Hits 21 - 2001 (1): Rui Da Silva, Jennifer Lopez, Limp Bizkit, Atomic Kitten

Episode Date: October 23, 2022

Hello again, everyone, and welcome back to Hits 21, the show that's taking a look back at every UK #1 hit single of the 21st century - from January 2000, right through to the present day. HOMEWORK: https://open.spotify.com/playlist/07HRH4o3QAs9mYEg0ZL5jL?si=sxCVQWggQmy6lHhn-o56vA&nd=1 Twitter: @Hits21UK Email: [e-mail] Touch Me - Rui Da Silva Love Don't Cost a Thing - Jennifer Lopez Rollin' - Limp Bizkit Whole Again - Atomic Kitten

All right 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're at Hits21UK that is at Hits21UK and you can find us over on twitter we're at hits 21 uk that is at hits 21 uk and you can email us as well just send it on over to hits 21 podcast at gmail.com thank you so much for joining us again we have finally made it to the year 2001 this time yeah we'll be looking back at four UK number one singles And it's the period covering the 7th of January 2001 Through to the 9th of March And I just want to say we're starting at the 7th of January

Because for the first week of 2001 Bob the Builder was still holding on after Christmas He was still, you know, I don't quite know how to describe it Maybe he's hanging off the cliff of number one And he's using that like, you know so i i don't quite know how to describe it maybe he's hanging off the cliff of number one and he's using that like you know the bit at the top of a hammer that just kind of extends out he's using that as like a like a just to sort of cling on that's that's what he's doing at the moment um so we're in year 2000 we're in the year 2001 so things have moved forward in time obviously uh just because we're starting the year over again uh we're just gonna reacquaint you all a little bit with how old we were and

what we were doing uh at this point in our lives if we can remember back uh 21 years to when we were all still single digit ages is that is that right lizzie were you still nine maybe 10 max at this point uh for the first half of the year, I would have been nine going on ten. Starting the year in year five, eventually going into year six. And yeah, Andy, what about you? I was eight going on nine, year four going on year five. It was a good time. My main interests included Pokemon and Star Wars,

one of which is still a big interest to this day. I'll let you guess which. Yeah, it was a good time for me. This was around the time that I started playing music. I started learning my first instruments in school in 2001. My first instrument was the euphonium, which is still played to this day. And we got our first keyboard in the house around this time as well, so I started to become a musician around this time, which is lovely yeah oh i'm kind of similar i was a little bit younger than you two i was six going on seven in 2001 but i remember being in second or third year of primary school and starting uh

guitar lessons oh um but they didn't really last that long I mean I play the guitar now but it's because I picked it back up when I was about 17 and it was so yeah there was a basically a 10 year gap between me starting to play the guitar and then actually learning to play it

but I was just saying to Lizzie before, Andy before you sort of came and joined us um before the episode that this is the first year where i'm looking at these songs and i can actually remember them being around from the time like the songs that we're covering this week i the only that the first one that we're covering maybe i'm a little bit hazy with in terms of whether i actually heard it or not but the other three that we've got i remember them really vividly maybe not being number one i didn't

really start paying attention to the charts and you know listening to radio one on a sunday every week until i was about maybe 10 years old but this was the time where i remember these songs being on the tv and like the music videos and there's a little story from one of the songs that we're going to be covering this week where i remember my dad went out and bought the album that it was from uh try and guess which one's which uh out of the four that are there because my dad's 40 in the year 2000 remember and so whichever one he goes out and buys will be interesting anyway regardless of what song it is because they're all songs that you would not expect to find in my dad's cd collection around the year 2000 but um okay so we've sort of acquainted you

with where we were um now we're just gonna do our usual and let you know where the world was. And I have to be honest, there were points last year where I kind of struggled to find news that was worthy of, like, you know, really reading out. Other than, like, you know, some minor government minister complaining about something or other. Where it's like, no one's going to remember that. Whereas, like, you know, big news stories and stuff that people really remembered or big cultural moments and stuff like that sometimes i was you know kind of really looking around like different websites for like on this day sort of thing and i was kind of struggling whereas this this week this episode um we were sort of we sort of had an over abundance of news sort of had an overabundance of news um so bear with us a second while we go through this the high court rules that the identities of john venables and robert thompson the two people responsible for the murder of two-year-old james bulger in 1993 are to be kept secret for the rest

of their lives the two men who were both 10-year-old boys when they committed the murder, successfully argued that their identity should be protected after their eventual release from prison. One of the men, John Venables, has since had his identity changed another two times and has been imprisoned three more times for downloading indecent images of children. And in sport news, Sven-Joran Eriksson becomes the New England manager six months ahead of schedule after resigning as manager of Lazio. Meanwhile in medicine, Tony Blair's government launches a three million pound campaign to convince parents that the MMR vaccine is indeed safe and that there is no link between the vaccine and autism in children.

and that there is no link between the vaccine and autism in children. Meanwhile, a 33-year-old man appears in court, charged with knowingly infecting his ex-girlfriend with HIV. Despite concerns that the police obtain the man's blood samples from a confidential study, he is subsequently sentenced to five years in prison. Elsewhere in the UK, 10 people are killed and 82 people are injured when two trains travelling at high speeds crash near Selby in North Yorkshire. The crash occurred after Gary Hart, the driver of a car on the M62, fell asleep at the wheel and careened onto the railway line.

One train then collided with the car and was subsequently derailed into the path of the other oncoming train. Hart was charged with 10 counts of causing death by dangerous driving and sentenced to five years in prison. Meanwhile, the foot and mouth disease crisis begins and would eventually result in the deaths of six million cows and sheep in the UK. You weren't joking Rob. Wow. No, that's a lot of news. And I think it may have something to do with the fact That one of our songs is number one

For a bit of time In this episode And so maybe there's a larger Gap to draw from But I thought In terms of actual news content 2001 is stacked Compared to 2000

I mean a lot of people say don't they that 21st century didn't really begin until 2001 you know 2000 is a bit of a hangover from the 90s definitely the films to hit the top of the uk box office during this period were as follows unbreakable again for one more week Cast Away for three weeks What Women Want for two weeks And Ridley Scott's Hannibal for four weeks And Channel 4 debuts

A new puppet show from the production company Of Muppets creator Jim Henson The Hoobs Who interact with Earth from their fictional home Of Hooberland Oh, used to love the hooves. Oh, see, this is where the age gap, although it's a small age gap, it becomes

significant because, I mean, Lizzie, I don't know if you too, but I was too old for the hooves. I don't remember that at all. I was too old for that. Yeah, I was definitely too old for the hooves. I think I'm more familiar with some other debuting Channel 4 programmes from that time because Phoenix Knights debuted in January more familiar with some other debuting Channel 4 programmes from that time because

Phoenix Knights debuted in January 2001 and also Pop World debuted January 2001 Wow, Pop World Well, there's a few other things that debut around this time, get ready for my bit here, blimey, so Lily Savage's incarnation of Blankety Blank

debuts on ITV the Channel 4 group launches a new channel, which you may have heard of I remember that. I do remember that. All of them, everyone from Catherine Jenkins right through to Russell T Davies every single one of them That seems unlikely Yeah, none of you are free of sin

Meanwhile, ITV also debuts a new talent competition called Popstars which will attempt to put together a five-piece vocal group and which we will no doubt be discussing again very shortly. Oh, yes.

Meanwhile, over on the BBC, EastEnders begins its Who Shot Phil storyline after long-running character Phil Mitchell is shot by an unknown assailant. The shooter is eventually revealed to be his ex-girlfriend, Lisa Shaw, in an episode that caused the third largest TV pickup power surge on record.

And, due to its 40-minute length, delayed the UEFA Cup semi-final match between Barcelona and Liverpool by 15 minutes. That's incredible. It really is amazing. Yeah, and back in the real world as well the bbc one person is injured when a bomb explodes outside of the bbc television center in london what is going on these last few months yeah say i think it was like for the year 2000 we were all asleep and then we all woke up in 2001 and went right time to make some news. Because Jesus Christ.

Honestly, it's like the day-to-day, reading out all of those headlines. All of that stuff happened in like two months. Blimey. Crazy. Did we all watch Who Shot Phil, by the way? I watched that happen. No, I was a Corrie kid. I was a Corrie kid as well

but I tuned in just for Who Shot Phil and me and my family all thought it was Lisa. Get in there. Yeah. How are the album charts looking, Andy? Well, it's very, very unusual to do this because as of right now, won by the Beatles at the start of the year is still number one. It was nine weeks at number one overall, which we've previously mentioned.

And just to give you some context for how long that's been at number one now, it hit number one in the same week that same old brand new you by A1 got to number one on the singles chart. And it's still there at number one, which was like three episodes ago for us now. Yeah. But it is finally toppled in the first couple of weeks of January by another re-entry, Greatest Hits by Texas, once again. Even more bizarrely, I think, that that's back at number one again. Which, for context, that last got number one in the same week that Stomp by Steps did, which is even longer ago.

