Hits 21 - 2003 (2): Gareth Gates & The Kumars, Room 5 & Oliver Cheetham, Busted

Episode Date: April 23, 2023

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. Twitter: @Hits21UK Email: [e-mail]

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

We are at Hits21UK. That is at Hits21UK. And you can email us too. Just send it on over to hits21podcast at gmail.com. Thank you so much for joining us again. We are currently looking back at the year 2003. This time we'll be covering the period between the 16th of March and the 3rd of May 2003, so we really are flying through this year.

By the end of the second episode, we'll be in May, which I don't think has happened at all on the show so far. Maybe someone can correct me. But looking back to last week, our poll winner, do you know, it was a little closer than I expected it to be. Sadly, there were no votes for David Sneddon at all. Aw. But beautiful, ran it close, but it was all the things she said by Tattoo, which kind of semi-comfortably came away with the title for this particular week.

So well done to Tattoo for that particular honour. Alright then, on to this week's episode, and as always, we're going to give you some news headlines from around the time that the songs in this week's episode were number one in the UK. In March, the United States Army arrives in the Iraq capital of Baghdad, signalling the start of the Iraq war and the campaign to topple leader Saddam Hussein. Three weeks later, a statue of Saddam Hussein is brought down, signalling that Hussein's government had been removed from power. British troops also landed in the country and seized the city of Basra.

And meanwhile back in the UK in April British Prime Minister Tony Blair attends a summit meeting with Russian leader Vladimir Putin who mocks Blair and US President George W Bush for failing to find weapons of mass destruction in Iraq. Shortly afterwards Bush accuses Syrian leader Bashar al-Assad of hiding chemical weapons in the country. And in May, Judge W. Bush lands on the aircraft carrier USS Abraham Lincoln, where he gives a speech announcing the, quote, end of major combat after the invasion in Iraq. A banner behind him declares, mission accomplished.

Despite this speech being given, the war in Iraq descended into widespread sectarian violence and US forces remained there for another eight years. Yeah, irony just kind of drips all over that mission accomplished. Definitely. It's kind of, it's hard to name the most cringe, embarrassing thing that Bush ever did, but that is right up there, that one, that mission accomplished wow, yeah you know what he says, like, fool me once shame on you

fool me twice well, you're not going to fool me again my favourite quote ever from Bush is when he's at an education thing and he says so there's one important question that we need to ask ourselves is our children learning i think my well favorite is a loose term i think it's just

the quote of his that i come back to the most is when he's given a news interview on a golf course oh yeah he says something along the lines of we need to stop these terrorist killers and then backs away loads up his golf club and says now watch this drive and fucking hell

you're sending your own citizens over to a country that didn't ask for them having them die by the score okay never mind moving on the films to hit the top of the UK box office during this period were as follows

Just Married for one week, The Recruit for two weeks, Johnny English for three weeks and X-Men 2 for three weeks oh and just to tie Hits 21 and mine and Lizzie's other podcasts together, which is The Longest Night, a Game of Thrones show,

House of the Dragon actress Emily Carey is born. So she just comes into the world at the point where the Iraq war is happening and that suddenly makes me feel older than I probably am. But anyway. I've just turned to dust. Thank you. I mean, I'm a huge fan of Doctor Who

and the current, well, who's not yet started, but who's currently filming the new Doctor Who companion. She was born in late 2004, so still 18 months. Yikes. I know, crazy.

Yeah. Granada Television announces that Lisa Riley will be replaced as host of You've Been Framed by friend of Robbie Williams and No Stranger to Hit 21, Jonathan Wilkes. Sky One airs the 300th episode of The Simpsons, and I remember that very, very well, because I was still relatively new to The Simpsons then, and they showed loads of classic episodes. They did this thing, which I remember was called the Golden Donut Awards, of like, the best Homer episode, the best Marge episode, etc. Oh yeah! So I got to see loads of classic episodes. It was a good thing for me as a relatively new fan of The Simpsons, so yeah, that's a good one for for me the Disney Channel also celebrates its 20th anniversary

and 16 to one shot Monty's Pass wins the Grand National and finally who wants to be a millionaire contestant Charles Ingram his wife Diana and friend Tecwen Whittock are all found guilty of quote procuring the execution of a valuable security by deception. What? Yeah. Ingram had originally won the £1 million prize in September 2001, only to be denied the money by the show's producers, who had become suspicious that he was cheating.

All three were given suspended prison sentences and ordered to pay thousands of pounds in fines. But never mind all that, because S Club have announced that they are to split up at the end of may no the remaining six members of the pop groups hold fans at a london docklands arena concert last night april 21st can you tell i'm quoting this that they would go their separate ways after four years of chart success well i mean at least at least we've got c and double coming up That'll be great, won't it? Yeah, everyone loves that film Andy, how are the album charts faring right now? Well because it's another large amount of time that we're covering this week

It's another big week on the album charts Big period on the album charts I should say We start with Linkin Park with Meteora Meteora, am i saying that right um yeah which was sort of fair to say lincoln park kind of still at the peak here after hybrid theory because numb is on this one so a big big moment in the spotlight for them that is at number one for just one week though um it goes double platinum and then is replaced at the top by the white stripes with elephant also number one oh actually this one's number one for two weeks but though. It goes double platinum and then is replaced at the top by The White Stripes with

Elephant, also number one. Actually, this one's number one for two weeks, but that's also double platinum. Another band reaching the kind of commercial peak here, because this is the album that's got Seven Nation Army on. I've never really seen the big deal, if I'm honest,

but, you know, fine. Something for everyone out there isn't there so yeah um that's replaced at the top by a re-entry from last year way back at the start of last year actually um coldplay with a rush of blood to the head who go back to number one for one week and that that album just to remind you from last year was an enormous hit that went nine times platinum. Yeah, another interesting re-entry there. And I've looked into this and I'm not really sure why.

Why this came back into the charts. Well, not just chart, but came to number one. Any ideas? I think it's because I have a feeling that a single off that album is going to chart in this episode. Ah, I had not put those two things together but yeah. Yeah, it doesn't get to number one but I think it may get used in an advert or something and it's a much more popular song than its chart position suggests. I'm pretty sure around this time the BBC ran a campaign with Clocks by Coldplay on. Yeah, I think it

must be something like that. Yeah, well Clocks came out about a month before Russia Blood to the Head went back to number one, so I thought that was enough distance that that probably can't be the reason, but I guess Clocks might have been a bit of a slow burner, so yeah. We'll see. Maybe, maybe.

Anyway, there's still far more to come in this period because um we then get madonna at number one with her latest album american life um not to be confused with american pie she seems to still be riding this train of american stuff um that only went single platinum which for madonna is quite quite eye-opening really and this is definitely one of her least memorable just purely in terms of definitely one of her least memorable, just purely in terms of success, one of her least memorable eras, really.

