Hits 21 - 2005 (6): 2Pac & Elton John, James Blunt, McFly

Episode Date: October 15, 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] Now That's What I Call Musings: https://open.spotify.com/show/2BiY89dz9uRlj6nJSI7ucb Vault: https://open.spotify.com/playlist/5O5MHJUIQIUuf0Jv0Peb3C?si=e4057fb450f648b0 Piehole: https://open.spotify.com/playlist/2FmWkwasjtq5UkjKqZLcl4 Rain In My Heart: https://www.youtube.com/watch?v=lwv7Utcf-gM

Hi there everyone and welcome back to Hits21 where me, Rob, me, Andy, and me, Lizzie, all 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 on Twitter. You can find us at Hits21UK. That is at Hits21UK. And you can email us 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 2005, making our way through the 2000s right now, and this week we are going to be covering the period between the 26th of June and the 27th of August in 2005. Before we get ahead with this week's episode we're just going to take a look back at last week and have a little check who won the poll and it was Oasis with Lila taking it from Crazy Frog would you believe? Crazy Frog was more popular than Akon I really did think Crazy Frog might do it it was close

yes a lot closer than I thought too but there we go well done to Oasis okay onto this week's episode and as always we are going to give you some news headlines from around the time that the songs we're covering this week were at number one in the UK

on July 7th a series around the time that the songs we're covering this week were at number one in the UK. On July 7th, a series of terrorist attacks strike London's transport system. Later referred to as 7-7, four bombings killed 52 people and injured over 700 others. The day before, London had been chosen to host the 2012 Olympic Games. And in Liverpool, 18-year-old Anthony Walker is killed in a racially motivated attack by Michael Barton, the brother of footballer Joey Barton. In London, Sir Bob Geldof hosts Live 8. The benefit concert, which also took place in 10 other cities worldwide, coincided with the G8 summit in Edinburgh. A peak of 9.6 million people watched performances from acts including Madonna, U2, Keane, Pink Floyd and a Spare of the Moment performance from Geldof's band, the Boomtown Rats, where

he once again gave us a lesson in how to die! And in Birmingham, a tornado hits the neighbourhood of Sparkbrook, injuring 19 people. Meanwhile, London police shoot and kill John Charles de Menezes after chasing him through Stockwell tube station. De Menezes was wrongly believed to have taken part in a failed bomb plot in London the previous day. Wow. A summer of news. Really a summer of news. Yeah, a lot happened. The films to hit the top of the

UK box office during this period were as follows. War of the Worlds for two weeks, Madagascar for one week, Fantastic Four for one week, and then Charlie and the Chocolate Factory for four weeks countdown presenter richard whiteley dies age 61 after a short illness he was succeeded by des linem a few

weeks later and then by another des was it des o'connor yeah and then many people since meanwhile cbbc broadcasts the last episode of balamori after three years on the air, gone but not forgotten. Repeat broadcasts continue of Balamori for several years afterwards and it lives on forever in a nation's hearts. Meanwhile, Top of the Pops is moved from BBC One to BBC Two due to declining ratings. Boo. And Anthony Hutton wins the sixth series of Big Brother.

That particular series was perhaps most notable for the infamous wine bottle incident involving 20-year-old housemate Kinga. Andy, how are the album charts looking at this point? Yeah, hold on to your hats for this one. So last week we finished with X&Y by Coldplay, which was taking the nation by storm. That is still at number one,

went nine times platinum at the start of this period, but it is quickly toppled by the highest selling album of the year and the second highest selling album of the entire decade, which is Back to Bedlam by James Blunt, which went 11 times platinum and was at number one for eight uninterrupted weeks. Oh, God.

Absolutely huge run at the top. By far the highest selling album of the year and, as I say, the second of the decade. Eight weeks at number one is quite incredible. It is the only album of the entire decade of the noughties to manage eight consecutive weeks at number one.

The last album to do that before this. Anyone want to take any guesses? When was the last album that went for that long at number one? Ooh, Shania Twain's one, Come On Over. Earlier than that. Ooh, wow. What year was that? Like, 98? Yeah,

a bit earlier than that. Be Here Now, Oasis. No, earlier than that. I'll put you out of your misery. Both hit the post a bit, but it was actually Spice by Spice Girls, which went number one for eight weeks over the Christmas of 1996,

those lovely halcyon days. But yes, it's the only one of the noughties to make it for that long at number one, and there won't be another one until early 2011. You might be able to guess what that one's going to be that it for that long at number one and there won't be another one until early 2011. You might be able to guess what that one's going to be that goes for that long. But yes, that is by far the biggest hit that we've covered so far and just sneaking in for one week at the end

of this going single platinum is Wonderland by McFly. Oh. All coming together quite nicely there actually. The album charts and the singles that we've got this week. Yeah. Lizzie, how are things in the States? Well, as I mentioned in the last episode,

Mariah Carey dominated the summer of 2005 with We Belong Together, but we had a one-week interruption in early July by that year's American Idol winner, Carrie Underwood, and her debut single Inside Your Heaven. It predictably failed to chart in the UK however and she wouldn't have a UK top 100 single until October 2014. As ever we move on to albums and it's a much busier affair. First up we've got Somewhere Down in Texas by George Strait, which got to number one for one week in America, but also predictably failed to chart in the UK.

After that, Robert Sylvester Kelly spent two weeks at number one, followed by two weeks at the top for, now that's what I call music, 19. There are no songs on it that we've covered, but it does have One Thing by Amory and Feel Good Inc. by Gorillaz on it. It also predictably failed to chart in the UK because we already had our own Now 19 and it was released in March 1991. Next up is One Week at Number One for Fireflies by Faith Hill. It was her third number one album in the US,

but it surprisingly failed to chart in the main UK albums chart after her previous three had all hit the top 30. It did at least get to number four on our Country Albums chart, however. And finally this week, we have one week at number one for Chapter 5 by Stained. It went platinum in the US, but failed to chart in the main UK Albums chart, despite reaching number seven on our rock and metal albums chart. Thank you very much, both of you. And we are going to press ahead with the songs this week.