And then we have, I'm just going to say it, we have Chocolate Starfish and the Hot Dog Flavoured Water by Limp Bizkit and I'm going to say Bizkit every time because it's not biscuit, it's a bizkit ugh, yeah I assume this is the one that your dad owned, Rob

yes, my dad went out and bought Chocolate Starfish because I would have guessed atomic kit and i thought maybe he was a big omd fan uh yeah no it well his explanation for it was i asked him about this years later when i came to limp biscuit fully aware of their reputation not just in the new metal community but sort of like or in the metal community but sort of in like the wider sort of music appreciation community and how much they're kind of seen as a bit of a punchline and a bit of a joke and so i asked him like i remember you buying this why did you do it and he said well

you know he said you know he grew up on a lot of rock music he grew up on a lot of prog and a lot of you know things like white snake and Deep Purple and things like that. And so he thought, you know, and then he kind of lost touch during the 90s and obviously he had me. And so a lot of pop culture from the 90s, my parents aren't really aware of because they were a little bit busy while they were raising me. And so it hit the year 2000. I'm six, seven years old. I'm like, you know, going to after school clubs and stuff. So my dad's like, OK, got some time.

I'm going to try and get back into what's popular in rock at the moment. And he said he just walked into HMV and he just sort of thought, you know, Limp Bizkit sounded vaguely interesting. So I'll see what they're doing. I can't remember whether he liked it or not or whether he was into them or not but he's always had a little bit of a there's always a little bit in him where he thinks like new metal could be

a thing that he could get involved with I think it's just that my dad's a very mild mannered person and so the idea of like getting into heavy rock and yeah I think listening to heavy rock and stuff is totally fine for him but the experience of it be you know a person getting involved with the culture and stuff has always kind of put him off a little bit he likes to consume this stuff from an

arm's length um if you will so yeah that was that was the album that he went out and bought and i'm pretty sure he's still got it somewhere. Not sure where, whether we kept it or not, because we moved house quite a bit sort of between 2012 and 2016, but I'm not sure whether it survived every move. Well, I hope it did. Yeah.

Yeah. I'd love to find it. I mean, it did well. It got three times platinum overall, which is nothing to be sniffed at. Oh yeah, it was huge. Yeah. three times platinum overall, which is nothing to be sniffed at. Oh, yeah, it was huge. Yeah. Completely dwarfed, though, by what came after it,

what supplanted it at number one for six weeks, which was No Angel by Dido, which I can say we had in my household. It was a favourite of my sister's. She went out and bought that probably pretty much straight away, so she probably helped that get to number one and listened the hell out of that. I imagine that with the timing of it,

that was inspired by Stan, at least to some extent, but Dido was really big in her own right, as we previously mentioned. Thank You was a big hit, even though it's now mainly remembered for being used in Stan. But yeah, that went ten times platinum, an absolutely huge, huge album. That's nearly as many as won by the Beatles.

It's huge. It's actually, of all the albums we've covered on this whole show so far, it's the second highest selling. Wow. Yeah, and six weeks at number one, so well done to you, Dido. You've made my job easier next week, so thanks for that. And Thank You wasn't even out as a single yet, because her single at the time was Here With Me.

Oh, that's a great song. Oh yeah, it is. How are the States looking, Muzzy? As mentioned in previous episodes, Independent Women by Destiny's Child would stay at number one in the singles chart throughout January. In February, Shaggy and Rick Rock would take the top spot with It Wasn't Me, which would sell almost two million copies and would finish at number 12 on the year-end Hot 100 and at number 81 on the decade-end Hot 100. After that, a little band called Outkast would score their first US number one with Miss Jackson,

which went three times platinum and finished at number 25 on the year-end list, but it got stuck at number two in the UK behind a song we'll discuss a little bit later. Finished hooking off February and into March, the US number one was Stutter, Double Take Remix by Joe featuring Mystical, which was certified gold and finished at number 13 on the year-end list, but would only reach number seven in the UK. It's a really good song, though, actually. I'm sure you'd remember it if you heard it,

but the name Joe doesn't... No, I was going to say, it's not ringing a bell. Meanwhile, in the album's charts, the Beatles will still be at number 1 at the beginning of 2001 with their compilation, One, before being usurped by Jennifer Lopez's album J-Lo for one week, which went four times platinum and finished at number 22 on the year-end Billboard 200 and number 88 on the decade-end Billboard 200. That was then overtaken by Shaggy's album Hotshot,

which stayed at number one for four weeks and went six times platinum in the US. And that would also finish at number two on the year-end Billboard 200, just behind, what else? One by the Beatles. Oh, of course. Of course. Can't get away from it.

Gosh. All right, then. Into our songs for this first episode of 2001. And the first one up, the for this first episode of 2001. And the first one up, the first new number one of 2001, is this. You'll always be my baby I'm always thinking of you, baby Yeah, yeah Touch me in the morning

And last thing at night Keep my body warm, baby You know it feels right Take it a little higher, I'm thinking it too Tell me what you're feeling, I'm feeling with you We can only understand what we are shown How was I supposed to know our love would grow? This is Touch Me by Rui da Silva featuring Cassandra

Released as a standalone single by Portuguese DJ Rui da Silva Touch Me is also the first single of any description to by Portuguese DJ Rui da Silva, Touch Me is also the first single of any description to be released by Rui da Silva, both in the UK and internationally. It is also the only single released by the DJ to have charted inside the top 100 in the UK, with follow-up single Feel the Love reaching number 135 in 2002. Touch Me went straight in at number one as a new entry, knocking Bob the Builder off the top spot, and it stayed at number one for one week.

It sold 68,000 copies in its only week atop the charts, beating competition from The Way You Make Me Feel by Steps, which got to number two, and Every Time You Need Me by our old friend Phragma, featuring Maria Rubia which got to number three. When it was knocked off the top of the charts Touch Me dropped one place to number two and by the time it was done on the charts it had been inside the top 100 for 14 weeks. Andy how are we on this, on Touch Me?

Yeah, well I had a sort of interesting introduction to this song Because I must say, I sort of remembered it but didn't really know it And just sort of popped it on Spotify And didn't realise there was a single edit of this And found that I'd listened to the 8 minute version of this Which did and half go on, I'm not going to lie It just sort of kept going I feel like it's still going but I got about five minutes in before I was like

this is going on a bit, isn't it? So I thought, let's finish it nothing to report there listen to the single edit, save yourself some time it's decent I quite like this, I quite like the sound of it, it's very well produced I can see why this became popular, it's another well produced. I can see why this became popular. It's

another one of those songs a little bit like, I'm not gonna say the name yet because it's a certain song I think it's very reminiscent of, but there's some songs from last year where I said well I can see why this got to number one because I can imagine it being on in the club as it were. I can't particularly imagine people choosing to put the CD single of this on at home but but I can certainly imagine that it was very popular on nights out. And I think I wouldn't be at all surprised to hear this still out and about now. Maybe in, probably more in the gay village, but I still wouldn't be surprised to hear this about at all.

It's fun. So in terms of what it reminds me of, I think it's strikingly similar to Toka's Miracle, I don't know if that's just me do you two feel that as well? yeah, a little bit I do too, yeah it's in the same key for starters

and it's got very much the same sort of sound to it and I really just kept expecting after each verse for it to pipe into you know you I just each verse for it to pipe into you know you i i just i just kind of expected it to pipe in every time and i couldn't really get that out of my head so i can't help but see this as a sort of inferior step sibling to toka's miracle uh which itself was not all that to be honest but um no i do i do like this i like the sort of slow build throughout it's

got some lovely little background synths in there. I've never heard of either Rui da Silva or Cassandra, and my attempts to do a deep dive on them pretty much yielded nothing. Cassandra's Wikipedia page is about 200 words. She's just a total one-hit wonder with this. But I do like it, yeah. I think, like I say with so many of these tracks, and I certainly said this with Hocus Miraculous, I just wish it went somewhere

a bit more, because it has this nice slow build throughout that really kind of hooks me, and I wish it kind of climaxed with something. I just sort of felt a little bit, there's a certain x-factor from this that's just a little bit missing but I'm starting to feel like I think like that with all songs of this sort of dance pop genre to be honest but it's continuing a very proud tradition that has started in the 90s and we've had a few examples of last year and certainly going on into this year and I need to make my peace with that really and as this genre goes yeah pretty decent I don't have a huge amount to say about it to be honest but it's it's pretty decent um I think I would choose to listen to this again which I don't always it's not always the case

yeah not not even the case with all of the songs we have this episode so yeah I think that's quite a compliment to say that I would listen to this again and I think I feel like it's a grower I feel like this I've listened to it two or three times now and I've liked it more each time so I feel like this is growing on me um and I'd be interested to revisit this at the end of the year to see if I like this more when we do our year-end charts because I think I may well do yeah yeah it's funny that you mentioned Toka's Miracle there because like um I've got it in my notes I think it's quite striking though, isn't it? It really jumps out at me.