The song Hollywood comes off this album and the title track, of course, American Life. But it's kind of it, really. It's a bit of a damp squib of an album, unfortunately. And then to close off this period, it's another week at the top for Justified by Justin Timberlake. And I would say that

the consistent return to this album to the top is indeed Justified. Lizzie, I remember a little while ago you told me to watch a video about Madonna's American life. Yeah, by

Todd in the Shadows. Because I wouldn't say unmemorable, I would say infamous. Okay, I mean, I'm sure you probably know more about it than I do. Yeah, well, this is the album where Madonna raps. Oh, this, yes. Okay, you've just triggered some memories for me there. Yeah, okay. Yeah, this is her kind of edgelord period.

It's not good. She pulls it back, but yeah, don't... I'd avoid this period if you can. Oh, dear. How are things in America? Madonna seems into American life at the moment, and what are they buying? Well, I've got nothing new to report in terms of singles

as 50 Cent's reign at number one continues until May the 10th but we have a few new albums to mention first up this week just like you Andy is Meteora by Linkin Park which got to number one for two weeks in April and eventually went seven times platinum and

as mentioned also hit the top spot on the UK albums chart and to date it's sold around 16 million copies worldwide, making it the eighth best-selling album of the 21st century. So that was overtaken at the end of April by Godsmack, whose album Faceless got to number one for one week. Wow. It was eventually certified platinum in the US,

and in the UK it narrowly missed out on number one held off the top spot by 153 other albums that placed higher in the chart that week. I was gonna say I can't believe it could have got that close to number one godsmack. I was really ready to be so surprised so well done you got me hook line and sinker. Yeah and we've just got one more this week we've got kelly clarkson taking the top spot with her debut album thankful it stayed at number one for one week and was certified double platinum in the us but only got as high as number 63 when it was first released here in 2003 and number 41 when it was re-released in early 2006. Wow. Yeah.

Yeah, that sort of makes sense, actually, because it was only really Breakaway that was her big album over here that had, like, Since You've Been Gone on it. That's true, yeah. Yeah, I want to say, well, the single Breakaway and also Behind These Hazel Eyes and stuff like that, that was her big launch in this country. It took a while,

which is probably why a moment like this was seen as a new thing when Leona Lewis did it as opposed to the song that Kelly Clarkson had done years earlier when she first won American Idol Yeah, that's true

Yeah, I'd say in the UK, Leona's version has just wholesale replaced Kelly Clarkson's version I think to this day, people probably don't remember that that it wholesale replaced Kelly Clarkson's version really I think to this day people probably don't remember that, that it was a Kelly Clarkson song so yeah Alright well thank you both very much for those reports from the album chart and from the other

side of the Atlantic, it is time now for us to get right in to our three songs this week and the first one up is this Let's kick it. Gonna go to the place that's the best I'm gonna lay me down to die Going up to the spirit in the sky Going up to the spirit in the sky I swear I'm gonna go when I die

When I die and I lay me to rest I'm gonna go to the place that's the best What, Wembley? No by Gareth Gates and the Kumars. Released as the lead single from his second studio album titled Go Your Own Way, Spirit in the Sky is Gareth Gates' fifth single overall to be released in the UK and his fourth to reach number one. It was chosen as the song for Comic Relief in 2003 and is the only single to feature the Kumars as a credited act.

The song is a cover version of Norman Greenbaum's original version, which reached number one in 1970. Spirit in the Sky was also covered by Doctor and the Medics, who also took the single to number one in 1986. This is the last time we'll be discussing Gareth on this podcast. Spirit in the Sky went straight in at number one as a brand new entry, knocking Christina Aguilera off the top of the charts. It stayed at number one for two weeks. In its first week at number one, it sold 274,000 copies, beating competition from All I Have by Jennifer Lopez and LL Cool J, which got to number two. Born to Try by Delta Goodrum, which got to number three.

In the Club by 50 Cent, which got to number two. Born to Try by Delta Goodrum, which got to number three. In the Club by 50 Cent, which got to number four. Ka-Ching by Shania Twain, which got to number eight. And Gossip Folks by Missy Elliott and Ludacris, which got to number nine. In its second week at number one, it sold 117,000 copies,

beating competition from Scandalous by Misty. Which got to number 2. Being Nobody by Richard X and Liberty X, which got to number 3. You Make Me Wanna by Blue, which got to number 4. Sunrise by Simply Red, which got to number 7. And Somewhere I Belong by Linkin Park, which got to number 10. When it was knocked off the top of the charts, Spirit in the Sky dropped one place to number 2. By the time it was done on the charts, it had been inside the top 100 for 22 weeks, and the song was certified platinum in the UK in May 2003. I just want to say, I am devastated that we don't get to cover In The Club and Scandalous. And Being Nobody as well. I am devastated that we don't get to cover In The Club and Scandalous. Really gutted.

And Being Nobody as well. And Being Nobody and Somewhere I Belong, which I would have happily talked about as well. So we have to discuss the song that is number one. Andy, Spirit In The Sky, Gareth Gates featuring special guests, the Kumars, I should say. Not just and the Kumars. So yeah, have at it.

I just, this is a weird one, this, isn isn't it there's a lot to unpack with this i think if you come to this with no context you'd be like what what am i listening to here because the component parts just don't go together it's like someone has just done a random ideas jam where you've pointed at four people and it's like what you want in this song okay i want gareth gates or i want a cover from the 70s i want the kumars i want comic relief i want um a conflict of two religions in this song it's just all these things come together to make this weird hole that i'm like what is this it's really strange um this i mean this is back in the days where the the comic relief song of the year would pretty much automatically get to number one still,

and that's not to take away from Gareth or the Kumars at all, but that's pretty much why it got number one, really, it's fair to say, because it certainly isn't because of its quality. The more I've listened to this, the more I've disliked it. I just don't understand the idea behind this. And I do have that context because I remember it at the time.

But first of all, I just sincerely question whether the Kumars were ever really big enough to merit being on the Comic Relief single. That seems strange. I question the choice of Gareth Gates for this as well because he was a little bit off the boil already by this time and I'll come to

the reasons why because I do think there's good reason for that but I remember at the time thinking huh Gareth Gates that's weird and then the Kumars as well and the choice of song so this is why I think this is gareth's last number one and the last we'll really hear from him at all is i've said my piece about this a few times but

it really is kind of getting beyond a joke now the number of old songs that gareth has been given to sing you know just think of the potential that he, that he was on this widely watched talent show where he's this young, adorable, good-looking young man who's got this backstory that makes a really great narrative for him. He's got a sweet voice. He's got a built-in fan base. And his debut single, although it was a really old song, it absolutely sold like hotcakes. You've got a genuine superstar here.