And the first one up that we have for you is this. Hit em with a little ghetto gospel Those who wish to follow me My ghetto gospel I welcome with my hands And the red sun sings to last Into the hills of gold And peace to this young warrior Without the hills of gold And peace to this young warrior Without the sound of guns

If I could recollect before my hood days I'd sit and reminisce Think of the bliss of the good days I'd stop and stare at the younger My heart goes to them They tested with stress that they under And nowadays things change Everyone's ashamed of the youth

Cause the truth look strange And for me it's. get teary, the world looks dreary, when you have your eyes seeing clearly, there's no need for you to fear me, if you take your time to hear me, baby you can learn to cheer me, it ain't about black or white, cause we're human, I always see the light before it's ruined, my ghetto gospel, those who Ghetto gospel I welcome with my hands And the red sun sings blast into the hills of gold And peace to this young warrior Without the sound of guns Okay, this is Ghetto Gospel by Tupac featuring Elton John. Released as the lead single from his 10th studio album titled Loyal to the Game, which was also his 6th posthumous studio album,

Ghetto Gospel is Tupac's 17th single overall to be released in the UK and his first to reach number one. But this is the last time that we'll be discussing Tupac Shakur on this podcast. Not the last time that we'll be discussing Tupac Shakur on this podcast. Not the last time that we'll be discussing Elton, though. Ghetto Gospel went straight in at number one as a brand new entry, knocking Crazy Frog off the top of the charts. That still kind of makes me laugh inside. It stayed at number one for three weeks.

In its first week atop the charts, it sold 56,000 copies, beating competition from Slowdown by Bobby Valentino, which got to number four. Rock your body, mic check, one, two, by MVP, which got to number five. In week two, it sold 55,000 copies, beating competition from Crazy Chick by Charlotte Church. Probably not jumping on the Crazy ex bandwagon of summer 2005. And in week 3 it sold 40,000 copies beating competition from We Belong Together by Mariah Carey which got to number 2 and Since You've Been Gone by Kelly Clarkson which got to number 5. When it was knocked off the top of the charts ghetto gospel dropped one place to

number two by the time it was done on the charts it had been inside the top 100 for 39 weeks the song is currently officially certified platinum in the uk as of 2023 so big deal uh lizzie you can open the show with uh tupac and Elton John It's quite interesting this I know it's not our first posture as number one but it might be our first posture as number one that has been constructed after the artist has died

Yes Tupac just provided his voice and everything else around it was constructed by Eminem as we know yeah i mean i don't i i almost don't think it'll be the last i think especially i can't think of any other examples but with ai and whatnot i feel like this is something we might see more of in the coming years but we'll see about that anyway back to 2005 um I think yeah I think this is mostly good um I think

I maybe have some some reservations about it just because of um the whole nature of it is like it's Tupac's vocals put over this new track that Eminem has created and I think there is a sense of would Tupac have agreed to this like it is would this have been something that he'd wanted to put out given that I think the track had existed in some form since about 1992 ish and again it's just been merged with this new beat which sounds very typical of like Eminem at the time it sounds like something that could have easily been on encore but yeah I think there's there is just that sense of well as much as I'm sure the estate would have had to okay it it does feel like you're maybe taking a voice from someone who can't necessarily speak for themselves and you're

presenting it in a way that is sort of imparting a message and yeah it's like given that this was about five years before he died and about 15 before this single comes out it's like would this you know would the lyrics to this have stuck and is that something that he would have wanted to have in the public domain it's the same thing with like bootlegs and demos being released by artists a lot of them are very good and are cherished by the fans who listen to them but there is that sense of these are probably demos for a reason in that they're not finished it's like going through somebody's diary or their scrapbook and just picking out random fragments and in a sense you're taking away part of an artist's like private repertoire something that they they kind of keep to themselves and they they

might even treasure that and yeah i don't know i i feel like i'm sort of rambling here but there is a sense of maybe unease about the the way this track is constructed as much as i think it sounds really good i think the the instrumental is solid I think there are parts where the vocals don't quite line up with the beat, where it feels like it's a bit out of step. And it's the sort of thing that a living artist would be able to correct as they record in the studio, because they've got the track in their ear and they can sync it to that beat. Whereas all Eminem would be working with is this

instrumental the vocal sample and I don't know a laptop or a you know a mixing desk and that's fine but it doesn't it doesn't always sync up as perfectly as just having the artists do it themselves um but but yeah like I never quite got into Tupac as a kid even though I had a big hip-hop phase mainly just because I didn't have like a place where I could start with he felt kind of before my time and in the same way as like being a wrestling fan I didn't really know who Owen Hart was I knew him simply as that wrestler who died to me Tupac was that that rapper who died same with um Notorious B.I.G who I didn't check out until much later so I think this would have been something that I would have heard at the time and quite liked but I never really dug deeper than

this because it did just sound a little bit like an Eminem offcut with some dug up lyrics and vocals put over it which I didn't think was a bad thing but it didn't make me want to look deeper it's good in terms of how it sounds but I think if you dig a bit deeper then i'm maybe less positive about it but still mild thumbs up overall much like lizzie i'm more interested in the story behind this and the context behind this than the actual song itself like it's nice as a song it's nice enough it's uh you know it's pretty decent i've got no particular problem with it. I like the pairing of Tupac and Elton here. I generally quite

like it when duets are made up of people from very different styles from very different places to create something new in the middle. I'm generally a fan of that and I do think it's pretty seamless. If it wasn't for Elton's obviously much younger vocals and for the fact that Tupac is dead,

you know, you could have fooled me that this had been put together as something new. As it is, it obviously wasn't. Am I right in thinking that the Elton involvement is entirely a 2005 invention, that Tupac had never put that in the demo? Am I right in thinking that? No, yeah, you're right.

Yeah, yeah, yeah. I think Kim and Eminem were good friends. Yes, they were. Right, I see. As a song, it's absolutely fine. I don't think it does anything that kind of desecrates Tupac's memory, but I really don't know enough about him

to really be able to say that with any authority. I think I completely agree with Lizzie's point about being unsure about whether he would have approved of this. And I think that about Tupac in general, it makes me deeply uncomfortable how much they've done with him posthumously. I mean, I can kind of forgive when people like Michael Jackson or whatever have had like one posthumous album of other news material. I can sort of forgive it. But Tupac has had eight posthumous album of other news material, I can sort of forgive it, but Tupac has had eight posthumous studio albums.