It is very similar, I think. Yeah, I agree with you, Andy, in the sense that it feels a little formless and structureless. You can feel it growing, but you can't really feel it developing, if you know what I mean. You get a couple of additional layers here and there, but I struggle to remember where i am in the song and when i'm away from it i do struggle to remember much beyond the way the title is sung like just touch me in the morning like that's

all i really seem to remember when i'm not there you know i need lyrical cues or something written in front of me to really remember. It reminds me of another song that kind of comes later this year, but does this kind of thing, but much more memorable and much better. But I will say that I like the atmosphere of this. And I think in terms of the production, I think it's the best track this week in terms of just the sound quality and the rendering of its various uh if it's various strands um i love the um the meter switch up at the beginning where you think it's coming on the one because when you press play it goes um it's um but then when the beat comes in it's so it kind of comes in

halfway between the one and the two yeah that caught me off a little bit yeah I remember listening to that myself it reminds me, it's a bit of a weird comparison but it kind of reminds me of Pressure by Paramore where that comes in with the and then when the drums come in the the riff is played the same, but it's just phrased slightly differently where it's

And it just knocks it on, that extra half beat. And it kind of tricks you into thinking that the rhythmic expressions are going to go one way, but then they end up going another way. I like being tricked and surprised and caught off guard by things like that. And time i listen to it i've played this about five or six times just to get to know it it's like a little puzzle that i have to put together at the beginning of the song and i appreciate being made to work with stuff like that um and rob do you know what other song did that if you remember me mentioning last year toka's miracle did that last year where i made that comment about how the the main melody line hits on a different beat to what you might imagine it's not the i need a miracle it's i need

a miracle yeah so that does that too so maybe that's an inspiration as well i also quite like the little bridge section as well where she keeps repeating that one note over and over again. And it leaves you in suspense about where it's going to land. Because it's the, we can only understand what we are shown. And then you also get the, how was I supposed to know that starts way before the beginning of the bar. Where she's like, how was I supposed to know our love would grow. And the way that each syllable is pronounced makes it sound like it could carry on indefinitely and it does make it hypnotic in a way like it has a pretty obvious driving beat for for time but it does have this way of making your head kind of lull about

a little bit and i imagine in the right setting this really works you know for eight minutes just having this kind of revolving constantly it i guess it can become quite mesmeric in the right atmosphere but as a piece of pop like i don't know even cut down to three and a half minutes it kind of like it reminded me of toka's miracle also in the way that like it just kind of goes on until it finishes and it doesn't really finish it just kind of fades out they just pick a moment to go and we'll turn the dials down now because there's nothing new we can do and so yeah it's decent and it has a lot of good parts but i'm just as a piece of pop i'm just like i want more structure i want more songwriting you know i get that that's not really the the point

of something like this. It's more about, you know, layering rather than like, you know, meticulous attention being paid to the various parts of the song. But yeah, it's decent, but I wouldn't go any further than that. Lizzie, how about you? Yeah, I agree with you both. I think, I'd say Tokus Miracle is a better pop song, but I prefer the sound of this.

I do think it has quite this intense, pounding sound, which, you know, I kind of agree that it's not something you tend to just listen to at home, but if you hear it in a club, I can imagine this would go off. Also, little fun fact, this is the first Portuguese artist to have a number one single in the UK. Oh! That's a great fact!

Only took 49 years, but here we are. But yeah, I love that we're kicking off 2001 with a number one single that hints at the future of music while giving a nod to the past, know particularly that sample the the spandau ballet sample which was actually the subject of some legal wrangling at the time like i was watching the top of the pops performances at the time with not at the time from the time with um a couple of friends and i'm like oh just wait till the sample drops it's like it's so good and it never kicks in and it just like i'm assuming they were still having some issues with it when it was released but i'm guessing it's been resolved

in the 20 years since but you know that do do do do do do do do do do do that's from um i think it's chant number one by spandau ballet ah yeah i don't need this pressure on, you might know as. Yeah, yeah. But yeah, I really like this. I think it has, like I say, it's got that kind of intensity to it and it kind of I think it builds up and then it builds back out again. So rather than just building constantly and constantly up and then

stopping or fading out, it's kind of like a sunrise and sunset like a that kind of um what would you call it not a crescendo but yeah i know you mean it has that sort of ebb and flow to it yeah that's it the ebb and flow yeah yeah and yeah like i i made a note here like you wonder what the people of 1968 thought the music of 2001 would sound like and if you ask them to describe it i can't help but feel like it would maybe come close to the sound of this song which is like it's precise and clinical but also kind of otherworldly and passionate i i i don't love it, but I definitely like it. I think when you raise that point about 1968, 2001,

like how would the music of the new millennium sound like? I think I feel that too. Or maybe they just assume that, I don't know, you press a button on a glowing cube and sound would come out. Where we're going, we don't need instruments. Okay, does anybody have anything more to say about Touch Me? No, let's move on. Thanks, Rui. Thanks, Cassandra.

I'm sure we'll see you again. Say hi to Robbie for me. All right, then then next up Is this Think you gotta keep me as you don't Think I'm gonna spend your cash I won't Even if you were broke, my love don't cost a thing Think I wanna drive your Benzino If I wanna floss, I got my own Even if you were broke, my love don't cost a thing When you rolled up in the Escalade

Saw the W game to the ballet Knew that it was game when you looked at me Pulling up your sleeve so I could see the rollie play So you later in the corner booth raising up a toast so I would notice you But your heart's a mess think you oughta know doesn't matter if you're balling out of control All that matters is that you treat me right Give me all the things I need that money can't buy, yeah Think you gotta keep me, I should, oh

Think I'm gonna spend your cash out Even if you were broke, my love don't cost a thing Think I wanna drive your Benzino If I wanna close, I got my own Even if you are broke My love don't cost a thing When I took a chance Alright, this is Love Don't Cost a Thing by Jennifer Lopez.

Released as the lead single from Jennifer Lopez's second album entitled J-Lo, Love Don't Cost a Thing was Jennifer Lopez's fourth single overall to be released in the UK. It is also her first ever UK number one, but it is not her last. Love Don't Cost a Thing went straight in at number one as a new entry, knocking Rui da Silva off the top of the charts and staying at number one for one week. It sold 67,000 copies in its only week atop the charts, beating competition from Book Rogers by Feeder, which got to number five, five, five, five, five. In a Smile by Texas, which got to number six.

Why by Mystique. That's a name. Yeah, which got to number eight. And Camels by Santos, which got to number nine. Camels by Santos. Have you heard that number nine camels by santos yeah have you heard that yeah no i have not no it's it's kind of like french house it's not great don't go out your way well thank you santos um when it was knocked off the top of the charts love don't cost a thing

dropped two places to number three and by the time it was done on the charts, it had been inside the top 100 for 13 weeks. A lot of stuff at the beginning of the year just kind of fading out quickly. I find 14 weeks, 13 weeks. Yeah, that's small. Pretty short. Yeah, pretty short. Lizzie, what do we make of Love Don't Cost a Thing? I'm also just going to sneak a plug in here because we're doing something a little bit different

with the Hits 21 homework playlists, which is why I recognise a lot of those songs that you just mentioned. I'm trying to collate new entries in the top 10 or top 20 from this period and just getting a vibe of the sound of the time. And I left Camels by Xantos off the list because it's just not very good.

Okay. Apologies, Xantos, if you're listening. Inner Smile's on there, Y's on there. They're all great. Thanks, Lizzie. Yeah. But yeah, go and check that out. It's on Spotify,

and I'll try and get it on Apple Music, I guess, at some point, if people want that. This is not very good. I think this is pretty forgettable, aside from the chorus hook. And like, I don't know, I don't usually focus on the message of a pop song because that's not the point. But I think the message of this is pretty flimsy overall like the multi-millionaire pop singers know that it's okay to date other multi-millionaires like if you're if you're raking it in from your single sales i don't expect you to be dating the guy from chicken cottage it's okay it's okay to be attracted to other people's money and to like

you know exist within your own social circles that's all right and like it's a theme that i guess has already been covered in do you remember that don't impress me much by shania yeah yeah like was this a common theme at the time where it's like, money doesn't impress me, even though I'm sure if you asked, it clearly does. Well, of course, J.Lo would go on to do this herself again with Jenny from the Block, wouldn't she? That's true, yeah. Which got a lot of criticism

because a lot of her neighbours and contemporaries from when she was young was like, what do you want about Jenny from the Block? You've always lived in a gated mansion. Like, always. What do you want about jenny from the block you've always lived in a gated mansion like always what do you mean jenny from the block she's just she's a sort of fake normal person and it rubs me up the wrong way to be honest you know i always think like yeah how many years removed from juicy by biggie which i like has the best line for this kind of thing where it's like i mean he i mean to be fair like he actually lived

that kind of stuff but he says you know blowing up like you thought i would call the crib same number same hood like it's just it's amazing it's like got all this money never left my hometown it's just like i just think that's like the best way to do it like just really small and encapsulated and then how many years on away we from this and we're still doing it that's the ultimate kind of, I think that's the ultimate message, it's the ultimate line for that kind of message and we're how many years on and we're still doing it and how many years

off price tag, you know and the way I are as well and things like that but yeah it's like when we've got actual fun R&B, like Destiny's Child still around on the charts, I don't see a need for this really. It's okay, but it doesn't really make much of an impression.

Andy, what about you? I very much agree with Lizzie. I really do just preach at everything you've said there. I'm probably about to get in trouble with some of my fellow gays here, but I've really never got J-Lo. I've just never understood her popularity, if I'm honest. And I don't mean this as any kind of personal offence at all. J-Lo, if you're listening, we're cool. It's okay.

