, baby, let's party This girl's gonna die So So this is Black Legend with You See The Trouble With Me. Released as Black Legend's debut single in the UK, You See The Trouble With Me was a standalone single and Black Legend's first and only single to reach the number one spot in the UK. Their follow-up, Light My Fire, Never Charted, and eventual third single, Somebody, only reached number 37 in 2001. When You See The Trouble With Me was planned to be released

as a single, they were made aware that Barry White had not given permission for the duo to use his original vocal track, so the vocals were re-recorded by Black Legend collaborator Elroy Spoonface Powell, and the song went on to be a successful single across Europe, reaching the top 10 in Belgium and Ireland as well, and it charted at number 6 on the Eurochart Hot 100. This knocked Sonique off the top spot and stayed at number 1 for one week, fighting off competition from Darude Sandstorm, which, if you look on the official charts, jumps up a hell of a lot of places to get to number three. And Porcelain by Moby, which reached number five,

and we played that on the show last week. When it was knocked off number one, it dropped one place to number two, and by the time it left the charts, it had been inside the top 100 for 16 weeks. This is my least favourite song of the week. Me too. Yeah, it's another big dance track from the clubs

that seems to have broken through and has found itself at number one. And you can kind of tell that this was maybe a bit of a surprise or a bit of an intended one-off because they were told late about the sample not getting cleared and then there's no actual album that it's part of this isn't like a promotional vehicle for something bigger it just kind of is what it is on its own um they seem to me like a group that's more focused on doing dj mixes and their solo projects and you know things like that

you look them up on spotify and the only thing they've actually got is a dj mix of other artists work you know there's no album it's just the singles they released and nothing else but is it any good uh i think it's fine i think you know this is the second song this week that definitely says like yep disco is here to stay and it's still a force and you know I appreciate that you know the dance sections when the Barry White sample well kind of but not really um when that's playing I think they're kind of striking like the combination of the piano stabs and the you know the the kind of untis kind of backbeat and you've got the see and just trouble with me and it's got a good kind of kicking rhythm to it um i'm into those sections but when the when that's not happening it's very repetitive and not in a way that rewards kind of

like allowing yourself to be hypnotized or mesmerized by it i imagine like when you're in a context where you don't feel time passing this goes over great but i'm not in that context and so i do feel time passing and i'm analyzing it with different faculties than i would if i was at a club night and i was just kind of like yeah you know having a great time um yeah i don't think i've ever finished this song without skipping the sort of like the last 15-20 seconds where I'm sort of like right okay come on get me into the next song now like I'm you know I've got to get some notes down because you just get

that same kind of boop boop boop boop boop boop noise like someone's hitting the end of a pipe and it's fine but it does get on my nerves a little bit it's not bad I think it's just not my thing. Like, I'm always going to appreciate something

that's pretty non-commercial and slightly subversive to the pop structures getting to number one. But on this occasion, I'm just kind of like maybe feeling a little bit like Andy did with Oxide and Neutrino last week, where it's like, yep, can see what it's going for, enjoy bits of it but I'm just kind of more excited about other things

that are happening at the same time Andy how do we feel about you see the trouble with me etc I kind of pretty much echo what you've said to be honest Rob, although I do actually prefer this slightly to Bound for the Reload,

just because, you know, when I say Bound for the Reload, I can't not say it in that rhythm, Bound for the Reload. I just made myself laugh there. I slightly prefer this just because I think it has a little bit more life to it, but it's not a big gulf there. Yeah, I agree with most of what you've said there, Rob. It's a bit strange, this, isn um it's not a big not a big gulf there yeah i i agree with most of what you said there rob it's a bit strange this isn't it a bit weird um i'm a bit confused as to how this got to number one to be honest um because there are long segments long segments of this song

where absolutely nothing is happening where you could just copy and paste the last eight bars and put it in front, which is probably what happened in some sections of the song. It's funny, actually, that I listened to the songs a couple of times this week, all of the songs, and one of the times I listened through is when I was in the car. And I will tell you, my husband was not happy with me for sitting through all of this, the full five minutes of it.

About two minutes in, he turns to me and was like, what the fuck is this? Because we hadn't yet reached that first, I want to call it chorus. It's not really a chorus. We hadn't really reached that yet. So it just been that two minutes of that, which sounded like that flat beat, flat Eric song. It did kind of inane. And if that had gone on much longer, I would have been nominating this for the pie hole, flat Eric song. It's just kind of inane. And if that had gone on much longer, I would have been nominating this for the pie hole,

to be honest. When it gets to that sample that isn't a sample, when it gets to that section, the actual You See the Trouble With Me section, vastly improves. That bit, I can see why that's popular, and I quite like that section. Nowhere near enough of it, though.