Yeah. That's not okay, as far as I'm concerned. There's no way that he really had that much usable material in the bank. A lot of that will either have been produced to hell and back, and he has barely any presence on it, or it's stuff that was supposed to be in the vault and he would

have been mortified to have seen released, I'm sure. It it's just there's no way that anyone has that much backed up at that age um that's usable so i find that all quite in poor taste and that's kind of the feeling i get from this to be honest i mean not from the song but the video um where it's basically like playing out this it's not Tupac himself but playing out this metaphor of the last day of a man's life and then Tupac's mum making a statement at the end, it's all very

poor taste it's quite crass to be honest and I wonder about who made money out of this, other than Eminem and fair enough, he produced it, he works on it but I wonder who profited from all of this and that makes me a bit uncomfortable to be honest. I also just I find it a bit hard to get particularly invested because obviously Tupac's not here to be involved in this and Elton didn't have any actual involvement in this either

it's just a sample so there's like no artist weirdly there's like there's like no artist, weirdly. There's no actual artist for this song. It's mainly just a production thing. And that's very strange. I never know how to approach songs that have that kind of setup. What I will say, though, is that weirdly, this is Elton John's second, almost third, consecutive number one, technically. Which is really odd.

He had Are You ready for love before this which was his most recent single before this and other than a few kind of non-album promo stuff his most recent single before that was sorry seems to be the hardest word and he's having a hell of a run at the moment i mean two of them are i don't know basically cop out but are you ready for love did decently i'd love to see that because i'm a big fan of Elton John and it's nice to be able to talk about him again but yeah this is fine as a song I'm really deeply uncomfortable

with everything behind this it really reminds me of the posthumous thing that grossed me out more than anything else which was on Amy Winehouse's posthumous album Lioness and a lot of it was quite nice. There were some really lovely covers on there that were basically just off-cuts from when

she was alive, but some of it is stuff that really should not have been released, and I think it's the very last song on the album, A Song For You, her cover of that, and it made me so upset listening to it that I've never listened to it again, because she sounds so unwell, like so audibly not okay. Like she can barely enunciate a word in that song. And when I was listening to it, I just thought, oh my God, this is horrible.

I was never supposed to hear this. This is really, really horrible. And since then, I've really just not been okay with posthumous music at all. I find it all really uncomfortable and kind of like profiting off someone's death quite frankly so yeah i'm not really comfortable with the existence of this song but as a song in itself robbed of all that context it's fine it's fine so i've got

mixed feelings to be honest yeah i kind of i'm sort of sat where you two are in the sense that i'm generally cool with ghetto gospel like the whole thing is is basically it's an m&m mashup and it's a pretty stand-up you know mashup you know there aren't many minds out there i don't think that could take a tupac demo from 1992 splice it together with elton john's indian sunset put his own twist on the beat which i think is the best part of the song uh the instrumental and then bring out a 2005 number one single from it all um you know i think from moment to moment this progresses really nicely without ever stretching itself that thin in terms of ideas um i also think as well like looking back when you're 11 years old and this comes out this is this sounds like super dramatic and like sophisticated.

This is like the height of sophistication when you're 11 years old, especially that final section where the strings come in and take control. Like it sounds like mature music when you're 11 years old. I think that moment where the strings really rise up at the end

and you get the... I think that's the best moment of the song. Should have happened sooner. Maybe it should have happened under Pac's voice sometimes. And above all else as well, I think it's always good to hear from Pac when his demo material is treated with a decent degree of respect like this because m clearly put

a lot of work into the task and it's miles better than anything that came out of encore um well apart from like toy soldiers but um but the rest of the album loyal to the game it's not really that consistent and after a while it just kind of turns into a revolving door of rappers that fancy laying down 16 bars for a fee and slapping their name on a Tupac album but this is all right I think this is probably the best cut from it but that word treated the treatment that kind of gets into my issues with it because as much as I think that this is respectful of Pac and it's definitely seen some hard serious work contributed

to it by M the whole thing just rings a bit hollow, like by this point like you were saying Andy, Pac has had more posthumous albums than actual albums and you get the sense that they're really wringing the towel dry behind the scenes, behind the scenes like

you know the the question of how much a dead person can be exploited i think is one for the philosophers but i think this is starting to take the piss a little bit now because like how much demo material can they really find how much of it is actually any good and how much money can they really make from it because each of these demo albums from are you still down all the way through to 2010 like they just get worse and worse and worse until they finally give up um yeah i mean yeah with it being that many albums and them having stopped quite a few years ago now it gives me the feeling that it was literally everything yeah like everything they could find yeah i don't think i've ever encountered any kind of artist who wants to release even half of what they actually

write and do demos of so there's at least a good three four albums worth in there that i'm sure he would have been mortified by if not more than that things are unreleased for a reason aren't they so yeah yeah exactly i do think that the archives were empty by the time of 2010 when they finally stopped. But just kind of continuing further into my point, on all of the albums that Pat released while he was alive, he's looking right

at the camera on the front, on the album cover, it's him staring straight into the camera. And on every album after his death, he's looking away from the camera. Are You Still down is kind of up for debate i think he's looking above the camera and beyond it as opposed to straight at it but his face is so close that it's kind of hard to tell but i think this song like i i think about the way pac's image was handled in death, and the way that ghetto gospel contributes to it, because the image of him that gets painted isn't really a complete representation

of him, and obviously that's sort of to be expected, because when a person dies, you know, you don't have people at their funerals coming along and saying, actually, you could be a proper dickhead sometimes, like, you know, I think there is this idea, it's like, just don't have people at their funerals coming along and saying actually you could be a proper dickhead sometimes like you know i think there is this idea it's like just don't speak ill of the dead you know don't represent their full character let's just pick the best bits and so i'm not saying that ghetto gospel is like unique in this sense or that it's committed any particular moral crime um because also one song is just a one piece of a bigger puzzle, you know, but the package that Ghetto Gospel comes as part of feels like a whitewash a little bit, because this is, you know, it's wistful and plaintive, but it's also, like, painting him as a bit, like, Tupac is a bit of a