But I just think there is an inherent kind of vacuousness, vacuity, I think. There's an inherent kind of emptiness and sort of soullessness to a lot of her songs. I don't really feel like there's much identity or interest in most of her songs. I feel like it's all pretty generic kind of entry-level R&B music. And I've always been a little bit mystified as to how she seems to be such an icon. I get that she's absolutely beautiful and she's a fashion icon,

and I'm sure that that has a very large part to play in it. As a musician, you know, I just, I'm not really getting it, to be honest. I also, so this is, I'm going to set the stall out for something fairly large here that is going to come into play quite a lot with me over the next few years of these number ones,

which is that early noughties R&B is one of my least favourite genres of music, full stop. I always refer to two or three different examples of the ones that are just like, ugh. One of them is Dilemma by Nelly and Kelly Rowland, which is no matter what I do, how? Yeah. Yeah.

Really, really annoying. This is another one that I always refer to as like, it's just sort of empty and nothing. I don't really understand why this got so popular. I get that it's a little bit catchy and it's got a little bit of rhythm to it. It has that sort of slightly kind of salsa dance kind of Latin influence to it,

but not really, only a little bit. And yeah, it loses points because of the sort of emptiness of the message. I get that she's probably trying to go for this sort of not-and-kill thing of like, oh yeah, I'm rich and famous, but I'd happily marry a homeless man. No you wouldn't. Come on, no you wouldn't.

I just don't buy it at all. And I just think I have to sort of... I don't have to believe in the message of the song, but I at least have to be taken away with it to some extent. I at least have to be like, yeah, I get this. I can relate to this and I can't

relate to this this is someone on their ivory tower trying to claim that they're not on their ivory tower it's like where's my point of entry for this and if it was musically more interesting that would make it okay then it would hook me and like I say it's not that bad there's nothing wrong with it so I'm not going to put it

in the pie hole or anything but there is just a lack of connection for me and I think that's the same for a lot of JLo songs that there is one JLo song that I really really like which gets number one actually so I'll be able to rave about that when it comes back around but respectfully that that's nothing to do with the fact that it's JLo the reason reason why I like that song. It's just, yeah, unfortunately I just sort of don't connect with this artist.

And I think it's largely influenced by the fact that the music just isn't that interesting for me. And in the case of this particular song, I just think there's no hook to it. There's no message hook, there's no lyrical hook, there's not really any musical hook. It's just kind of elevator

music, as far as I'm concerned. Which is a great shame, but it's entirely average. There's nothing wrong with that. It's not awful, it's not great. It's just entirely average. Sorry, Jen. Sorry, I'll make it up to you. It's funny, actually, that you two have read it that way, because I've read it

a slightly different way because okay a big thing of 90s hip-hop and there's always at least one song on basically every record that's always a bit like oh yeah which is just like this paranoia that when you when you're a rapper and you get famous the the women are going to come and take your money. And, like, there's loads of them. You know, like, picking out specific examples would be a waste of time because we'd be here all day. But there is a very specific kind of song where it's, like,

it's normally on their first album or their second album where, like, their name's spreading a little bit and all of a sudden the attention that they get from girls is like way more intense than it used to be and it's just this paranoia that like oh you're only with me because of my money and like you're just gonna take my money and run away and so i think j-lo is coming at it from like the point where it's like I'm not going to do this to you. Like, you know, and it's, you know, I like you for you rather than the money that you have, but it does feel a little,

not necessarily hollow, but I don't fully buy it because she'd already had pretty massive singles by this point. She was beginning to make it as an actor. I think she was beginning to make it as an actor i think she was um not far off man uh marrying um like at the time it was chris judd but like i seem to remember she had that relationship with ben affleck a few years later and stuff and so like you know she was making a go of it and like she'd already had um on the six come out and uh waiting for tonight oh that one's okay that's okay and things like that

but what i mean is like you know she'd already gone like two times platinum and stuff so like whether i believe in the story or not it's kind of neither here nor there for me um that kind of stuff um when i first heard this like i was a bit disappointed because I had better memories of this. But then it started to grow on me a little bit. Just a little bit. I'm into the combination of really rhythmic vocal patterns that still retain quite a lot of melody. Because I think it allows each section of the song to have its own atmosphere and to be its own thing.

It's very clear where certain sections start and end. You know, because then you get the pretty melody where it's like... It's just the same thing over and over. Yeah, it has a little bit of a variation there. But then when you make the jump to the pre-chorus and it's the... All that matters is that you treat me right. And then you get to the chorus where it goes kind of back into the more stripped-back element of how the song first introduces itself.

So I like the fact that the structures are quite clear i think it's one of jlo's stronger singles i think um it just has that very memorable hook and chorus i think just the love the cars the thing i also like towards the end that drop into those kind of poppy synthesized horns like that's a pretty bold move that i think to just kind of get about two thirds through the song and then just have the entire backing just be which it always jumps out and sticks in my ears a little bit but but the big problem for me is production on this it's so muddy very, very cluttered. Oh, yeah. Very beige, very beige. There are loads of little details in the mix here,

little flourishes and little parts that add up to, like, a decent whole. But they all seem to bump into each other. None of the decisions make sense to me. Like, the song opening up with those orchestral hits are like timpani thuds. The dum-dum-dum-dum-dum. It doesn't fit at all. the song opening up with those orchestral hits are like timpani thuds the it doesn't fit at all the the drums do not fit with the rest of the song and then you get all those little string things in the background these little synths where like this in the verses there's

the um the things that go on in the background and none of the individual parts feel like they mesh together and mold together and it really is quite distracting i think like we're just in an age at the moment of the cd and the kind of technology that we've got on car radios and cd stereos and things like that where we've moved away from the big hi-fi systems with all the buttons and levers and knobs and things like that with two big dob off speakers you know everything's got a bit smaller you can carry your cd stereo in your hand and it's smaller and quieter than a boom box it doesn't have much bass depth and so all of the bass is what could work with the bass is kind of flattened out a little bit which means that it ends up really trebly.

And when it ends up really trebly with this many parts that all feel from very disparate influences that don't blend together very well, it just sounds loud in a way that... And it just means that... I'm trying to squint my ears to hear the little details off in the background, but it's all very up and there's not a lot... All very up in your face and there's not a lot of headroom and there's not a lot of breathing space with it and it's quite suffocating actually as an experience um and i think if you're

on the radio and you don't really you know if you're listening to the radio driving along to work or home from work or doing shopping or something going about your life you're not really going to pay attention to this but like when you've got headphones on it's just a bit it's so distracting and it is it is a huge detriment i think to the song because the song itself i actually quite like structurally it's clear you know it has a verse that i remember it has a chorus that i think a lot of people remember i think it's one of those where you read the title and it's impossible to read it in your head without doing it to the rhythm and melody of the of the hook itself and that's a probably a good argument for it being one of JLo's stronger songs but I don't know whether that says more about her other songs yeah I think that establishes

that it's not I think that establishes that it's a low bar to be honest yeah i prefer her as an actress really jlo um rather than a singer i mean you know she's a triple threat and like you know she has she's an incredibly talented person like incredibly talented like the things that she can do you know it's just the things that she has achieved in life you know fair play to her and everything like that but as a singer and as a pop artist i'm with you andy i think there's a couple of her songs that i'm that i think there's one of them that we've got coming up where i'm like yeah i remember liking this and i remember i remember the music video really well for the for a number one single that she has later down the line but there are a lot of ones off this album where i

read the titles and i'm like i don't know if i remember these um and that's strange because they all get into like the top five. And I don't quite know why. I know some of them, I remember the music videos and things like that. Things like that we won't get to talk about like Control Myself and LL Cool J. Which has the... And then you also have... which has the zin zin zin zin zin zin zin zin zin zin zin zin zin zin zin zin zin zin zin zin zin zin and then you also have

I don't remember that at all and I think that moment was improved for me not knowing what you're on about it's the you got you got you got what it takes to make a boy be bad it's hard to control myself doo doo it's hard to control myself nothing

it's like a muppet doing it and then all I have as well all my pride is all I have pride is what you have baby girl I'm what you have no do you not remember that one no not my homework playlist I guess

but I mean we won't get rid of the get to talk about those, so I'm getting them in now. But, like, yeah, there's loads of other ones where I'm struggling a little bit, and so this one stands out more, but not... It's just, listening to it this week, I'm like, I had better memories of this, and it's a bit of a shame.

Just a few other things on this that, you know, when you were sort of picking apart the different melodies in this a few moments ago there, it reminded me that I was wondering, I don't know whether this is a reach, it probably is a bit of a reach, but I was just wondering about, you know that bit towards the end where she's going,

that thing, that thing. Is that a Lauryn Hill reference? That thing, that thing. Oh, probably. That thing. Probably. And I was like, huh, it took me a few listens to get that. Which is like, that hints at a sort of cleverness

that isn't on display for most of the song. And I wish that kind of thing was a bit more obvious because I like those kind of references. Yeah. The other thing I wanted to mention was, you know I said there are two or three songs from this genre that I always point to as like, ugh. And this was one of them, Dilemma was the other.