I would say that probably, I didn't time it, but that probably takes up about a minute and 30 of the whole song, and then there's probably like a clear three and a half minutes that is just that... with absolutely nothing going on. It's way, way too long, which is remarkable because this is the radio edit that we've all listened to this is the shorter version there is an even longer version than this that truly outstays its welcome

um no i'm not a fan of this particularly it's definitely my least favorite one of the week i don't think it's awful but i would level a lot of the same criticisms that i did of bound for the reload at this in that it's confused. It doesn't really seem to have a clear notion of what this song is and what its intentions are. It's not tightly edited in terms of time, nor is it tightly edited in terms of content. It's a bit of a hot mess. But by the time it's over maybe just because it's gone on for what feels like an age, it kind of

was getting my foot tapping. I was getting into the you see the trouble with me sections. On the whole though, it's a miss. This one. Yeah, I'm not a huge fan. Yeah, it's just something you... No, it's gone out of my head so I'm going to send to

Lizzie and then think about it lizzie lizzie what did you make of this yeah completely agree with you both like i really don't have many notes on this because what is there to say really um like you i got you know i got tired of the sort of thudding and i think again like I've said so many times this is meant for a context that I wouldn't have understood then and I don't really understand now but in terms of how it got to number one I'd imagine that it's kind of like you know when you get super DJs like Swedish house mafia or something or you get those big labels like Defected who kind of specialize in this sort of thing yeah and they And they'll, I don't know,

this will play at a club or a festival or something and people will hear it on the night and think that's the fucking best thing I've ever heard. I need that. What is that? And like they've got that devoted fan base who will just buy it in droves and then, you know,

it'll drift out the charts afterwards. So I can kind of understand how it did against the number one and obviously the chorus I guess you could call it the not Barry White bits is really good and I did find myself

going back to that thinking yeah this is great, why didn't they have more of this and it's like the fact that they only have like you say it's only about a minute in the song it's like why didn't they have more of this and it's like the fact that they only have like you say it's only about a minute in the song it feels like i don't know it's like edge porn in music form like you think it's gonna get that climax and it never does it just sort of gets slightly just underneath the ceiling and then just sort of peters away and back down to nothing yeah so like I definitely don't hate

this I think the you see the trouble with me bit is enough to elevate it to like okay sort of thumbs in the middle but yeah it's a bit of a shame could have been better I think it feels like now that I think about it it feels like a bit of a shame. Could have been better, I think. It feels like, now that I think about it,

it feels like a bit of a dry run for something that would happen sort of in the more mid-2000s where they would take songs from the artists and DJs would take songs from the 70s and the 80s and just play the whole song but with a more aggressive backing beat i'm thinking of stuff like um thunder in my heart you know mech and leo sayer and um yeah tell me why by super

mode which is just small town boy just played with a more aggressive backing beat and stuff like that where it feels like oh people just want the original song but more up tempo okay it's a bit like um it's like call on me as well where it's just like right we've got the best bit of the song you're just gonna like compress it to fuck and play it over and over again and then falling stars by sunset strippers as well which takes um boy meets girl and just basically just turns it into a dance song um i mean to be fair that that's you know that's easy ground for stuff like that because that song by boy meets girl is just one chorus after another like you don't know which is another one of these

like chorus that is actually a bridge and then the actual chorus comes in it's like whoa whoa how did they get this idea and so yeah it's fine it's fine, but it just feels a bit sparse. I think sparse is probably the word, actually. Yeah. There's really shameless amounts of time of like 30 to 40 seconds where I think, how can a producer sit and listen to that and think that's finished? You know, there must be something more you

can add and i don't mean that quite as harshly as it sounds but i really just can't get past that to be honest of like where's this song going what why is it so long and with so little justification it's just strange to me yeah i do have like a really small question about this do we know if this was recorded live or if that audience is piped in? Oh, definitely. Well, I don't know, but to me it sounds definitely piped in. Yes. It sounds very, very artificial.

What about you? Do you think it sounds piped in? It probably is. I just thought, like, why would you do that? Just record it live if you've got to go down that route because I'm sure people would respond similarly but you'd get a more authentic effect well

the mystery continues our final number one for this week is this I'm spinning around, move out of my way I know you're feeling me cause you like it like this I'm breaking it down, I'm not the same I know you're feeling me cause you like it like it I'm coming for some joy and a found home Back in the day

Truly my old clothes got myself a better warm I got something to say I'm a fool in the past Ain't no point in looking back The future will be And did I forget to mention That I found a new direction And it leads back to me