So what do we do with him well we give him we give him the long and winding road we give him suspicious minds we give him spirit in the sky so all right okay i mean any one of us is the only number one of his we've covered that was released well that was even written during his lifetime which is just a sobering thought to think about like he he's just become a um an artist for the nannas really at this point and the idea of him ever returning to being a sort of cool artist who the kids liked i think that's just ancient history by now and they've really put him down an avenue that he wasn't meant for and i don't understand

why they keep giving him these really ancient songs i just if the thing that typifies it the most the thing that i just sums it up in a nutshell of how wrong they've gone with gareth gates is you've got this supposedly hip trendy pop stars who's who has just come second on a massive talent show and here he is a year later, singing the line, you've got to have a friend in Jesus. Like, what is going on with this kid? Like, come on, give him something to work with that's at least a little bit cool.

It doesn't help that the song itself, it's got this weird kind of slight Indian inspiration to it, which I find cheap and tacky, to say the very least, problematic at worst, but yeah, I don't like all the kind of Kumar's little comedy bits that they put in there, like, oh, I'd like to be Gareth's hair gel,

or, you know, I just find it just not funny at all, and I know it's kind of the broadest, most insipid comedy ever, because it's a comic relief single, but still, you know. And then there's this element to ever because it's a comic relief single but still you know and then there's this element to it where it's like poking fun at the fact that you have a non-christian family on this song about jesus and they're kind of slipping in comments about that and i'm like

why are we getting into even if played for comedy why are we getting into mild religious tensions on this comic relief single sung by Gareth Gates. Like, really? Could you not think of any other topic to centre this around? The whole thing is just really weirdly conceived. Poor Gareth, sitting at the heart of it, just doesn't know what he's doing. I've watched a video for this and he just looks visibly uncertain of what this is. It's a very sour note for him to go out on. And my heart goes out to him because I really do think

he had a real shot and he seems like a sweet guy who could have done well but at this point it's kind of laughable how badly they've mismanaged him and I just feel sorry for him really didn't like this one bit no, not at all

yeah, I agree with a lot of your points andy um i will just say about the kumars though that it was fairly big it ran for something like seven series started out on bbc2 and eventually went to bbc1 which is the mark of success usually for a show um won international awards i will say i'm not like very familiar with it i'm more familiar with um you know goodness gracious me which came before it so this came after goodness gracious me and i have a feeling that the kumars were characters in that show but i could be wrong it's been a while since i've watched it it's been like 15 years but yeah i'm pretty what it is. In terms of this song, though, it doesn't really work. It's a bit of a mess.

I don't think it's particularly anybody's fault. I think it's just someone at the BBC came up with this idea. It's like, wouldn't it be so wacky if we merged this preening, beautiful pop style with this sort of family of kind of awkward misfits and put them on this glam stomper from the 70s and it's one of those things where it's just so stupid it might work but what happens is it it's all just a bit of a jumble and it makes it quite not unpleasant to listen to but like a bit of a slog like you've got too many elements

going on at once and then obviously you get the big key change towards the end which oh god it hits you like a ton of bricks it is not good it's not good no and like I say I agree with you, Andy,

that I think this is a pretty undignified exit for Gareth Gates. I think we've discussed on the show before that it feels like at certain points they don't really know what to do with him. But he still has appeal to the masses. He still sells albums and singles. So there must be something in there so you're stuck in this middle ground where he doesn't have much of an identity of his own but he is undoubtedly quite popular with the British buying public at least for now I think this is, I don't know, I feel like you could have come back from this. There

is a whole, an urban legend about Spirit in the Sky, of course, is that anyone who performs it never has a hit song again. Have you heard of this? Yeah, I have heard of this. Yeah, the curse of Spirit in the Sky, and it kind of makes you buy into it a little bit but I don't think it's that I think it's just that Gareth Gates had a good run in the charts but as we've seen from the past it's clear that I think

Will Young is just excelling past him and I don't think you'd find Will Young doing this I'm sure he could do it if he wanted to but it's not really his thing, it's not Gareth's thing either, they've shoehorned him into this position and I

feel bad for him because he feels anonymous on his own song like if you would have asked me like right who is the lead artist on this song it's the Kumars obviously well because they have to have the Kumars chipping in quite a lot it means they

have to put Gareth a little bit lower in the mix but they don't really change that for when it's just him singing so he just sounds a little bit like he's on the stage but the Kumars are in the audience and you're listening to it from their point of view it just makes

Gareth sound a bit off in the distance I don't know if either of you two got that but it felt like he was disconnected from it yeah yeah the thing with the single version is obviously they have all the influences from south asian music and like sitar and stuff like that and so when the kumars appear that makes sense but on the album version which the kumars aren't on it just has all of the south asian musical influences and gareth gates is just there and it feels like there's yeah it feels like a whole like it just feels like they're missing the kumar should be there and they're not and yeah it's a very confusing thing um this is this song is a very confusing thing but lizzie by all means carry on no i think you've summed it up perfectly it's a very confusing thing. This song is a very confusing thing,

but Lizzie, by all means, carry on. No, I think you've summed it up perfectly. It's just a kind of hodgepodge of ideas that don't really add up. And I don't know, I don't hate it, but it's not great. And yeah, I feel like... Would you say that Gareth deserved better in terms of chart success

or do you think it's what he got was proportional? Well, I mean, you can't go higher than number one, can you? I suppose not. And it's an interesting question because in terms of what could have been, it's an interesting question because in terms of what could have been, you know, I, I,

like I say, I think it, it, the, the sort of untapped potential just in terms of his commercial success beyond this, I think is massive because I completely agree with what you've said about the not knowing how to handle him and not knowing what to do with Gareth. And I'm kind of mystified as to why,

because it's, it's, I just don't think it's that hard. Like, you know, just look at what other successful artists are doing at the moment. Look at the likes of Justin Timberlake. And if you want to look more locally, look at Blue and give him that kind of, you know, young, trendy stuff. It's not really that hard. And I think the fact that all these rubbish songs he's been given have still been big hits and got number one i think shows how much goodwill he had pent up from

pop idol that has gradually burnt out across this year and still giving him number ones even though he's releasing any old rubbish really and it makes you think if he'd been releasing really really good songs how big could he have been so to answer your question i think he could have deserved a lot more potentially i don't think we'll ever really know but the potential and the the inbuilt fan base was massive for him and it's gradually burnt off at this point yeah it doesn't even have to be great songs because i we've kind of said last year that we thought they were putting him into a shaking Enrique mould, and that would have at least, I think,

been commercially successful, but I don't know. It feels like they lost interest at some point, and he never really recovered from it in pop. His career is fine. As we've mentioned, he's appearing in from it in pop. Like, his career is fine. He's, as we've mentioned, he's appearing in the SpongeBob musical. That's, it's no great shakes. But like, yeah, there is a sense that

because Will Young stuck around for so long and Gareth didn't, there is this question of, they were as big as one another in 2002. So what happened for one to soar and one to just kind of falter away? Yeah. Yeah.