And I've remembered what the other one was now, which, ugh, ugh. We Belong Together by Mariah Carey. to as like ugh and this was one of them, Dilemma was the other and I've remembered what the other one was now which ugh ugh, We Belong Together by Mariah Carey awful when you left I lost a part of me we belong together

walking round the house in a lingerie and just like lying on the bed and looking at the camera and stuff what a life eh? awful alright then lingerie and just like lying on the bed and looking at the camera and stuff. What a life, eh? Awful. All right, so. All right then. Next up is this. All right, partner.

Keep on rolling, baby. You know what time it is. Show your hands up Show your hands up Show your hands up Show your hands up Shock and start bitch Show your hands up Keep on rollin' baby Show your hands up Show your hands up Move it now move it

Hands on the hands now Back up back up Tell me what you gonna do now Breathe it now breathe it Hands on the hands now Back up back up Tell me what you gonna do now Breathe in now, breathe out Hands up now, hands down Back up, back up Tell me what you gonna do now Keep rollin', rollin', rollin', rollin' Keep rollin', rollin', rollin', rollin'

Keep rollin', rollin', rollin', rollin' Keep rollin', rollin', rollin', rollin' Now I know y'all be lovin' this shit right here L-I-N-P, biscuit is right here People in the house put their hands in the air Cause if you don't care, then we don't care One, two, three, tops two, two, the same One, two, three, tops two, two, the same

One, two, three, tops two, two, the same One, two, three, tops two, two, the same One, two, three, tops two, two, the same One, two, three, tops two, two, the same One, two, three, tops two, two, the same One, two, three, tops two, two, the same One, two, three, tops two, two, the same One, two, three, tops two, two, the same

One, two, three, tops two, two, the same One, two, three, tops two, two, the same One, two, three, tops two, two, the same One, two, three, tops two, two, the same One, two, three, tops two, two, the same L I N P Biscuit is right here People in the house put their hands in the air Cause if you don't care, then we don't care One, two, three, tops two, two to six Chosen for your fix of the Limp Bizkit mix So where the fuck you at, boy? Shut the fuck up and back the fuck up Boy, we fucked this track up Throw your hands up

Throw your hands up Throw your hands up Throw your hands up Throw your hands up Throw your hands up Throw your hands up Throw your hands up Go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, go, Keep rollin', rollin', rollin', rollin' Keep rollin', rollin', rollin', rollin' Keep rollin', rollin', rollin', rollin' Okay, motherfuckers, this is Rollin' Air Raid Vehicle by Limp Bizkit. Released as the second single from Limp Bizkit's third album

entitled The Chocolate Starfish and the Hot Dog Flavored Water, Rollin' Air Raid Vehicle is Limp Bizkit's second single to hit the charts inside the UK Top 100. It is the first UK number one, and to this day it's their only number one hit, motherfuckers. Rolling out raid vehicle. I can't do it. Rolling went straight in. You did sound a bit like a foul-mouthed shaggy from Scooby-Doo.

It was really funny. Isn't that Fred Durst? Isn't that Fred Durst? Oh, zoinks, this is rolling by Limp Bizkit. Alright, partners. This is rolling by Limp Bizkit. You know what time it is. Rolling Air Raid Vehicle went straight in at number one as a new entry,

knocking Jennifer Lopez off the top of the charts, and it stayed at number one for two weeks. It sold 49,000 copies in its first week at number one, beating competition from Things I've Seen by Spooks, which got to number six, All Hooked Up by All Saints, which got to number seven, and You Make Me Sick by Pink, which got to number nine. It then sold 47,000 copies in its second week at number one,

beating competition from Potly Collar by Usher, which got to number two, The Next Episode by Dr. Dre, for God's usher which got to number two the next episode by dr dray for god's sake which got to number three played alive by safri duo which got to number six on the radio by martin mccutchen which got to number seven and dream to me by dario g which got to number nine when it was knocked off the top of the charts, rolling drop three places to number four. By the time it was done on the charts, it had been inside the top 100 for 13 weeks. That's not long. Again, that's not long. No, not a big stay, really.

It kept rolling down the charts. It did. It rolled fast. It kept rolling, rolling, rolling, and then it fell out. Andy, what do we make of rolling i'm actually going to pass the baton back to you rob because i i spoilers i think this is absolute shite and i know that you like it so i want you to try and convince me before i dig into this so you go okay yeah um i don't know if i'll try to convince you you but okay so I've kind of been looking at this one ever since we started the show this is one of those ones where I've like been can't wait to get

to this one like just to talk about it and see how other people feel about it just want to preface this by saying I do have a soft spot for new metal like mainstream new metal acts like Korn Linkin Park, Papa roach and especially the

ones that you are allowed to like like deftones so of course limp biscuit are going to be right up my street i guess um i do love this to be honest i think like you have to go into this understanding that maybe you do maybe you don't that there's a level of irony present whenever limp biscuit do anything like the first song on their first album finishes with fred durst's own conscience telling him to shut the fuck up like you know it's just and from there they go on you know and but like you know but away from all like the irony and stuff like i think limp biscuits real strength is actually their rhythm section like fred durst obviously takes a lot of the attention away but like wes borland is like he's such a rhythmically focused guitarist you know it's less about melody and flourishes and

it's more about like trying to drive the song from underneath and they're so as a rhythm section and as a group they're so tight which means that you get the riff like rolling and it means if you can get a riff like rolling it means you get a real groove out of it you know when the because you get the and when the guitars whip back around like that and the drums stab to kind of set them off because it's like the um it's yum it's really good and then you get fred durst and you either understand him as a front man or you don't like i understand he really grates on people if you're not into that kind of non-serious aggro front that he puts on and he's hardly like a great lyricist but what he

is and this is where i think the trick of rolling really works is that he's someone who can lead a party lead a crowd and that's exactly what this song is it's not necessarily anything more i don't think than something similar to like you know be faithful by fat man scoot which comes around yeah yeah where the whole thing is just the hype man shouting for three minutes like just calling out to people i don't know if it's the actual song but something that sounds a lot like be faithful has recently been sampled by beyonce as well for break my soul which has that i think all the way through it as well and i think that might be that that sampling as well so that's still popular yeah and like but that whole song is just a hype man

shouting for three minutes to whip up a frenzy calling to everybody in the room that he can think of and saying get up and you know party and that's kind of what this is, where each verse is just kind of not really about anything in particular, it's just kind of Fred Durst kind of looking out to the crowd and being like, asking for some call and response, and like, you know, they're a party group, like Limp Bizkit's whole thing has been, there's always been a level of like, vulgarity to what Limp Bizkit do, it's very on the surface with the kind of vulgarity, but it's not very serious. I think they all kind of know that the joke is on them. Like, whether you buy into the self-awareness

or whether you find it annoying, like, their latest album that they released last year was called Still Sucks, as if to say Limp Bizkit still sucks. And, like, there's a whole song on that album about, I think it's called Love the Hate or something like that, and it's just a guy shouting at Fred Durst about about how like he's a rubbish rapper and like who does he think he is eminem and stuff like that and so they're always aware of what people say about them

but they just kind of use it to great effect although i think that only really started with chocolate starfish with this album because their first two uh three dollar bill y'all and um significant other they take themselves a bit more seriously on those records and it's on this one where it's like oh no we're aware of what you're saying about us and really the joke's on you sort of thing and that's i mean that album is too long and it's full of too much stuff like that I think which means that the stronger songs on it are just the singles I think of their first three albums

Chocolate Starfish is the weakest, I think Significant Others is probably their best but with this at least no, I think it's a standout because it's a break from all of the stuff that's on that record where the last four songs take half an hour like it's just an obscenely long record again another problem with the cd age where there's loads of artists like going oh we've got all this extra space what should we do i don't

know fill it with nonsense fine whatever and they do that towards the end of the record where there's like a 12 minute song and all this stupid stuff but this is just kind of Limp Bizkit chocolate starfish era kind of distilled a little bit um and I will say as well um that in the middle of uh shouting out all these people in the crowd and getting them to throw your hands up and do all of this um there's a post from tumblr a few years ago which i'm not it's not entirely serious but i've always thought it was a pretty funny observation so it's um it says from slack wizard from a few years ago noted gender theorist fred durst makes reference to the concept of non-binary gender in limb biscuits opus rolling in brackets air raid vehicle which along with the ladies and fellas

refers to the people who don't give a fuck and so that's obviously that's a joke but I just wanted to get that joke in because it's a funny one but yeah okay so I think this has got a great funk and a great groove

and I think if you were to throw this on in a room full of people everybody would remember it, everybody would go along with it and everybody would enjoy it and as far as my positives go I don't think you can get a better example of what this song is intending to do and what it's capable of um i don't think it's perfect though i think the verses are a bit overstuffed with all those overlapping and double-tracked vocals there's no real space to do anything else ends up sounding a bit muddy again kind of like j-lo where there's a lot of you can tell that they've recorded it separately and just kind of spliced it in

where it feels a little bit like three people are talking at once but it's the same voice um that feels a bit overwhelming um probably one of the weirdest eras of um pop music for me in terms of like how production sounds just like just as the cd fades out and the mp3 comes in nobody really knows what kind of system to mix for and so you end up with something like this it sounds dynamically i think this sounds a bit flat from beginning to end it doesn't have much of a contrast in terms of sonics or dynamics when you think of another song from chocolate starfish that didn't reach number one the um take a look around mission impossible theme that plays

around quite a lot with the mission impossible motif and then it builds the song very carefully and it it grows into by the time you reach the chorus it really reaches something of of quite a quite a size i always thought that like you know stuff from the previous album like nookie and break stuff they had a bit of a they have a better control of dynamics but i think with this i think they knew this was going to be like a massive single at the time and so they just kind of flattened all the edges out and it just sounds a bit too streamlined for me in terms of how it sounds but i am into this um it's got loads of energy it's got a really good tight rhythm section and it's got a chorus

everybody remembers i think and like i said that's what the that's what it aimed to be it's a party metal record and i think it achieves that so i don't i doubt i've convinced you andy so yeah well i mean this is the first song that we've ever covered on this show, really, that we've dramatically disagreed on. Like, we've, you know, sometimes varied in our like or dislike, but I think we've generally sort of, if it's a thumbs up, thumbs down, or somewhere in the middle, we've all generally kind of agreed on that for most songs. This is the first one where I really disagree.