I'm spinning around Move out of my way I know you're feeling me cause you like it like this I'm breaking it down, I'm not the same I know you're feeling me cause you like the mistakes that I made Okay, this is Kylie Minogue with Spinning Around. Released as the lead single from her seventh studio album Light Years, Spinning Around is Kylie Minogue's 27th single overall and her fifth single to reach

number one. This knocked Black Legend off the top spot and stayed at number one for one week fighting off competition from Babylon by David Gray which got to number five. When it was knocked off number one it fell two places to number five. When it was knocked off number one, it fell two places to number three, and by the time it left the charts, it had been inside the top 100 for 13 weeks. This was challenging

with Sonique for favourite of the week, but then the more I thought about it, the more I thought, no Kylie's got better stuff than this yeah, for sure this is the third and final track for me this week

that does make the case that Disco is like yeah, it's healthy, promise it never sucked and stuff like that I think, you know, it's something that Kylie has always argued with her music like and she goes on to argue very prominently through the rest of the noughties actually like if you listen to fever or the singles from x or body language like this isn't exactly new territory for kylie and it's not the last time she'll be in this territory either but i do like it a lot and i think i'm on the edge of loving it but i feel

like the time we finish talking about it i'm gonna go the opposite way to what i did with sonic i think this has one of kylie's best intros like that synth at the beginning that bleeds in the air i do like that that sounds like it's going from a high-end to a low-end kind of filter, and it has those striking, swirling strings. They hit, and then it's boomer off. But for me, Kylie's at her best, and no spoilers intended here, but when she's doing that kind of seductive kind of sexy whisper instead i think on here she's in her upper register and she sounds great but that slightly shrill nature to the song it just

takes the edge off like i prefer the songs that she does that sound kind of mysterious like they tease you and like they threaten you with a good time and they invite you in rather than the ones that just kind of push you through the door so like I'm you know like can't get you out of my head confide in me slow it's in your eyes come into my world like there's something dark and smooth and enticing about those in ways that songs like Wow and love at first sight and this one they're kind of happy to be very in your face and they tell you exactly how they feel and like i love all those songs too like wow is i really like wow and love at first sight is one of my favorites off fever but when

i'm really really splitting hairs and deciding like which of kylie's best stuff do i think like is is better i always find myself coming back round to like that you know the um the the weird kind of descending synth line in the back of coming to my world like that the thing that kind of hangs around behind her you're like what's going on here um i love the kind of new disco electro disco production on this that's like kylie's forte beyond this point um i think it's got one of her more memorable chorus lines too yeah um this is another song about a woman that's taking ownership of her own space and sexuality in a crowd of people. Like, I think there is a theme developing this week, unintentionally, obviously, but, like, whether it's visually with the Madison Avenue, Sonic and Kylie videos,

where it's a woman dancing or moving through a space filled with people, but the visuals make it clear that it's her space and it's her doing this like the the only time in this video where we don't see in these videos where we don't see a woman dancing in a crowd of people making her own space it's when sonic is in her own flat like you know doing turntable stuff and putting the record down and then we transition and she's on a stage in a club doing, like, you know, DJ mixing and stuff like that. And it's all about being in women's spaces. And this seems to be about, like, women in crowds

kind of just trying to go their own way, either visually or lyrically or in terms of how the songs feel. There does seem to be like a theme established a through line through this episode which i don't think we've really looked for or had before where it just seems very clearly like madison avenue it's like you know don't call me baby watch my cool moves at this house party with sonique it's like she wants to talk about how much she loves someone and here i am on a stage and here i am in my own flat and here i am on a street while everybody else is

kind of time lapse walking around me i'm the only one moving at normal pace and just look at me just look at me and like with kylie minogue it's like here i am in a crowd of people dancing making my own way you know and then in the song she's like get out of my way it's me i'm dancing it's my night uh yeah that's and i think that i like it because of that but i think it's just lacking a bit of there's an edge and a mystery to some of kylie's best material that this doesn't quite have i think that's what's maybe lacking for me but uh andy what about you yeah so it's it's it's a very interesting time to look back on in kylie's career this because the well what is for me the great kylie decade is just getting started here that pretty much happens to

coincide directly with the noughties going slightly into the tens uh but it's her great period of becoming i think not just a very well-loved pop star, but becoming an icon. I think it really happens in the noughties. I think if you look back that Kylie then is not Kylie now that it's easy to forget how recently at the time, not really recently, but she was relatively, I don't know what the word for it is. She was,

she was much newer on the game than I think we imagine now, looking back, that we all kind of feel like Kylie's been around forever. But she'd been around for about sort of 12, 13 years at this time. Like Robert said, she'd only had four number ones at this point. She was not like the Kylie that we know now. And that was when this started, really,