I think the problem that Gareth had just to kind of go into my notes is that Will Young managed to be you know after his initial kind of like, oh, I'm the winner of the singing competition, he was generally popular with different demographics and different groups of people.

Whereas I think Gareth Gates, unfortunately, was marketed in such a way that he kind of stumbled into just like the mum's market. And don't get me wrong, that's like a huge market but once you get into that market it's very hard to get out of it because it is such a groundswell and like you know it is so lucrative that once you're in it that's kind of it you just get told to do that because it's an amazing money spinner. And I think artists like Gareth don't really exist anymore because as far as I'm concerned, what has happened over the last 20 years

is that pop music has gone from being a thing for young people and a thing for families to just a thing for young people. I think there's been a big shift because of social media and how kids consume pop music now and stuff like that and so you can't this is why i say that the early 2000s have more in common with the 80s than they do with the late 2000s and early 2010s and it's because of artists like gareth where this adult contemporary slash novelty slash mum's market all kind of coalesces into artists like Gareth.

And I think, unfortunately for Gareth, he did try to break free of that because he was on Sony, I want to say, for his first two albums. And then on his third album which doesn't come out until 2007 still gets to number 23 and still produces two top 30 singles

he's on a different label and he's trying to do something else and even to be honest on this go your own way thing it's like this have you heard much about this album that it's from no I don't know anything about it so this go your own way I don't know anything about it. So this Go Your Own Way, I haven't listened to it,

but the original version of it was 14 tracks. Then there was another version, the European edition, which had 17 songs on it. The British edition had 19 songs on it. The Spanish edition had 18 songs on it um the spanish edition had 18 songs on it the asian special edition bonus disc um had 18 tracks plus another six and so and like so it was divided up across lots of continents in several different ways and apparently it was like gareth was writing a few of the songs and there was like there was a day side and a night side and it was not a double album necessarily

but the full thing is 85 minutes in its full thing and so he's really he's trying to do something with what's been made available to him but I think the big hits I mean the next single after this gets the number 3 I think

which is that Sunshine song that he did, and people will probably have a vague recollection of, but not to the strength of anything like this. Yeah. And I do think that he was just marketed to a very narrow audience by this point, and it happened very quickly, and it kind of happened to such an extent

that you would need a reinvention on the scale of like Miley Cyrus to be able to get a different audience than the one that you are being managed towards and I think that kind of sealed his fate a little bit because Westlife is still around and they're still dominating the mum's market and the adult contemporary market and gareth was still really young you know and he and he wasn't really marketed in a way where like westlife are always in suits and ronan keating is like oh he's 40 on the inside whereas with gareth gates he's just like still the little kid that you take home under your arm and i think that's unfortunately what kind of does

for him and means that he can't do anything more daring um what i have to say about this is obviously all really informed by hindsight because at the time we may not have you know i've loved to meet someone who uh the week that gareth gates went to number one with the single that sold nearly 300 000 copies in a week saying oh well that's the end of him surely like you know so you know so but i just feel a bit sorry for him these days because you know i mean he's had a good career um he's clearly a lovely talented guy you know the album that this is from was pretty successful this double album thing he's had four number one singles so better than most people but i do think he deserved a slightly longer time in the charts than the one that he got and i think unfortunately

gareth is like kind of a canary in the coal mine for what happens to a lot of these acts where like they get dropped and then they have to use i think to be honest for what happens to a lot of these acts where like they get dropped and then they have to use i think to be honest there were quite quite a lot of acts by the late 2000s who kind of knew the game matt cardell is one where like you know the game and you know what you have to do to play it and you do what you have to do for about 12 months and then you wait for the day that you get dropped and then you just use the fact that people know your name to get yourself work for the rest of your life yeah in in theater mainly and on the stage people like uh leon jackson joe mckeldrey you know gareth gates himself you know they all went into stage stuff and i think that was kind of what most artists realized by that point but gareth is what like

19 at this point he's not gonna know that and so yeah it is a bit of a shame that behind the scenes he's kind of being told that his career as a musician and a singer a legitimate one anyway he's basically over like he's written off as a serious chart act and he is just told to do novelty stuff like this that will sell bucket loads but won't really endure beyond people thinking of oh what was the comic relief single in 2003 nobody remembers this specific thing well people do but the general public don't remember this song at large and think oh yes i want to listen to this it's more just like oh yes that you know it's not something you think of it's something that gets put into your head by other things um but i think that not only is this novelty he's also being undermined

and joked about by the kumars who were invited onto the song like i lost count of how many times their little skits and jokes are designed to just make us laugh at Gareth. That was their thing, though. Yeah, it is, but like, he's being undermined on his own song. Like, you know, the jokes aren't oh, we're the Kumars, we're funny. It's just all their

little jokes are like laughing at things that Gareth is doing and it feels like a lot of the jokes are being had at his expense and he doesn't really know that it's happening. Like the music video too with his wearing that massive wig of his spiky hair and it just feels a bit like he doesn't quite know that a

massive joke is being had at his expense here a little bit. And of course I know it's all for a good cause so you know it's good that he did it but easy to forget as well that with this being comic relief that Gareth wouldn't have made a lick of money for this at all. That's true.

It's just a thankless task for him, this. Yeah. As for the song itself, I appreciate the ideas behind, like, introducing sitar and stuff because, like, the Norman Greenbaum original song, I think it could be categorized next to things like All Things Must Pass, you know, with that kind of fuzzy guitar sound and the, you know, the sudden kind of like widespread influence of South Asian spirituality on Western culture in the late 60s

and early 70s. It's all part of that kind of, you know, that kind of movement where like, you know, especially like stuff that was going on in San francisco in the 60s and things like that um but i think the execution andy that you touched upon um is crass like the use of the sitar here isn't in pursuit of like adding greater spirituality to the song it's not there to make a point about the benefits of globalization and multiculturalism, it's only really there so that Sanjeev Bhaskar can say here's my big sitar solo and like even at the end of the video they say oh I prefer Will Young and it and that's all this kind of really is which is that it's a lot of noise

in pursuit of a temporary and pretty weak joke like it's for charity and there's nothing about it that's particularly risable, I'm not going to put this in the pie hole but it is teetering over the edge because I listen back to the original

and there's a fuzzy, dusty warmth to it that this version, and to be fair, the Doctor and the Medic's version, they can't replicate. And I think they know that they can't replicate it and so they try to refashion it as a joke.