You know I have great respect for you, Rob, and you argued a case very, very well there, but I'm sorry to tell you that this is shit. I mean, it really is. This is another song, funnily enough, following J-Lo. This is another

song and genre that I just don't really get. And, you know, that makes it sound like I'm really picky, but I'm not. You know, between a sort of R&B number that's as thin as tissue paper and this sort of assault on the senses that makes me feel like I'm being mugged, there is a mid-ground. There is somewhere in the middle, which is where I quite like my music to be. It's so obnoxious and loud and noisy for no reason and that voice

that voice is just so great and it's downright unlistenable um i i you know i wouldn't like trash it and say it has no value whatsoever because there is a certain you know sort of level of musical skill involved in putting something like this together and i do get that but i just really really don't ever want to listen to it it's it's it's got a certain sort of juvenile quality to it i think which is like i really think i'm interested in what you think about this rob because you're always the first to call out all the stupid kind of fart noises that eminem does later on and i really think this is a similar kind of sense of humor this is a similar kind of fart noises that Eminem does later on and I really think this is a similar kind of sense of humour this is a similar kind of sort of

pulling your tongue at the audience sort of thing I really think that this is that same sort of vibe and I don't give it as easy a ride really I just think if I was ever caught listening to this I would immediately turn it off I wouldn't want people to think that I'm willing to listen to it.

I can't put my finger on it, but there's just nothing about this I like. I give it a point or two for the fact that they are all at least real musicians who are putting together something that is memorable at least, but I don't give it a point for being a chorus that we all remember. We all remember World War II. That's not a sign of quality. You know, it's like... Woof.

It's just... I just don't think that that's a badge of honour, to be honest. I think it's memorable in a way that I find it really annoying. That I find it really like, Oh, just shut off the three of you, four of you, however many of you there are. Just be quiet. Calm down a bit. Give me a bridge.

Give me a verse that sort of quiets this down a little bit. Give me some light and shade. Don't just go all the time, which is what I feel like they're doing. And that's why it has that sort of juvenile quality for me, is that there's no light and shade. There's no zero to 60. Instead of zero to 60, it's just 100 all the time. Let's burn rubber. And it doesn't appeal to me at all. And I've not argued this anywhere near as eloquently as you

have, Rob. And I completely get that, that my reasons for this are much more kind of just instinctive and primal in that I just don't respond well to stuff like this um and and i i get that it's probably not as bad objectively as i've suggested that it is but this is really not for me um and like i say this is the first one that we've really really disagreed on um and i i will respectfully disagree with you like i say you know you made some really good points but it's just it's just not for me i can't engage with this um i really hate it i'm sorry it's awful well to be honest I can't engage with this. I really hate it. I'm sorry. It's awful. Well, to be honest,

now you've said that, the way that you said it makes you feel like you're being mugged, I totally get that. I completely get that. Do you know, it has a similar vibe to it, I think,

of We Will Rock You By Five, where it's just like a bunch of lads that are like, yeah, we're hard, aren't we? Yeah. I just, no, don't respond well to that at all no and the other thing as well I can see why people would compare this

to just lose it by Eminem yeah yeah awesome I can kind of see why but for me I think maybe what separates this from that is that Eminem turned to comedy when he ran out of ideas like he had comedy in his repertoire and I would argue that Slim Shady and Marshall Mathers are

both just as funny as they are frightening and stuff like that but by the time you reach encore it's just comedy's just the thing he's leaning on it's the only thing he does by that point and it's just it's it's the sign of Eminem getting bored I think and so he's just filling the space just trying to annoy me with literally just sounds of him throwing up in a toilet and the whole thing in just lose it where they go whoops my cd just skipped and everybody heard you let one rip and stuff like that and it's this was always kind of in limp biscuits thing and it doesn't lean they never lean too far in to be honest after this point i kind of lose touch a little bit i've still never really listened to gold cobra or results may vary or anything like that and there was i forget the

name of the record but um is that the one that Wes Borland wasn't involved with I think Results May Vary was that one yeah that's the one where they did a cover of Behind Blue Eyes and not a good record yeah the one with Fred screaming into the CD and it's just a big

green cover yeah as opposed to this classy CD cover that they've got for this one yeah um it was the sort of like uh where wes balling kind of backed out and because they had a lot of fame after this and in terms of songs off the record i prefer my way um i prefer take a Look Around I'm not totally against the remix of this that has DMX, Method Man and Red Man on it which is the urban assault

vehicle, it's not great but I'm not totally against it but yeah it's not the strongest one on the record but like it is very much it's own own thing chocolate starfish and i always appreciate something that kind of stands out from the crowd for various reasons do you know do you know do you know for me it's a good comparison point with this song is um in in terms of how

it musically may have value but it's still sort of hard to actually listen to is um a song by what they call bloodhound gang yummy down on this which we were another kind of you know borderline comedy group and yeah but when i was on my degree uh i studied a music degree and we actually briefly analyzed yummy down on this because of the counter rhythms that it has in it which are actually genuinely quite clever but still we all have to sit there a group of 40 of us just listen to them scream yummy down on this down on this that's the same sort of feeling here where it's like yeah i know what you're doing is shows some level of talent but i wish i didn't have to know that anyway lizzie we've sorry we've spoken for long enough Lizzie what do you think?

yeah just about going back to the near misses of course I wish we were talking about the next episode but I also wish we had a chance to talk about All Saints' undignified final like top 10 hit all hooked up

go and check that one out it's quite something um yeah Limp Bizkit um being a nine-year-old at the time who was into WWE they were a band that impacted a lot on you know me and other kids in my year and um this was a song that The Undertaker came out to when he came back in like his his big leather jacket and he'd come out on a motorbike and he'd like ride around the ring and i think he was about 40 by this point but you know it was the style at the time kind of thing and like there was i remember vividly there was a kid who used to come into school on own clothes days dressed like fred

durst like with the backwards cap and the big t-shirt and the baggy jeans and like knew all the words to this song and was he was known as that kid who was into limp biscuit and like the most embarrassing thing of all was that kid was me. Brilliant, brilliant story. So yeah, a complicated history with Limp Bizkit and my own identity which started at a very young age. But yeah this song I agree with both of you to an extent I kind of sit somewhere in the middle with this in that I think Limp Bizkit are at their best when they inject their songs with a mix of like venom and defiance.

Like I'm generally agreed with friends this week that their best song by far is My Way, which was also on Chocolate Starfish and was also featured heavily in WWE programming at the time with, you know, the feud with The Rock and Stone Cold. like the biggest show of all time was just about to take place so that's one for the next culture corner I think but this just feels kind of more like a Limp Bizkit victory lap it's a bit like it's it reminds me a lot of Real Slim Shady but without the wit and the sharpness whereas Real Slim Shady is kind of like a mission statement it's here's what I can do that your favorite rapper can't and also

I'm gonna blow your mind with this storytelling masterpiece later in the year so stay tuned for that whereas this is just I don't know it's it's kind of I do kind of agree with you Rob that it is like um it's almost like a jock jam sort of thing where it is just you know pump the crowd up like hype man sort of thing but I think anyone can do that like Robbie Williams does that it's it's one of those things that and it obviously doesn't last either because in the span of two years they go from being the biggest alternative rock band in the world to a worldwide joke like by 2003 you do not admit to being into Limp Bizkit it just does not happen like I remember the death of this band in real time. And it is kind of like, is this how nu metal dies? Like, it rises to popularity because of the suburban white kids

being disillusioned with boy bands on Total Request Live. If you've seen the Woodstock 1999 documentary on Netflix, you'll know what I'm talking about. Yeah, yeah. But it's like, what happens when those bands reach the same heights and release their music on the same labels like you look at the charts from around this time papa roach is in the top five with lash resort and also there's a little a little band called lincoln park creeping

up the charts who were in at number 24 who were about to kind of move new metal into that second phase where it's like it's not just angry shouty white blokes it can you know you can admit to having quite complex feelings and emotions and you know using that to drive your music forward and not just being this big braggadocious prick and like i feel like that's the direction it's moving in and so by you know by 2002 even I think this music is kind of a non-factor um I agree with you Rob that the highlight of this track is Wes Borland's guitar work I do think it has a really solid groove and like a funk energy about it kind of like Rage Against the Machine used to do. Yes, definitely.