scholar and a bit of a godly man, like, how in death he's apparently, like, a conduit for God's word and is someone whose word we should follow, it's like he's been turned into, like how in death he's apparently like a conduit for God's word and is someone whose word we should follow, it's like he's been turned into, like in death he has been turned into such like a prophet almost, this real messiah figure where you get these lyrics like it ain't about black or white because we're human or I make mistakes but I learn from everyone or when I write I go blind and let the Lord do his thing like this kind of softening of his sharper edges you know because it feels like his his life as it as it was when he was killed is not you know it's not accurately represented by anything that really came afterwards like you know this was a man who went to prison, who was married and loved people,

who shot people and was himself shot before he was killed. He was briefly friends with Jim Carrey. He was a man who was born in New York but bled Los Angeles. He was a man with rape charges hanging over his head. He was a man with Black Panther roots. He was a man who lived several lives worth in just 25 years. And Ghetto Gospel is like the big last hurrah of the demos they found and like i understand that this is all you know hindsight and maybe if something like uh the opening track from loyal to the game soldier

like me if that got to number one as well then the picture wouldn't feel so incomplete um but but even on top of that i do think some of the production choices on park's voice here then the picture wouldn't feel so incomplete. But even on top of that, I do think some of the production choices on Park's voice here are a little bit odd because his voice is slowed down considerably from the demo. Yeah. And at points it feels like he's really raspy

and sort of hoarse, and it's not the best effect. I think the basic idea of this was done better on Changes, which was another demo given prominence by someone else after Park was dead. And it's weird to say all this and still like Ghetto Gospel, though, because I do. You know, I think the choice of sample is unusual, but it's effective. And Park was a great MC at his best and he's mostly engaging here and I'm interested in what he has to say. My only problems with this apart from the odd production choices on Park's voice

and maybe thinking that the instrumental is a little bit underdeveloped until the very end, I think it does come from this ethical question about like mining the archives for more material after the person has gone, because truthfully, I've never quite settled on how I feel about dead people's material being used, and whether a dead person can be exploited, you know, because I think also this kind of taps into whether people believe in an afterlife, or know whether they don't because i think a lot of people who and i myself am uncomfortable with this but you know people who have a problem with um posthumous material being released that wasn't already planned to be released because

technically the marcavelli album the don culminati album that was technically a posthumous release but it was already all finished and set to be released he just died a couple of weeks before it came out and i think you know it kind of taps into you know because i think you know we kind of think of tupac in this sense as like looking on from the afterlife wondering whether he's comfortable with his material that he didn't want to be released being used in in public but then there's also people who would say that like well there's no brain activity pac has no concept like it's a it is something that is incomprehensible pac has no idea what's happening so he's not being hurt by this so can we not carry on just you know getting some material maybe we have better

instincts than he did with his own material and you know there's all these kinds of discussions so i don't really want to come down on either side of it um but yeah it's i do think that the fact that it exists creates problems for itself um i think if this has been released on its own in 92 or however because it was originally meant to be put on a compilation album um the original version of ghetto gospel which was a bit faster and set to a different beat that was set to be on a compilation record i think but they couldn't i think it was supposed to be on some kind of christmas album that he did um and it didn't they couldn't clear the sample. And so it all got left.

And so maybe he wanted it to be released at one stage and just kind of ran out of time. But yeah, you know, I'm like you, Lizzie, a bit mild thumbs up about it. I appreciate it. I have good memories of listening to this on my mate's Nokia phone while playing football in the street after school. on my mate's Nokia phone while playing football in the street after school. And especially, I associate this quite heavily with 7-7 and watching the news coverage through the window of my house while playing out in the street. But yeah, so I'm cool with it.

I'm just kind of ambivalent about it. I feel like I wish I liked it more. But eh, what are you going to do? I'm glad you're reminding me about changes. I need to go back and listen to that one. I remember that one being quite good. I used to like that mainly because of the sample, though. I'm a huge, huge fan of the way it is.

That Changes was, I knew that when I was like five, six old, but well, however old I was when it came out, and that was my introduction to the way it is, which I absolutely love. It's a bit of a common theme with samples introducing me to songs I prefer the originals of, like Toy Soldiers. Yeah.

That's what hip hop is great for. That really is what it's great for. And also like all of Daft Punk's catalogue. Oh, I usually prefer Daft Punk's versions with that. Time to release the beast. But yeah. Anyway, we will get on with our second song this week and it is this My life is brilliant

My life is brilliant My love is pure I saw an angel Of that I'm sure She smiled at me on the subway She was with another man But I won't lose her Sleep on that

Cause I've got a plan you're beautiful you're beautiful you're beautiful it's true i saw your face in a crowded place And I don't know what to do Cuz I'll never be My life is brilliant Oh, was I not supposed to come in yet? Yeah, this is You're Beautiful by James Blunt Released as the second single from his debut studio album

Titled Back to Bedlam, we heard about it before You're Beautiful is James Blunt's second single overall to be released in the UK and his first to reach number one. However, it is his last and this is the last time that we'll be discussing James on this podcast. Your Beautiful first entered the UK chart at number 12,

reaching number one in its seventh week on the chart, knocking Tupac and Elton John off the top spot. It stayed at number one for five weeks. Across its five weeks at number one it sold 219,000 copies. The highest new entries during this period were as follows just in each week. So we have Electricity by Elton John which got to number four. Army of Lovers by Lee Ryan, which got to number three. Bad Day by Daniel Pauter, which got to number two. Oh by Sierra and Ludacris, which got to number four. And All The Way by Craig David, which got to number three.

When it was knocked off the top of the charts, Your Beautiful dropped one place to number two. The song initially left the charts in March 2006 before re-entering in 2012 and 2013. To date, it has achieved a total of 43 weeks inside the top 100. The song is currently officially certified Two times platinum So double platinum In the UK as of 2023 Andy, James Blunt Go ahead

I mean, first of all Oh, that kills about Bad Day Because this and Bad Day sit in Very much the same place Yeah Probably had all the same people buying them But Bad Day, for me, personally Bad Day is so much better I really like that song

The Battle of Coffee Pop It is the Battle of Coffee Pop for the ultimate As for this I mean there's a lot of stuff isn't there there's a lot of factors into how this took off first of all there's the weird ass video where he's sitting in the snow getting naked and then

there's the odd voice shall we say of Jamesames blunt where he kind of perpetually sounds like someone's pinching him on the bum um he's just he's got this tone about him that's just a little bit kind of frayed like a little bit nervous all the time like and i think people talk to that tone you know when you're listening to james blunt don't you um and also it's just so universal this song it's it's just like well okay let's make a song about someone who's really beautiful and we're gonna call it you're beautiful okay great um and you know that's kind of the key to the song's success, really, is that it gets to really simple, really universal feelings,

but from a singer who's a little bit off the beaten track, who's a little bit different. And I can see why people went crazy for him. They'd be like, oh, he's interesting. Let's have more of this. Let's buy Back to Bedlam. And then let's not get Wise Men to number one. Damn it.