And I thought I would get more joy out of this, especially with the jokes because like i kind of remember the kumars being funny and like my fiance's family are from near wembley and there's a huge hindu and muslim community there it's massive and so i thought you know because i'm kind of in on that now i would find some of the jokes funny about how like wembley is the place that's best because that's the place where quite a lot of Hindus and, like, Indian Hindus and Muslims and stuff, they kind of moved to and set up shopping in the 60s when they moved over, but it all feels

like it's in bad taste, like, you can hear Gareth's legitimacy kind of being reduced by the second, you can hear Gareth's legitimacy kind of being reduced by the second, and I don't know, when I listen to the original Spirit in the Sky, it feels a little bit like, it achieves that, like I was saying, that kind of spiritual warmth that the George Harrison song that we did, My Sweet Lord, kind of achieves. I prefer My Sweet Lord, but, you know, there's a little bit of a glam rock stomp to it and stuff like that, but it's got this kind of slightly hazy atmosphere, and it's sincere, whereas this feels like the total opposite of that. And I agree, Andy, that there is something slightly strange about making a bunch of Hindus sing about how you have to have a friend in Jesus. Like, I don't know if it's offensive to make them do it. And obviously they were happy to do it.

And, you know, that's kind of like, you know, where I think that there may be something to appreciate in the fact that, like, it's two people from two different religions singing about the same topic and oh aren't we all friends here but there's no interaction between the kumars and gareth it's just them like they do in the music video they never really interact with gareth they just kind of move around him and do their little jokes and it and then when you take them out of the song they feel like even more of an afterthought, and the whole thing hasn't been fully rendered and fully considered. I feel like the joke is on everyone. That's the thing, that yes, they're sending up Gareth, but also it's kind of a send-up of the Kumars as well.

It's like, I don't know, the whole thing just feels a bit gross, to be honest. And I can't quite put my finger on what it is. But yeah, a lot of what you're saying, Rob, is kind of ringing true for me. That it just feels like it's a little bit mean-spirited. That this is combining two things and making fun of both of them. I just... Yeah, it doesn't feel right. Right.

Does anyone have anything more to say about Gareth or Spirit in the Sky? Or the Kumars? You know, we could say something about them. I'm all good. All right, then. All right, then. Yeah, me too. Cool.

All right. We will move swiftly on, then, to our second song this week, which is this. I like to party. Everybody does. Make love and listen to some music. You have to let yourself go, go, go, go. I like to party. Everybody does. You can wait for the weekend, no, no To see what you're getting to

Make love and listen to the music You get to let yourself go, go, go, go Make love and listen to the music You get to let yourself go, go, go, go Make love and listen to the music Make Love by Room 5 and Oliver Cheetham. Released as a non-album single, Make Love is Vito Lucente's first single to be released in the UK under the name of Room 5 and is first to reach number one. As for Oliver Cheetham, this is only the second single to be released by him in the UK and his first to reach number one. His only previous single was Get Down Saturday Night, which reached number 38 in 1983 and was sampled heavily by Room 5 for this song. Make Love was first released in 2001 when it failed the chart.

In 2003, it entered the chart at number one as a brand new entry, knocking Gareth Gates and the Kumars off the top spot. It stayed at number one as a brand new entry knocking Gareth Gates and the Kumars off the top spot. It stayed at number one for four weeks. In its first week atop the charts it sold 111,000 copies beating competition from Tonight by Westlife which got to number three and Clocks by Coldplay which got to number nine. In its second week at number one It sold 67,000 copies Beating competition from Love Doesn't Have To Hurt By Atomic Kitten Which got to number four And I'm With You by Avril Lavigne Which got to number seven

That is especially gutting In its third week at the summit It sold 43,000 copies Beating competition from Cry by Kim Marsh Which got to number two And I Can't Read You by Daniel Bedingfield, which got to number six. Yeah, in its fourth and final week at number one,

it sold 33,000 copies, beating competition from American Life by Madonna, which got to number two, Come Undone by Robbie Williams, which got to number four, and Out of Time by Blur, which got to number five. That's a shame by Blur, which got to number five. That's a shame.

When it was knocked off the top of the charts, Make Love fell three places to number four. By the time it was done on the charts, it had been inside the top 100 for 15 weeks, and the song was eventually certified platinum in the UK in March 2022, so just about a year ago. Lizzy, Room 5 and Oliver Cheatham, how about it? It's all right.

Well, let's just call it what it is. It's a sped up version of Get Down Saturday Night, and it just plays the best bit over and over again. Yeah. But I don't see a point in time where i'll ever listen to this over get down saturday night which is a fantastic song and this is just okay like i think i've tried to figure out what the main problem here other than just saying it's okay but it's not great i think it's kind of stuck between two eras of house music like Like, we've already covered, you know,

the peak of, like, French house and how Daft Punk kind of grew up from this sort of thing where they'd just take a sample and play it over again and they would, you know, build on it and make it something incredible and, you know, like One More Time and Digital Love. Yeah. So it feels unfair to compare it to that it's more like something like i don't know um lady hear me tonight by mojo but it's just the sense that we're kind of past that peak of like funky french house

and we're starting to go into the period of like blog house and that kind of kind of sleazy indie sound I'm particularly thinking of things like justice and this is kind of in between those two and what happens is this gets picked up by links so links use this for the rad campaign and as we've we've already discussed on the podcast before links is a big thing around this time it is but it's not what it what it's not what it is now where it's like depending on how you look at it it's either the bane of every young man's christmas existence or the go-to gift for every aunt and uncle who don't know their nephew particularly well. But at this time, it is this kind of cultural icon.

It's like our equivalent of Levi's or something, where if Lynx puts something in an advert, there's a good chance it takes off. And this obviously does. I can see why, because it's catchy. It's an earworm. It gets stuck in your head, and it's catchy, it's an earworm, it gets stuck in your head, and it's danceable enough. But it's just, there's nothing really to remark upon,

and it feels a bit like it's sort of five years too late. I was kind of expecting to read up on this and discover that it was recorded in like 1998 and found its way through the clubs but no this is just from its time and it is what it is it's like it's okay but again I don't see why you would ever listen to this over Get Down Saturday Night which incidentally I pointed out to you both that song has another part in it which is sampled in another Big Dance hit from 2004

which is I can't wait for Saturday to begin yeah so that comes back the next year I forgot the artist I'm afraid Michael Grey I thinkael gray that's the one the weekend yeah and that song's better because it does something different with the

verses and it adds these weirdly like abrasive beats in the middle of the the bars and i don't think that got to number one it probably got to like number five or six something like that yeah that sounds about right for it yeah that that deserved better than this and also i just want to raise a complaint that as a kid i got very confused by so this this artist is called room five and then a couple of months later a band comes on the scene called maroon 5. Oh, yeah. And I was very confused. I was like, wow, they've changed up their sound. They've got a singer and everything. But, yeah, sorry, I'm rambling, but it's okay. It's not great.