And I think without it, it kind of falls apart. Like I don't agree with you on the remix where Fred Durst teams up with DMX, Method Man and Redman. I think the beat sounds really half-arsed. And there's no guitar to be found anywhere. And just Fred kind of sounds exposed on that. He sounds like he doesn't belong in this this room full of legitimate rappers who have you know who have been in fucking wu-tang clan and rough

riders for god's sake and yeah when wes baldwin left the band later in 2001 i don't think limp biscuit ever really recovered that that resultsults May Vary album is terrible. It's generally regarded as one of the worst albums of all time. And yeah, no surprises, but we don't hear from Limp Bizkit again. And I think, yeah, this is memorable, but I'd say bands like Linkin Park left a much longer impression on the culture than this did. I think this is kind of a novelty. It's not something that people remember as a great, you know, as a great

piece of music. It is just, it's, yeah, it is memorable, but it's not, it doesn't leave a lasting impact. And also I have just a fun little game before i finish do you want to guess how many times the word rolling is used in this song i'll give you a hint it beats the previous record set by oxide and neutrino for bound for the reload which was 65 oh i'm gonna say 84 i'm just trying to think I think it must be a multiple of 6 because it's always rolling, rolling, rolling, rolling no it's a multiple of 5 so I'm going to say

80 okay, 80 what about you Rob? I'm just trying to think, it's funny that you bring this up because at the start of this record there's that line isn't there where he says if I say fuck two more times that's 32 fucks in this

fucked up rhyme that's a different song though it's just funny that we're counting how many times I'm going to go for like 73 you're both wrong but Andy is closer the correct answer is 83

oh I should have stuck with 84. Yeah, you would have been one off. Wow. Yeah, fucking hell. That's a lot. That's a lot of rolling. It's too many. But yeah, my way should have been number one, damn it.

Yeah, or take a look around. I would have preferred talking about those. Oh, yeah, take a look around. It's great, too. Yeah. Anyway, last song this week... is... this.

This is so weird, this is so different. This is metal. If you see me walking down the street Staring at the sky And dragging my two feet You just pass me by It still makes me cry But you can't make me hold again If you see me with another man You can't make me whole again

If you see me with another man Laughing and joking Doing what I can I won't put you down Cause I want you around You can't make me whole again Looking back on when we first met I cannot escape and I cannot forget Baby, you're the one You still turn me on

You can make me whole again Yep, this is Whole Again by Atomic Kitten. Released as the fifth single from Atomic Kitten's debut album entitled Right Now, Whole Again is Atomic Kitten's fifth overall single in the UK, and their first UK number one. But this is not the last time we will see them on this show. Whole Again went straight in at number one as a new entry, knocking Limp Bizkit off the top spot. I just can't believe that Hole Again, Atomic Kitten can be in the charts at basically the same time as something like Limp Bizkit, but there we go. It's just amazing.

It stayed at number one for four weeks. It sold 69,000 copies in its first week at number one, 85,000 copies in its second week, 102,000 copies in its first week at number one 85,000 copies in its second week a hundred and two thousand copies in its third week and then a hundred thirteen thousand copies in its fourth and final week in its four weeks at the summit it beat competition from stuck in a moment you can't get out of by you to teenage dirtbag by Wheatus on two occasions, god damn it, and Miss Jackson by Outkast. Wow.

I know, all of those got to number two, while this was number one. When Hole Again was knocked off the top spot, it fell one place to number two, and by the time it was done on the charts, it had been inside the top 100 for 30 weeks, which is really impressive. for 30 weeks, which is really impressive. It is the first of four singles released in the year 2001 to be a certified million seller and a reworked version entitled Southgate You're The One was released in 2021 and got to number 14

as the England men's national football team reached the Euro 2020 final. And it's a song I have never listened to it. Nope, I'm not going to. I have and it was genuinely awful, truly genuinely awful. Well I looked up the lyrics the other day, do you remember, you know From Paris to Berlin? Yeah. By, what were they called? From Paris to Berlin, you know the disco I get in my heart is pumping for love. Infernal, Infernal, that can't remember Infernal

Infernal In 2006 they did a World Cup song Which was from London to Berlin Oh god And they changed all the lyrics They changed all of them To make it more of a football song And it was crap

But they made an effort They know it's like you know they change all the lyrics football is a game and england is its name we're hoping that we're winning because we're going insane and like there's even a reference to like jeff hurst scoring a hat-trick in the world cup final in 66 and things like this and the the lyrics are pretty you know they're pretty cheap and pretty rubbish but they make an effort to turn it into a football song whereas the Southgate You're The One version is just

the same song but with You Can Make Me Whole Again it's football's coming home again and and then when they get to the chorus it's just the same again but it's just the same again, but it's with Southgate, you're the one instead of... So it's just the same.

Like, if you see me walking down the street, staring at the sky and dragging my two feet, you just pass me by, it still makes me cry, but football's coming home again. That doesn't mean anything. They have a little change. And if you see me sitting in the stands laughing and joking, doing what I can, I won't put you down because I want you around. Football's coming home again.

It doesn't mean anything. It doesn't mean a thing. It's just the same song. And it's like, right, girls, England are sort of doing quite well. If they win against Denmark in the semifinal, we're just going to put this out. So could you all just get in the studio on a Friday and we'll do it in like two hours. And then, because you can all sing.

Yep, good, right, fine. Have the lyrics on a sheet of paper in front of you. We'll just do the same song. You've done it a million times. And then by Saturday morning, it's like, right, it's ready. We're done. And just, yeah, it's really, right, it's ready. We're done. And just, yeah, it's really rubbish. And it's a shame.

And I'm trying to never, ever, ever, ever hear it or listen to it because it would ruin this version. Lizzie, Hole Again by Atomic Kitten. Yeah, you mentioned From England to Berlin, but I think you're forgetting about the best England World Cup song of 2006, which was England Are Jolly Dee by Neil and Christine Hamilton

I never heard this also from 2006 I was going to suggest Who Do You Think You Are Kidding Jürgen Klinsmann by Stan Boardman Neil and Christine Hamilton you've won that one, well done I seem to remember

did Ricky Tomlinson well Ann and Dec did one I think that was like 2002 2002 yeah Sven's our man we've got

what was it Sven's our man he's got a plan we found our super swede it's no to Campbell Campbell to Rio

yeah that was great it's a goal 5-1 and there was also grandad and his son Elvis as well. Everybody remembers that one. There was also 4-4-2 with Come On England,

which was to the tune of Come On Ireland. Oh, yeah. And, you know, the lead singer on that was Jonathan Wilkes. I know. Robbie Williams' friend. Oh, dear. Anyway, we still have stuff to talk about. Yeah, hole again.

Yeah, hole again. oh dear anyway we still have a whole again yeah um whole again I really wasn't expecting to like this one as much as I ended up liking it and in that sense

I'm not surprised that it kind of sold more week on week because I think this is a tune you first hear it you think

yeah that was alright and then it kind of you sort of worms its way into your head and it's like i could do listen to that again and it just again and again and the more you play it you notice little things about it that you just it you it makes you like it more and more and i kind of assumed this was

a cover for the longest time because obviously they the next one they cover is eternal flame by the bangles but i think there's a very obvious like burt baccarat and hal david or like libra and stoller influence particularly baccarat you know the first line is if you see me walking down the street like yeah they know like andy mccluskey and and the rest of omd They know what they're doing here. And yeah, the singing isn't amazing on this one, but it feels genuine, at least. It feels like it's from the heart and it doesn't sound laboured in any way. I'd say it's a shame the production isn't better on this.

I do like the underwater sounding organ backing yeah and the sort of gentle strings that come in and fade back out but I think the drum beat in particular is a bit too sharp for such a gentle song like it sounds very of its time and not in a good way but yeah overall I genuinely really do like this and i think there's there's bits of it that do kind of clutch on my heartstrings like time is weighing heavy on my heart that's a beautiful line and like i also didn't know that this was um an omd leftover that it was just like one of those songs that you can't really do as OMD because obviously it's OMD. But if you listen to something like Enola Gay,

you can kind of figure out the rough shape of it and it's kind of similar. There's also a bit of like, you know, Stand By Me in there as well. It's quite a simple five chord structure, but it doesn't need to be anything else. They've not thrown in a pointless chord change or a chord change key change or anything like that because they don't need to. They've got a solid melody and they've worked around the weaknesses, if you can call that, of the vocalists to kind of create something genuinely quite moving I think.

kind of create something genuinely quite moving i think and i'm waiting for the day when a soul diva comes along and covers this and does it the justice it deserves away from the cheapo production that this is saddled with like i think it's a genuinely brilliant breakup song that maybe doesn't get its due because of the name attached to it. Yeah. Yeah. I actually mostly agree with you there, Lizzie, but Andy, what about you? I really, really thoroughly agree with virtually everything you've said there,

especially the fact that this is actually a really great song that is yearning to break free from artists and producers who perhaps aren't worthy of it. And I don't mean that to sound quite as shady as it did, that perhaps came out wrong, but I think Atomic Kitten are just inherently a little bit sort of boring, frankly, sometimes. They're just a little bit not that thrilling. And their voices are perfectly decent,

but they've not got big powerful booming voices and I completely agree that someone with more soul could really do something fantastic with this I think it would be a good choice for Radio 1's Live Lounge to really try and do something with this yeah, I completely agree with that

and I also agree that despite the fact that it sounds very tinny which I think is always the problem I've had with it is that it sounds a bit cheap sounds a bit tin which I think is always the problem I've had with it, is that it sounds a bit cheap, sounds a bit tinny. That definitely is the problem that I've had with it. And despite that, it is a really nice song. It's really, really good. I should say that my parents are like the world's biggest fans of OMD.