Yeah, I can definitely see why it took off. I have no inkling as to why it got quite as big as it did, because it's really not that good. But I do think it gets unfair criticism. I think it's mainly just because of how ubiquitous it is, how absolutely all-encompassing this song was at the time that people got sick of it. I don't think it would have anywhere near

the annoying reputation that it does if it had got number one for one or two weeks and then disappeared. If it had been something like Bad Day in terms of that kind of exposure, I don't think it would have been anywhere near as much as reviled as it is these days. And that probably kind of goes without saying to be honest but it's it's it's funny really that he is so so commercially successful but very few people would ever admit to owning that album and to having bought this single it's like a sort of quiet tories effect for music that like you know spot the person who will admit to getting this to number

one for eight weeks it's not like amarillo where people were trying to join the hype train this was a thing that was sort of shameful even at the time really it was not cool from my memory this song was never ever cool um and even less so because of the ubiquity but particularly um a source of much derision at the time i don't know if you to remember this but when james blunt appeared on sesame street i think it was a couple of years later actually james blunt appeared on sesame street singing a version of this song about triangles because my triangle my triangle and then it goes like it has three corners and three equal sides and um it's so so funny whenever i hear this i just think my triangle so yes um it's hard not to take. Whenever I hear this, I just think, my triangle. So, yes, it's hard not to take the piss out of this because it's James Blunt.

It's your beautiful. Come on, I can't not take the piss out of it a little bit. But it is quite nice, actually. Like, it's just a nice, gentle ballad. That false start thing is just silly. I don't know why that's in there at all. Maybe to give him a bit of authenticity, I don't know. But other than that,

it's just a nice, straight-down-the-line ballad which no one can really disagree with on a basic level, and that universality has just propelled it forever. I do think James Blunt's got much better songs. I've already mentioned Wise Men, and I did used to be quite fond of that, actually. 1973 is

fairly decent as well. Goodbye My Lover is unbelievably sickly sweet but that song and a couple of other James Blunt songs actually are forever immortalised by Gavin and Stacey because Bryn is such a huge fan of all those songs and sings them loudly in the car when he's upset. So yeah, the forever immortalise through that. It's my only chance to talk about James Blunt and I've said everything I've got to say about him

really, except that people are probably a little bit too harsh on the guy. People liked this at the time, they bought the album and the song in their millions. It's okay. It's just okay. Let's not make too much fun of him. Oh Andy, I wish I agreed with you. No, I don't like this at all

I think even if it had just been number one for one week I would still dislike it on quite a visceral level I think it's creepy I think it's self-pitying I think it sounds shit I think he's a shit singer I was coming into this from a difficult place and I think as the week has gone on, I've liked this song a lot less and I've liked him

a lot less. I think I'll start with a song, I guess. I just, from like a bass level, as soon as you hear his voice, it's like right up there in the nasal cavity. It's like, you know, when you cavity like it's brilliant it's like you know when you ask a child to like open their mouth at a dentist and they're like it's like it's that kind of timbre um there's some really horrible like labored syncopation on this like she smiled me on the subway just run around Yeah, that line doesn't work. I agree with you on that. That line doesn't work at all.

I don't think many of the lines work because it's like, I won't lose no sleep on that because I've got a plan, which he never explains. It's all just like, again, I think it's kind of empty. I think he's tried,

I almost feel like he's tried to retcon this in recent years by saying it's a creepy song about a stalker and I don't know if that's necessarily the case, I think what really happened is he probably did see his ex with another man

on a subway and kind of tossed this off in a couple of minutes afterwards to get out some feelings, I don't think it is like I'll be watching you by the police where the kind of stalker overtones of it are quite obvious if you look at it for more than about a second. But yeah, like just going back to the song as well, there's some really like, you know, we have that thing we often have where we have an individual moment in the song which is like really good and it only goes for like two seconds the delirious moment this

one has like the opposite of that in that it has that at the moment on the explicit version on the album where she could see from my face i was fucking high that's not in the single release really I don't think that's in the main unit I know it's still not a great line but the explicit version is

considerably worse and there are other songs that are guilty of that like Cee Lo Green and Forget You it's one of those where just take that out. It doesn't work. But yeah, I think my biggest problem with this is his voice. It's like being serenaded by a shrimp. It just rubs me the wrong way.

I don't like it. Wow. I think the song doesn't go anywhere i think the lyrics are like say they're half creepy half pointless and the whole vibe is just kind of funereal and a bit weird and it makes me uncomfortable like in a way that it probably shouldn't but I know for a fact that like people have these songs at weddings and they have this song at funerals even like I saw a recent example of this in a documentary called Rain In My Heart from the year after this during the making of this is by filmmaker Paul Watson Two People D. It's a documentary about alcoholism.