Listen to Get Down Saturday Night instead. Andy, how about you? Yeah, my first thought with this song is I just want to shout out the film Ex Machina that memorably uses this and I think it is this rather than Get Down Saturday Night

that memorable scene in the film where Oscar Isaac and I don't know the name of the actress but they're doing a very complex dance in perfect alignment with each other it's quite a cool scene and that's what I mainly remember this song from but yeah not much to say about this one, really. And I think the reason I've not got much to say about it

is that it just doesn't develop at all. No. You can listen to the first minute of it, and we've said this about a few other songs before. I think Lady Hear Me Tonight was one we said this about that you can listen to the first minute and you really have got everything, it's not an exaggeration

you do actually have everything that you could believe that everything after that point was just copied and pasted because it's just like I've got very little to say about it because there just isn't much in this at all I've got a very to say about it because there just isn't much in this at all I've got a very specific memory of it

though which is from Record of the Year 2003 where they basically start with 20 songs and then there's a public vote which narrows it down to 10 and they used to have this thing where the top 10 would all perform their song live in the studio for another

public vote and they did get them all to do it live in the studio for another public vote and they did get them all to do it live which is amazing really to get everyone because you had like black eyed peas and evanescence and all sorts um and one of them was make love was in the top 10 for the year and i have this really specific memory of him of oliver cheeson was there performing it and he used he sang it in this really weird way where he changed the rhythm of the lyrics and he was going, make love and listen to some music,

which is like how it is in Get Down Saturday Night. But it seemed like he was getting the two songs confused with each other. And it was really strange. And I didn't know about Get Down Saturday Night at the time. And I remember me and my sister watching it like, why is he singing it like that? Like, it's really weird. So there was some kind of, I don't know, I think he was swept up in the success of this song rather too quickly. Yeah, it was odd. And

looking into the history of this song, it just makes me more confused really. But yeah, it's okay. I can definitely see it fitting into that genre that um lizzie i might need you to coin a genre again here um that i don't know if you've ever had this named before actually where it's that kind of music like madison avenue or groove jet that's like music you would sit and listen to in a bar did we call it bar pop that that sort of thing where you know you can sort of listen to in a bar. Did we call it bar pop? That sort of thing where you can listen to it while drinking a cocktail. Like lounge house.

It's bar house. Not to be confused with bow house. Definitely not. It's definitely that sort of thing and it's one of the only songs we've featured recently that I could see getting number one back in 2000 when we

had that kind of wave of those sorts of songs a bit like you said lizzie that this fits very easily into french house movement um yeah it's a bit of an anomaly really that seems to have just kind of got number one because of that links advert really and i don't think it's particularly good. It sort of has some nostalgia value to it, but no, I'm trying to get blood out of a stone on this one, really. It's just fine. It's just okay. Nothing more to say than that, unfortunately. Yeah, this is so weird to look back and like,

this was number one for a month. Yeah, I know. It's like with Tattoo where it was like, yeah, I can see why that was number one for a month yeah like i know it just it's like we tattoo where it was like yeah i could see why that was number one for a month and beyond this being vaguely catchy and like being in an advert it's like i don't know like i'm sort of shocked like when i was putting everything together for hits 21 and like putting all the playlists together and like putting all the little lists and stuff that we have in the background like the google sheets and excel documents and stuff that you know basically keep our score histories together and keep them all compiled i thought like you know

my memories of this were like that i liked this and then i listened to it and i was like oh great like you know i was just kind of shrugging my shoulders, like, just kind of shrugging and not really having an emotional connection to it. Like, the sample flip is kind of cool. And I love the kind of jet-setting vibes, you know, like, it feels like the kind of music that, like you were saying, Andy should be playing in fancy cocktail bars

and first-class lounges before you fly off somewhere. You know, that was the video from memory, that kind of 2D animated thing with planes in it. And there's a lot of sophisticated alcohol as opposed to them, their spirits and pints. You know, it was champagne and wine. And, oh, isn't everybody wearing lovely suits? And it all feels a bit like Miami Vice and that sort of thing.

But after about a minute, I'm sort of over this. Like, in terms of songs released in the 2000s that directly sample all of the Cheathams' Get Down Saturday Night, I'm with you, Lizzie, I much prefer The Weeknd by Michael Gray, because it introduces its own elements and does little... Exactly. And it does other samples and puts new ideas in,

whereas this is just like... It just feels like the same 30 seconds repeated six times, maybe seven times, and then we can just call it a day and go home. I don't know. I just...

I think because it was in that advert, which kind of then becomes a second music video, if you will, but I don't know know i'm struggling with this like it's not bad like it's all competently put together nicely polished and stuff but every time i've listened to the three songs that we were covering this week even though i like spirit in the sky less i felt like i had so much it engendered more feelings in me whereas with this it's just

so jet engine streamlined to just like the point where it's like there's nothing to say there's nothing to pick at, it's like trying to pick something up off a polished surface, like it just can't, it's like it's too smooth and too repetitive and

it is too much itself, I think it gets addicted to like its initial idea and doesn't want to kill its darlings and it was clearly enough to have us all in a trance for four weeks in um in 2003 but i don't know if that's really a measure of it enduring or if it's just kind of like oh yes i sort of remember this i feel like it's you know i was saying before about spirit in the sky where it's like you don't think of that song it gets put in your mind by other things this feels like it occupies a similar space but to a lesser degree like i can imagine somebody

thinking of this but only 40 of the time time I feel like 60% of the time people are reminded of it by exterior forces and yeah I wish I liked this as much as I thought I did but I don't so meh, sorry

you know you're saying sorry to yourself, you had some serious internal conflict there Rob so anyway you know you're saying sorry to yourself yeah there's some serious internal conflict there Rob yeah so anyway last up this week is

this so fit and you know it and i only dream of you cause my life's such a bitch but you can't change it you're so fit and you know it and i only dream of you Cause my life's such a bitch, but you can't change it Maybe you need somebody just like me Don't turn me down cause I've got no car and I got no money I asked you to dance at the disco, but you said no The whole world was watching and laughing On the day that I crashed the moon at your feet

Okay, this is You Said No by Busted. Released as the third single from the group's debut album, titled Busted, You Said No is Busted's third single overall to be released in the UK, and their first to reach number one. This is not the last time we'll be discussing Busted on this podcast. The song was originally titled Crash and Burn but had its title changed prior to release following the Columbia Space Shuttle disaster. You Said No went straight in at number 1 as a brand new entry knocking Room 5 and Oliver

Cheatham off the top of the charts. It stayed at number 1 for just the one week. In its first and only week atop the charts, it sold 41,000 copies beating competition from All Over by Lisa Mafia, which got to number 2, X Gone Give It To Ya by DMX, which got to number 6, Seven Nation Army by The White Stripes, which got to number 7, and Knockout by Triple Eight, which got to number 8. When it was knocked off the top of the charts, You Said No fell three places to number 4. By the time it was knocked off the top of the charts, You Said No fell three places to number 4. By the time it was done on the charts, it had been inside the top 100 for 12 weeks. It has never received any official certification from the British phonographic

industry. Which means that it hasn't even sold 200,000 copies to this day. That is crazy. Wow. That's the first, I think that must be the first one that's ever had that happen. Yeah. Yeah. I'll field this one first. I've not gone first yet. So we're just about entering the era of

charts where I become a participant. You know, Busted were the first band I ever properly, actively loved and purchased things for you know i saw them live twice um one of those nights got turned into a dvd which was the ticket for everyone um tour uh dragged my mum on both occasions i bought their albums i bought their annuals and their posters i I played them a lot in the car, made my parents listen to them. They were like my first obsession with pop music.