They've seen them about 30 times. They follow them around. They're absolutely obsessed with OMD. So I've heard this story about how they wrote this a million times um and i think you can tell i think if there's one thing about omd is that they are fantastic songwriters um i think they are probably for me i think they're better songwriters than they are artists like you know actual recording artists really they've written some absolutely cracking songs and this is one of them um it's so so catchy like really catchy um it really gets in your head even when you don't

want it to be it really just kind of eats away at you a little earworm um in a good way and not in the rolling rolling rolling rolling rolling rolling way um it's this is my something in the middle, right? This is what I was asking for. It's not just nothing like J-Lo was. It's not being punched in the face like I was by Limp Bizkit. This is my something in the middle. It's lovely. I do think definitely it needs a little bit more oomph, which really holds it back for me from being absolute classic,

from being an iconic song. I think it needs a bit more oomph it needs better singers behind it if i'm honest and it definitely needs a bit of a kick in the production um but yeah the lyrics are absolutely lovely that's what really really strikes me the lyrics are gorgeous and the melodic lines are really nice as well that each chorus is just slightly more developed than the last. There's extra little elements being thrown in each time. What I found really interesting as well was the seemingly very slight All Saints influence

with that spoken word breakdown in the middle, which is an All Saints calling card, which it's nice to see them sort of slightly influencing the future as well. There's loads of really, really nice elements to it. And I think what I would say is it's probably less than the sum of its parts in that there's actually huge potential in this song.

It's a really nice song. There's loads of nice little aspects of this littered throughout. It just needs to be pulled together a bit more tightly and with a bit more power. But nonetheless, it's really, really, really enjoyable piece of music. It's certainly my favourite of the week.

I wouldn't go as far as saying it's amazing or anything like that. But yeah, it's really, really nice. And I think it's a really good example of just straightforward, good pop music that sometimes playing it a bit safe is actually quite good because you can just do a nice song,

deliver it well, please the crowd. I'm not surprised that it was number one for so long and that it sold so well because it is just a very straightforward crowd pleaser. Some may say that's because it's the lowest common denominator and it is to some extent, but is there really anything wrong with that if it's pop music? No. As long as it's still nice music,

as long as it's still interesting music as long as it's still interesting music I don't really have a huge problem with that one more question for you all name a Tom and Kitten I only looked this up before I've got a memory that says that the first names are, I want to say Jenny

is the other one she's the replacement one, yeah. Yeah, because I've got two of their other first names written down, so I won't mention them. I always think that sounds like the real name of a superhero who can turn into a Snow Queen. Like, my real name is Jenny Frost, yeah. I mean, there's the obvious member,

the very famous member of Atomic Kitten. Yeah, Carrie. Carrie, Carrie Katona. Who left during the promotion. Yeah. I mean there's the obvious There's the obvious member The very famous member of Atomic Kitten Yeah Kerry Kerry Who left during the promotion Yeah And the other two Do you remember who the other two are? Oh

I do because I've got their names written down But I don't know So I'm not going to guess Liz McClarnon and Natasha Hamilton Liz McClarnon Oh Natasha Hamilton yeah Liz McClarnon within like Because I lived in Liverpool for the first

20 years of my life like in the local Liverpool scene she really hung around like she was always on at like local festivals and like turning up on TV

and stuff like that she really tried to make a go of it as a solo singer bless her and it never really turned out but yeah

don't know much about Natasha Hamilton or Jenny Frost but yeah there we go we've got a few more sort of long long since disbanded girl and boy bands but yeah. Don't know much about Natasha Hamilton or Jenny Frost, but yeah, there we go. We've got a few more, um, sort of long,

long since disbanded girl and boy bands coming up over the next few years. So I'm going to test you on those members as well. But yes, but yeah, I think this is really long at home too. Yes. Do play along. Yeah.

This is a really, really nice piece of music. It needs a bit of a kick up the ass to get it to that extra special level, but I really, really enjoyed this. It's lovely yeah as for me I'm more toward Lizzy on this one I think this is I think it's quite romantic and sweet there's a sense of real longing in the atmosphere and the lyrics um the image i always get in my head is of

somebody just kind of seeing somebody that they used to be with over like you know over the bar or something like that or just kind of like seeing them on the other side of a restaurant or something and just kind of walking over and sitting down next to them and just kind of having them hit it off like because you know that kind of thing happens i mean i know that like some people break up and well most people break up and that's it forever but you know not with everybody um and there's just there's just a sadness where it's like oh maybe i made a mistake and that sort of thing. It's funny, Lizzie, you mentioning Baccarat before, because the album that he did with Elvis Costello, Painted From Memory, from about 1998,

so just before this, lyrically, this kind of reminds me of that too. This is obviously a bit more simplistic just because it's pop and it has to appeal to more people. But there's a broadness to this, which I actually quite like. It kind of avoids specificity, but it does so in a way that feels... It doesn't feel calculated in a way that it often, vague, kind of broad, sentimental songs can do. in a way that feels not necessarily, it doesn't feel calculated in a way that it often,

you know, vague kind of broad sentimental songs can do. I think there's a vulnerability and a tenderness to this. And especially towards the end, when you can hear them really straining to hit the notes. Andy, you were sort of saying about this, like maybe needing better singers. And I agree, but I also think it kind of works to its strengths because it makes it feel more normal yeah honest yeah yeah genuine yeah just a person saying this and like especially towards

the end when I don't know if it's Natasha or Liz that's ad-libbing and doing those new inflections over the main melody the uh I cannot escape and I cannot forget that stuff sorry I'm just carrying on you can make me whole normally that kind of stuff puts me off but this song is a plea

and I think it's endured really really well yeah totally production is the drums specifically And I think it's endured really, really well. Yeah, totally. Production is, the drums specifically, they're too loud and they're a bit too cheap. Just get somebody in to play the fucking drums. I know.

You're OMD, for God's sake. I don't know, it just doesn't seem that... They don't suit the environment at all. You've got that organ, which is a lovely backing throughout. It's this lovely bed for the song. But the drums are just kind of obtrusive. And sort of... They get in the way a little bit too much. I don't love this.

I think that there is also an element where like you were saying there Andy it feels like it's it feels like it's a station above the people who are performing this in a way that I can't really get out of my head and it's not normally a way that I feel

because you know a song is a song and whatever and whoever performs it, if they perform it to a good standard then you know good for is a song and whatever um and whoever performs it if they perform it to a good standard then you know good for them and like it clearly connected with a lot of people and it's endured really well sold loads of copies i love the story about it as well where like they were basically on the end of like they were going to get released from their record contract because their first four singles had done quite well but not not very well. And so this album track that's like, it's like track six on the album,

like, you know, not really towards the beginning as a big, you know, front load it with all the singles. And it's not really towards the end as a big kind of closer. It's just kind of buried in the middle somewhere. And they thought,

well, let's try this. Like they pushed for it. Let's, let's try this. Let's get it released. And then this takes off and it sets them up for life, which I think is quite nice.

I think that's a nice story, and I imagine they always feel quite nice about it as a result. I have a little thing, if that's okay. Because for me, this is one of two number ones this year, which I think as a kid I didn't really understand but felt sort of unnerved by because it was like a glimpse into an adult world which I didn't really understand.

And in a sense, I feel like those songs have caught up with me and I kind of enjoy them more as a result. Yeah. Does that make sense? Yeah. No, totally. It's complex emotions that as a nine-year-old child, you don't really have any reference point to,

but you know it's kind of adult and it's out of your domain. It's like Rise, Gabrielle. Yeah, yeah, definitely like Rise. Yeah. Oh, well, that's nice, yeah. Alright then, before we go, we've got our vault and piehole

inductions, so we'll run through the songs that we've done, and then we'll stick our hand up if they're going in the vault or the piehole. So, Touch Me by Rui da Silva and Cassandra. Is anyone going to put a paddle up for them?

No. Not quite. No. Love Don't Cost a Thing, Jennifer Lopez. I'm not. No. Nah. No.

Okay. Rolling Air Raid Vehicle by Limp Bizkit. Yeah, I'm going to put it in the pie hole. Okay. I'm putting it in the vault. Oh, that's a first. That's a first. Yeah, that's the first time that's happened.

Wow. I have no strong feelings one way or the other. And Hole Again by Atomic Kitten. I'm going to put this in the vault. I so nearly, I so nearly. It's been growing on me all week but no I'm not going to I don't love it that much but really close for me

but Lizzie's done it anyway we may review at the end of the year Lizzie has at least got it in for a vote at the end of the year excellent so next time we'll be covering four number one hits from the year 2001 and the ones that were number one

between the 10th of march to the 27th of april so a bit of a shorter period of time we'll be covering next time thank you very much for listening this week and we will see you again so bye-bye see ya see you next week pure and simple we're gonna be there