And this song features quite prominently because one of the participants, Nigel, he's been dry for something like 10 years, but his liver disease kind of catches up with him. And you sort of get to witness the last moments of his life with his wife Kath and like she's doing her best to like keep it together for her and her kids because she knows like once he dies she's screwed like he was the main earner in the household and and all that he was the

the person kind of holding together the family but you can see the scars that have been left on this family by his his illness and yeah all i can think when i hear this song as much as i'd like to to not have this image in my head is that that poor woman kath and just like her at a funeral breaking down and her son right next to her just kind of staring into space like it hasn't quite sort of hit him yet what's actually happened and yeah I listened to this song and as much as I don't like it it does make me think I hope that family's okay I hope they found peace after what happened um but yeah just i just kind of wanted to raise that i think it's a really good documentary it's not an easy watch i'd say make sure you're in a

good frame of mind before you watch it but it is all on youtube it's uh rain in my heart from 2006 i definitely recommend it but wouldn't recommend this song particularly. I'm sorry. I will leave a link to Reign in My Heart in the description. So if anybody wants to watch that, then they can just follow. They can go on the notes bit in the podcast. If I can just pick you up on a couple of things there, Lizzie. I mean, as much as I enjoyed your list of things you don't like at the start,

and most of them are fair, I will pick you up on he's a bad singer. I think that's a bit of a low blow. He's not technically incompetent as a singer, I don't think. I don't like his tone, I agree with you on that, but he can sing perfectly

fine. I think let's not go nuts. You know, he's not that bad I don't know because I was trying to think of other examples like Wise Men in 1973 and as much as I'm sure they're better I still feel like he has this kind of

weedy falsetto that breaks out and a sort of nasality and overall it just sounds a bit weak like maybe a bad singer is too harsh but

a singer with a particular like timbre that I just can't get on with at all I mean I do think he's better when he's not in the higher register I do think he's less grating when he's not way up there in the clouds with his notes. But yeah. And as for him as a person, I mean, I kind of agree with you.

He's not particularly easy to like. The thing that really strikes me about him, though, is that he comes across as the exact type of person who would really hate the music of James Blunt. Yes. I can't process that in my head. It's really strange. I just can't put James Blunt the singer and James Blunt the cynical, kind of misanthropic Twitter edgelord.

I can't put those two things together at all. It's weird. But I don't think he is a cynical misanthrope. I think he's just someone whose one bit is self-deprecation and he has milked that that cow like dry and it's all in the background of like please buy my book please come see my tour but i'm gonna play that awful song that you hate like right okay you do you i guess but don't leave me out of it yeah i often wonder about the people who like this song when all he does

is slag it off Yeah what about them? Anyway with this like I understand the criticisms about how this can come across as manipulative and insincere you know I've seen a few people compare

this to bands like Air Supply or like other Ernest Manpain singer-songwriter acts that we've covered before him. I feel like there's an air of Daniel Bedingfield slower stuff about this too. Oh, yes. Oh, yeah. And to a significant degree, I sympathise with those points of view because this is not my thing, really.

I think it takes itself so seriously and it does leave itself open for parody because of how you know earnest it comes across like that music video is just ripe for being taken the piss out of as weird al yankovic complied with um you're pitiful uh the year after this or a couple of years after this the mistake at the beginning is actually a mistake that they decided to leave in apparently he came in too early, there was a hand that went up

in the producer through the glass in the recording studio and then he started again but they just left the initial take the mistake in, I'm not really sure why um it was cut out of the radio edit in quite a lot of places um so yeah um like yeah with the music video though back to that for a second like the rain slash hail slash sleet stuff and him literally baring his skin and soul and i think lizzie you were saying that you know he doesn't elaborate on

what the plan is i think the music video explains it and then years later james blunt confirmed this the plan is just to commit suicide which is yeah also adds to this creepy vibe where it's like if i'm not with you i'll literally kill myself like i you know but the thing is with this, I'm not entirely unconvinced that this wasn't on some level, one last attempt to tug on his ex's heartstrings and talk to her again in some way, because I did that. But when I was 17, you know, James Blunt is 31. But when I was 17, you know, James Blunt is 31. You know, I was 17. I was out of my first relationship, joined a band,

wrote some songs about how I was heartbroken, hoped that she'd hear them, but she never did. And you just grow up because you realize that life isn't a film. And so like, but with, you know, looking at stuff like Lonely last week, I think Your Beautiful kind of fits alongside things like that. And also like I Don't Want You Back and Burn and whatnot, you know, the kind of hopeless romantic breakup song. But there are things about this that I like and I didn't expect to like because, God, five weeks at number one, it felt like it was inescapable.

It was the first time in my life I think I'd ever understood what the word overplayed means. You know, because, God, it really did never go away. But I think what I do find, not charming necessarily, but what I do like about this is that it is ultimately a song about the battle between fate and coincidence you know were they destined to be together and fall apart were they destined to bump into each other on the subway as opposed to the tube you know is there an angel with a smile on her face after all you know etc or is it all just something that happened by accident and is it better for James to just wander away and get on with his life and i think that's the where the story sort of ends up um and the story

i guess is kind of it's not compelling but you know i wouldn't mind turning the page just to see where it finished if this was a you know like a short story um because it's it's the way that it's told though that i think is the biggest issue with me i agree with both of you that i'm not the biggest fan of his voice i think that it's definitely distinctive but i think this kind of like almost adorably posh affectation is it's it all i think it's all summed up in that moment where he says saw your face like i just it's all summed up in that moment where he says, Saw your face. I just, it's all, yeah. But it also sounds kind of annoyingly familiar.

Maybe that's because of acts like passenger that we get in the future. You know, the kind of feeble British indie voice that we get. Oh, I hate it. It is basically the male version of Welcome to My Kitchen kitchen we have avocadis and bananis like you know it's that sort of thing the intonations and inflections they feel like they're cribbed also from stuff like simon and garfunkel and sufjan stevens but like nowhere near as absorbing or mysterious um i am kind of a sucker for the opening lead line on the guitar there's the do do do do like it's sparse enough and memorable enough to feel like it's important it really you know as soon as you hear that kind of aching you know the do do do do you're straight

back to 2005 that summer um but i think yeah this suffered from being overplayed quite a lot because in isolation i think it's just ordinary you know it's just a totally meh thing but it became this like behemoth and it turned james blunt into a star basically overnight and he never hit those heights again because i feel like it set him up for something that he couldn't match and then when it when he realized that it you know he couldn't match it and that everybody kind of hated him after a while a bit like crazy frog actually if you think about it you know it just and then he like you were saying lizzie just decided oh this is where the money is if i just lean into like pretending that i'm total shit and i think that all the stuff i've done is

nonsense then that will get me advice columns in the metro nine years from now or you know i'll become a bit of a you know james blunt for pm character on Twitter. I could do this. But Lizzie, funnily enough, you were talking about funerals and this sounding funereal. Obviously, the big funeral number from James Blunt was Goodbye My Lover, which was the most played and requested song at British funerals in 2006. And in 2022, there was a question asked about that song on popmaster and the contestant had no idea what the song was or even who james blunt was and doesn't that just explain how a journey across the public the surface of the public eye can go you know i've never really

liked blunt as a person i find his slightly smug act that lands him in newspapers and Twitter and things like that, this cheeky banter, this sophisticated locker room shtick, I find it all a bit nauseating. I find him much more open as a pop star, much more bearable as a pop star, you know, much more bearable as a pop star, you know, I do think that