We'll talk about what happens to them in later editions of the show. But my love for them when I was eight and 9 years old and 10 is probably why it feels like it's a bit of a shame to come back to this and realise it's not as good as my 8 or 9 year old self would want me to think that it is at the age of 28. Like, don't get me wrong, like i enjoy this but if you look at songs like year 3000 and especially um what i go to school for if you look at them and they don't get number one and then you look at this and it did i don't know like i think i can best explain my feelings about you said no by comparing it to what i go to school for so both songs are about extreme teen melodrama where everything's a battle for the fate of the universe and everything hurts to the nth degree

and it's all angst and active hormones but i think what i go to school for like being totally dead serious for a moment is one of the best pop singles of its time because it's always winking at the audience and it's always straining with like melancholy because it's slightly comedic and silly but it's also a complete fantasy like i think a lot of people would listen to what i go to school for nowadays and would think oh oh, that wouldn't be allowed on the radio now. But I kind of disagree because it's obvious that none of it's actually happening. It's a pathetic daydream and it's sort of beautiful because of that. Like the way that the harmonies and the melodies arrange themselves and work with each other in that song, there's so

much sadness to it where it's like just this 14 15 year old boy who's like got some fantasy about a teacher that is totally unrequited and i think it's special because of that whereas you said no it has all of the things that what i go to school for has to a degree but it's the the problem with this is a problem that busted have generally which is that their serious songs sound a bit preachy like the the resolution of this song is that the protagonist ends up getting rejected by a girl so he goes out with her sister like i think there's a fine line between angst and just being a dickhead, like, just being mean, like, I feel like this crosses that line, you know, it's, it's juvenile, I think, like, you know, and I get it,

like, you know, Busted were like, oh, we're the British Blink-182, sort of, but, and that was, like, you know, Blink-182's whole thing was, juvenility and stuff. But Blink-182 and the best busted songs all kind of knew that they were juvenile and they sort of had a bit of a laugh with it. You know, like, ah, kids, you know, that kind of thing. Because obviously when James Bourne and Matt and Charlie were releasing What I Go To School For, they were late teens, early 20s, and they could look back on school as if to sort of say like, oh, wasn't this silly? Whereas with You Said No, it feels like that kind of hindsight that you get with age isn't there. So yeah, it doesn't get me in the chest in the way that What I Go to School For or Year 3000 or another song that we have coming up on this show gets me. I will say, like all Busted songs, this is catchy

as hell, emotionally urgent, and even at their worst, I think Busted knew how to plant you in a recognisable scenario and take you through its various emotional steps. You know, I don't necessarily find the protagonist of this song to be a particularly welcoming person, but I understand the emotional development that he goes on through the song, where it's like, you know, this kind of petulant, like, oh, well, I'll just go with your sister instead. You know, that sort of thing. I imagine, like, you know, years down the line,

maybe the sequel to this is something like Baby's pulp, where it's like, I only went with her because she looks like you and stuff. They also write great hooks. They put everything into the performances. I love the na-na-na-na, na-na-na-na bridge section. The harmonies in the second verse are quite nice. The production's a little thin, I wish it was a bit meatier, but I kind of think that about all Busted songs really, so I can't really level this at this one specifically, so I do think that this is

decent, but comparing it to their better stuff, I think my age works against this in a way that it doesn't work against their stronger hits um and one of which we will definitely get to talk about um in the future lizzy how about how about you with this okay confession time i've always struggled with this kind of music with pop punk and busted are no exception i don't think i liked them at the time i was aware of them and i could name some of their songs and i could probably even hum them but even at this point i felt like i was too old for them and i was 12 so yeah yeah i i just didn't get on with them and I still don't like I don't like Charlie's vocals at all um I think you know that I guess the whole point of them is that they are juvenile and that they are appealing to that sense of you know still being a kid at heart but I don't know I find it I find

it really difficult to love um like don't get wrong, I don't think this is horrible or anything. They've got much worse to come, Drosni. But I get what you're saying, Robin, that there is something weirdly... Maybe nasty is too strong, but mean-spirited and kind of... Yeah. It's verging on nasty nasty where it is this sense of like everything's everything's screwed up because of you and it's something that you did not because not because of

me it's because of you and try as you might as much as you can say it's a character in a song the fact is a lot of young boys especially are like that and I don't know where we get from encouraging that I'm I'm reading too much into it because it is just ultimately it's a silly pop punk song by a silly pop punk band and for what it is it's fine but I I find this stuff like really hard to look at objectively just because I don't like this kind of music at all. And I'm really sorry, because I know there's a lot of Busted fans out there,

and I'm sorry. I've tried, okay? Maybe Andy will cheer you up, because I'm sure Andy has warmer feelings towards them. Help, please. I mean, I loved Busted. I really loved Busted. And McFly as well,

who's sort of an unofficial kind of sister band to Busted. I think I do have to give credit for where they sit in not just my life, but in I think a lot of people of our age's lives really were. Obviously not everyone. As Lizzie, you've said, you know, you didn't really like this at the time. But I think for a lot of people around our age at the time, including me, they were the gateway into guitar music. And I think, you know, their impact really can't be understated.