that she just sort of started releasing director after director after director. this started really um that she just sort of starts releasing direct hit after direct hit after direct hit and it's a lovely discography to go through at this time but i think it says something about this era and how good it is for her that a song that i really like like this a song as decent as this is definitely nowhere near one of the highlights of the noughties for me for kylie it's um it does sort of i don't want to say lack something because i do really really like this but it doesn't have that extra special sparkle that would really take it over the top i think it does have that trademark noughties kylie style that she would make such a success of of combining disco influences very in your face classic pop and

rampant sexuality in sort of different balances of measures some songs go heavier on disco some songs go heavier on the pop some songs go heavier on the sexuality um but this is a sort of equal combination of the three where it's just a very straightforward mainstream pop song that makes a really great success of it. It's got a great bridge, really, really, really great bridge. I love that, Baby, baby, baby, love me like this. That effect that people used to do that you get in Don't Stop Moving by S Club as well, that love me like this.

It's just infectious. You never get that outside of a very specific two or three years. It's like the only years where you ever got that effect, but it was all over the place. I really, really do like it, but there is so much better to come, and I think that this is sort of like Star Wars A New Hope in that it's a very great start to a series that will then have infinitely better entries following it it's just

a very great starting point really i do think what it is for me what could really send it over is that it just needs a little bit of something in the last chorus something different in that last chorus not a key change not a key change i've definitely ruled that out so i don't know what it is that i'm asking for but i think it just could do with a sort of, well, why should I stick with this? Why should I not skip after the first chorus? Because I've kind of heard it now. There's something, just something I could do with a little bit more

in that last chorus, which is the only thing that I think holds it back from being a proper Kylie classic. But as it is, it's still a really, really great song. It's definitely not at the level of it feels so good for me. I think that's definitely my favourite of this week. But this is just a very, very solid pop song that makes it clear that Kylie is here to stay and that she has many, many more tricks up her sleeve,

which I cannot wait to talk about in future weeks. So for me, this is just a kind of wetting the appetite. Good start, lots more to come yeah and to take us home lizzy how do we feel about spinning around yeah it's funny because i sort of mentally placed this after can't get you out of my head for some reason i remembered can't get you out of my head as being you know kylie's big comeback single because you know in the mid 90s like i want to say between 1994 and this song she didn't hit the top 10 at all like yeah she went off and did weird stuff like impossible princess and and things like that yeah and she was in films with like john claude

van damme and i think she spoke quite openly at the time as like she you know regretted impossible princess and you know it seemed like you know maybe that was it because like how many you know late 80s pop stars in particular was still knocking around like you didn't see rick astley still having hits in the top 10 or whatever or kylie's best mate jason donovan yeah exactly or uh i think the only i think the only i think the only other one really is Madonna, who has always invited so many comparisons. They have so similar a career path through the 80s, 90s and noughties. Yeah, it's like they were all swept away sort of in the early 90s,

not for any particular reason, just because it's the passage of time it happens and yeah it's like you say rob it is that ownership of her sexuality but i think it's ownership of her past and just being able to move on from it being able to admit that you know you've maybe not made the best decisions in the past but you know she's through with the past no point in looking back the future will be and did she forget to mention that she's found a new direction and it leads back to her this is it this is just her big re-coming out party it's you know taking ownership of her sound and not letting itself be locked into that trap that

so many of those stock ache and wartman artists were where they could never really escape it because it's like a similar sort of thing would happen with like simon cowell artists in a few years where they just get they just get lumped with that label and they can never ever move past it and like you know one of the few examples recently has is like Harry Styles but that is the exception rather than the rule um but yeah I agree with you both in that she definitely has bigger tricks up her sleeve but I really like this I think it's another solid you know disco infused track from this week also I kind of you know the intro bit where it's you know the I was I kind of maybe I misremembered this but I was sure that that sampled the intro to September by Earth Wind and Fire

but I can't find anything about it online I don it online I know exactly what you mean but I don't think that's actually a sample I think it's just an inspiration you know the I don't think that's actually sampled interesting thought I think it's like an homage rather than a direct sample

yeah alright then well what a lovely week yeah yeah it was a very good week yeah yeah

well we hope we've we hope you've all enjoyed listening to this one we'll be back next time to cover the period from the 2nd of July

through to the 5th of August so yeah a lot of number ones just so many number ones just so many number ones in the year 2000 a veritable smorgasbord

it never ends one day we'll meet Christmas one day yes we're spinning around move out of our way yes

all those number one singles that we have to disperse but yes okay we will be back for those the sum next week I'm really looking forward

to talking to me too and talking about talking to you about so yeah okay thank you very much for listening and we'll see you next time

ciao bye bye see ya guitar solo Street life Street life Street life Street life Street life Oh, oh