I can kind of not forgive the self-deprecating stuff, because it does sort of irritate me, but, like, when people go and see him, apparently, he basically says, I know the ones that you've all turned up for, but I have a new album, so humor me me while i play these and then i'll humor you by playing the stuff at the end which fair enough it's a level of openness and understanding that most pop stars don't attempt to get with their audiences but it's all the other stuff that comes with it there's so much baggage like to that line the the things that make him who he is as a person in the public figure um but yeah he comes across as someone who kind of knows or feels that he doesn't necessarily belong in the life that he's been given um and he can work that out on his own as far as i'm

concerned you know i kind of forgot that he was still on twitter i presume that like you'd go on to his account and his last tweet would be like in 2020 or 2021 talking about like this bloody government and bloody lockdown i tell you and then nothing else like i just i didn't know he was still tweeting and still searching his own name on twitter in order to drag it out and quote tweet it and get loads of people to laugh, apparently, and have lots of people... Hello, James, if you're listening. Yeah, I was just thinking that, like, you know, there's a chance, there is a chance that he may have stumbled across our humble podcast. I think James Blunt is a contender... Hello, James, if you're listening. I think James is a contender for the poshest person

we have yet had to reach a number one. Any other contenders there? Maybe Sophie Ellis-Bexter? No. But he's so damn posh. He really is. So I'm just going to leave that there. I don't think there's anyone else we've had so far

that is quite as upper class at the top of the charts as James Blunt. Maybe Posh Spice, maybe Sophie Ellis-Bexter, maybe the Beddingfields. Those would probably be the nominees. And I actually think as well, he's the only person that we will ever have on the podcast that stood guard at the Queen Mother's body. He protected

her coffin while she was lying in state. Do you reckon he would say her life was brilliant? Oh sorry did he come in too early? I think James Blunt is worth saving because he did give me one of my favourite US office jokes where Michael is just playing the sample

of Goodbye My Lover over and over again. Yeah. And Dwight just says why don't you just buy the whole song and he just says I don't have to buy it I just want to he just says, I don't have to buy it. I just want to taste it. I just want a little taste of it. All right, we will move on to our final song this week, and it is this. We'll be right back. strange it's been so long now you've forgotten how to smile

and overhead the skies are clear but it still seems to rain on you and your only friends all have better things to do when you're down and lost and you need a helping hand when you're down and lost and you need a helping hand When you're down and lost along the way Oh, just tell yourself I'll be okay Okay, this is I'll Be Okay by McFly. Released as the second single from their second studio album titled Wonderland, we heard about it before,

I'll Be Okay is McFly's sixth single overall to be released in the UK and their fourth to reach number one. Good hit rate. And this is not the last time we'll be discussing McFly on this podcast either. I'll Be Okay went straight in at number one as a brand new entry knocking James Blunt off the top of the charts. It stayed at number 1 for one week.

In its first and only week atop the charts it sold 46,000 copies beating competition from Fuck Forever by Baby Shambles which got to number 4, The Trooper by Iron Maiden which got to number 5 and This Town It Big Enough for the Both of Us by Justin Hawkins as British Whale, which got to number 6. When it was knocked off the top of the charts, I'll Be Okay fell 7 places to number 8. By the time it was done on the charts, it had been inside the top 100 for 11 weeks. The song has never received any official certification from the British phonographic industry.

Ooh, not been sustained by the shift downloads just yet. Lizzie, how do we feel about I'll Be Okay? It's okay. Okay, when we did Five Colours in Her Hair, I did

remark that it sounded like the theme tune to a sitcom based around McFly. Where if they had their own Miami 7, that would be the theme tune. You could say maybe that's the theme tune to season 1 and this sounds like the theme tune to season 2. Where they've all grown up a bit, they're all a bit bit better acting but the lives on the road is starting to show they they sound a bit more gruff a bit more fatigued but overall they're doing just okay and it is this kind of big positive anthem for that and yeah that's the kind of vibe I do get from this. It is sort of upbeat CBBC theme tune sort of music. I have enjoyed in the last couple of weeks kind of revisiting the band Jellyfish. Yeah.

Is it Jellyfish? Yeah, Jellyfish, yeah. Yeah, revisiting some of their albums. They only had two of them in the early 90s, but it's cool to see where some of that McFly DNA for especially Motion in the Ocean comes in. And I think you start to see a bit of it here too, where we sort of discuss with All About You how they're kind of maturing into their sound. I think this is another step in that evolution.

I don't think it's perfect, I think it does kind of run out of steam a little bit, and the chorus maybe doesn't have enough to sustain it, but overall I think, yeah, it's a really positive step. The problem is with McFly, as I've already mentioned, is that they have a really high bar coming up, it's their kind of imperial phase, and I wouldn't say this is part of it, I'd say it's definitely good, but there's just something lacking here, which I think it's nice when you listen to it, but it doesn't leave much of an impression. But that's sometimes all you really need from a pop song like this. And yeah, I'm more than happy to see McFly again,

especially after the last song. Nice to have a sort of reminder of what, you know, pop can be, as opposed to just whatever the last thing was. But yeah, this is decent. I like this. I think also we're not long off McFly doing a jellyfish cover. No, of course.