So I give them full credit for that, and they definitely were the start of something in my musical journey. Looking back now, it makes me feel like a grumpy old man listening to them because it is quite juvenile a lot of the time in a way that I didn't appreciate at the time, but that's because I was the target audience of the time in a way that I didn't appreciate at the time but that's because I was the target audience at the time so the kind of nudge nudge wink wink aspect of it was lost on me at the time because I was just receiving it as it was meant to be received um and it's interesting

looking back on them I still love them I still have a huge fondness in my heart for them but I'm able to look at them with a more objective viewpoint now um i'm not sure that my sister can because she still is like absolutely obsessed with them i i've told you um both you on several occasions that the honest to god it was next level the relationship my sister had with busted she wasn't just a fan she followed them around so much that she was on first name terms with their manager um i've known several people like that trust me she at one point just pretended to be a competition winner to get in on a private gig of them performing to like five people and she managed to fake being one of those people meaning the real competition winner lost out presumably um oh no just she really just went in on this fandom of busted um and so you know it's generally kind of my sister's thing rather than mine but we both

really loved them like i say now i can look back with a little bit more of a discerning guy just a little bit and i have to say that unfortunately this one is not one of my favorites from busted um i love what i go to school for, just because I think, it just makes me feel kind of warm inside, get that nostalgia for them, and that was the song that really got me into them. Year 3000 is good, it's fine, you know, I've got no real

problem with that. This is, I think the reason why I like this a little bit less is because I think of all of their singles, this is probably the one that shows the formula most obviously. That, you know, what they are trying to be is a British version of Blink-182, like Rob said, but with a kind of more kid-oriented viewpoint

or more of a kind of deliberately juvenile, silly kind of viewpoint. And I think both aspects of that really show themselves here that as you both covered very well in terms of the lyrics like it's very childish it's very immature there are no good life lessons to be taken from this like it's really kind of daft annoyed teenage stuff um and i think the blink 182 thing shows itself loud and clear with that na na na bridge that you know i do like that like you said rob but that is literally like all the small things you know it's very very similar that bridge and i think the formula is quite obvious again the juvenile thing of asked you to dance at the disco as well it's like it sounds like school disco

and i just think oh this is like music for kids and i didn't realize that at the disco as well it's like it sounds like school disco and i just think oh this is like music for kids and i didn't realize that at the time i really didn't um so just because i think this one shows its hand more than a lot of their other singles i don't hugely love this um and you know i think what they did they actually did very very well i'm always impressed that they managed to like be kind of the nation's darlings for a while while they were you know quite sort of obnoxious you know immature kind of personas and also they got some really dirty lyrics past the radar i remember air hostess which doesn't get to number one, so I can talk about Air Hostess here, that they have that line, I messed my pants when we

were over France, which went right over my head at the time. I thought it meant that he'd shit himself. So it just went right over my head at the time. But I look back at that and I'm like, wow! We had kids singing along to that. How did they get away with it? And they sort of bought their way into the nation's hearts

in a way that probably wouldn't be seen again until One Direction, really. And they were obviously much more pop-oriented than Busted were. There isn't really anyone else like them in recent history, apart from McFly, who, again, were slightly more pop-oriented. So I do have respect for Busted for that. As for this song, like I said, it's OK.

It's not one of my favourites of theirs. I think they have some outstanding songs coming up. And it's a shame that this is the only one off their first album that gets to number one. The only other thing to say on this is that I actually have a copy of the album. Well, my sister, I should say, has a copy of the album that we got at the time where it's still called Crash and Burn because it was very, very late on that it was changed to You Said No. And so I still kind of

know this song as Crash and Burn because we listened to the album for months knowing it as that. So that's still weird for me that it's called You Said No. I've never quite got used to that in the 20 years since. But yeah yeah I look forward to talking about Busted a lot more, but this is not one of their best ones, really I think it shows them reaching the peak of their early trajectory, it's no coincidence that we've gone from

number 3 to number 2 to number 1 with this, and I think that's what's happened, really but yeah, I wish it was year 3000 or what I go to school for but this is good, like I do love Busted and it was year 3000 or what I go to school for but this is good like I do love Busted and it was a pleasure to listen to this but it's not one of their best and it's one of their more formulaic songs so

I you know I'm definitely more complimentary of it than you were Lizzie so I hope I've given you the help that you needed there but I'm not ranting and raving about this one in the way that I will do about some of their later singles yeah yeah just on the interest of I'm not ranting and raving about this one in the way that I will do about some of their later singles. Yeah, just on the interest of Busted getting slightly dirty lyrics past Parents and Into Houses and stuff,

was that even their albums were censored. Like, I still remember that song on, i think it's on a present for everyone and the song is falling for you and the second verse is described it describes a night where james solicits the services of a prostitute and it says you showed up at my door just like in a teen movie I said are you the whore I pay to come and screw me and but they get rid of the word whore

by just having like a boinking sound effect and then they change screw to another boinking sound effect and so it says I said are you the boo? I pay to come and bite me. And it's just so,

it's kind of silly and juvenile. I think it happens in a later number one single of theirs, actually. Where for years I just thought the line was, you stupid lying, who's David? You know, so i didn't know that the uh pretty serious word was in there and for years and so yeah that i think that was how they managed to do it that even their

bloody album versions were like protected and shielded and oh we mustn't let the kids hear this funny thing it's funny you should say that because i I'm always of the opinion that censoring the swear words and replacing them with boink or with that ish sound that they do, I always think that that draws more attention to the swear words and it makes kids more likely to find out what it is. I think that is kind of the story of why one of next year's singles, that's like the main reason why it gets to number one. It's because there's loads of swear words censored

from it and people wanted to know what they were so yeah I've always been of the opinion that that can kind of help a song when you get censored yeah well, just ask Frankie well exactly yeah okay, do we have anything more

to say about any of the songs that we have covered in this week's episode? Women, eh? Yeah. Can't live with them, can't live without them. The whole world was watching and laughing. The whole, yeah. Literally everyone, everybody was there.

Literally everyone in the whole world was there. I was there. I don't know if you two were there, but apparently the whole world was there. I was there. I don't know if you two were there, but apparently the whole world was there watching and laughing. I was watching and laughing, but not because he got dumped, but because he's Charlie Simpson.

Gareth Gates was happy that someone else was being made fun of for a change. He was like, okay, the QMARs, go and laugh at Busted instead. The whole world's watching and laughing at them. So, just gonna check um spirit in the sky is that being pie holed or vaulted by anyone in particular oh do you know i'm gonna pie hole it i am i really really didn't like it and i've only literally just decided right

now that i'm gonna pie hole it but like it just left such a sour taste I just really didn't like it at all so yeah sorry Gareth Lizzie what about you? I'm teetering I might change my mind on it at a later date but for now it narrowly scrapes by yeah just the same for me too

Make Love by Room 5 or Oliver Cheatnam is that going down or up for anyone? no neither for me Love by Room 5 or Oliver Cheatnam, is that going down or up for anyone? No, nowhere. No. Neither for me. You Said No by Busted, is that down, up? I said

no. No, nowhere for me. No, me neither. There's one Busted song we're going to cover that will get into the vault for me Not on this occasion No, it's not going in the pie hole either Alright, well that means

That that's it for this week's episode Thank you very much for listening When we come back, we'll be covering the period Between the 4th of May to the 5th of July We're just racing through this year Things do slow down. Thankfully. I think we managed to get at least 8 episodes out

of this year, or maybe 7, but yeah, 3 episodes in and we're going to be in the second half of the year. Who would have known? So we will see you next time. Thank you very much for listening. Bye-bye. See ya. My legs do jelly. I, I'm really falling for you. I, and what you're putting me through. What have you done to me now?

I just can't sleep at night. My bed is wet, don't know how. Will someone please turn on the light? Take care.