Getting on to this, well, getting to number one and getting on this podcast. Andy, McFly, I'll be okay. Is it okay? Is it more than okay? I think it's more than okay, yeah. I think this is an absolute pleasure. It's definitely nowhere near the leagues of All About You,

but I think that's kind of the issue, really, why this slightly gets glazed over in the history books. I mean, obviously it didn't sell nearly as well as All About You and didn't have the kind of impact, but I do think that when you've got a band like McFly who are consistently churning out successful good pop hits after successful good pop hit, all of them pretty good so far, that

some of them will start to just get less credit than they should do because they come in a long line of hits, especially coming right after All About You, which is basically McFly at their peak really in terms of songwriting. This one coming right after it

is kind of a lesser cousin of All About You really and that can't be avoided what's interesting is that I can absolutely see a version of history where this is the B-side to All About You instead of that cover of You Got A Friend because

it has that same sort of optimistic, hopeful, kid friendly, like you say CBBC that cover of You Got a Friend, because it has that same sort of optimistic, hopeful, kid-friendly, like you say, CBBC, that kind of vibe to it. So I could totally see this being packaged as a very strong double A size, but they didn't. They released it separately and got two separate number ones, two separate hits out of it, and all power to them for that,

for recognising the good material they've got on their hands. I think with this one it's again doing that thing that mcfly often do which is deceptive simplicity really where it sounds like a straightforward nice pop song but actually from a like actual playing perspective and from a theory perspective it's actually surprisingly complex especially well not the verses but the chorus is surprisingly complex where it never stops on a chord for more than a second or two it just keeps changing and changing and changing to the point that you think all sense of tune should be lost in that chorus but it's not it's just well put together there's just a lot of invention there particularly like that they um squeeze in that harmony of that on the I'll be okay line at the end.

They could so easily just say I'll be okay, but they throw in a little vocal run there, which just adds flavour to it. I went through a really strange thing with this song that it had been a good few years since I'd listened to it when I revisited it again for the podcast. And the first time I put it on, I was like, huh, is this the right

version? Because I could have sworn this had a swing rhythm. I could have sworn it. I could have sworn that this goes when you're down, ba-ba, and last, ba-ba, and you, like, and it had that kind of beat to it. Exactly the same as All About You, basically. I could have sworn that that was how it went

and I looked for other versions of it to see if I was mistaken. I'm not. It was just a trick of the head that I really, really thought it was different and I kind of secretly think this would work better with a swing rhythm to be honest. But I realise why that is after talking to Rob and Lizzie about this. It's

because so many other McFly songs have a swing rhythm that I'm mashing them all together in my head. All About You, Obviously, Stargirl, Love Is Easy. There's probably a few more there that I've forgotten. But so many big McFly hits have that kind of rhythm to it. And this is a rare exception, along with Five Colours In Her Hair.

And I guess I didn't realise quite how formulaic they are. So I've got to give it... Well, actually no, I can't mark this song down for that. I should really have marked All About You and other songs down for that but anyway, that's a conversation for another time. As for this, yeah, I really quite like it. It's nowhere near as good as All About You and it doesn't really linger in the memory.

I keep kind of forgetting about this one, to be honest, when I've been looking at songs we've got coming up because it doesn't really stick. It doesn't really have the kind of forgetting about this one, to be honest, when I've been looking at songs we've got coming up, because it doesn't really stick. It doesn't really have the kind of impact or the sense of satisfaction that All About You brings or that later McFly songs will bring. But it's really nice. It's just a nice lesson. It's a really pleasant way to pass a couple of minutes

listening to this song. So, yeah, I probably... This is definitely one of those ones that I think I'll probably listen to a bit more and like more every time i listen to it to be honest um yeah i just it's a real revelation to me how much of a mcfly fan i've become like i've always really really liked them and i've always you know wanted to listen to more of them i've always really appreciated what they did um but these days like whenever we cover a song by them I'm like, oh my god, I love it, they're so good I'm becoming a proper McFly superfan

at the age of 31 rather than the age of 12 but there we go, can't have it all Well, around this time I am, speaking of being a big fan of McFly around this time I'm just about to start high school and there was a girl in my year whose name will remain unsaid but she changed well she didn't legally but on many of her you know workbooks and school documents and things like that tried to change her name to jones because she was that in love with danny jones oh bless her

her surname i think my sister did the same you you know. I think she used to do that. Very little to say about I'll Be Okay, except that McFly just know how to execute a very good pop song. This provides enough good, catchy material up front to keep you going in the first 90 seconds and then withholds its best decisions until later. Like when they add that little post-chorus, the try a little harder, like when they add that little post-chorus, the

try a little harder, try your best, that bit, wonderful, you know, lovely open-hearted Power Pop song, I feel like McFly have really settled on a sound now that's more like, you know, the janglier end of Power Pop, you You know how like their first album is them trying to figure things out. You know, they try Mersey beat, they try American alternative rock, they try surf rock, they try all sorts of things. Whereas this feels like they settle on late 80s, early 90s, jangly Power Pop stuff. And it sounds great. They sound really comfortable. I think this is a little non-essential for me in terms of McFly's overall discography, just because I think it's surrounded by some of their very best material. But this is never going to be a song that I'm going to turn off.

I think this is something that older generations or previous eras would have described as a great little toe-tapper. So, yeah yeah easily my favorite song this week um but i feel like it sort of speaks for itself and a lot of its pleasures are already on the surface i feel like it doesn't really demand interrogation which is part of why i find it less interesting than the number ones i think that they have either side of this because obviously we've got all about you but then obviously we've got a couple of great ones coming up for mcfly um after this point too um so yeah very very nice note to end the episode on so

do we have anything more to say about i'll be okay or mcfly i think um it's an interesting point there rob about them having found their sound I do agree with you on that because looking back to some of their earlier songs not really any of the songs we've covered but I'm thinking the song Room on the Third Floor not the album in particular

and That Girl as well off the album and Surfer Babe those are songs that absolutely could have been busted songs they basically were Busted songs, just sung by different people. And now you look at All About You, I'll Be Okay,

Stargirl coming up in the future. They could not be Busted songs. They have a different sound entirely. It's just nice. It's nice to see how that gradual change has happened, how they've gradually moved into a place that's theirs and nobody sees them as the successor to Busted anymore.

They're big in their own right, probably bigger than Busted everywhere and for me, better than Busted everywhere. And it's just nice to see them find their feet in that way because they're still so young here, like so young, they're just turning 20. And it's fantastic to see them developing in this way because it's now

years later and i'm much older than the mcfly boys were here i feel like a proud parent even though i am much younger than them so yeah figure that one out so uh lizzie the three songs this week are any of them going into the vault or the pie hole for you nothing is going into the vault or the pie hole for you? Nothing is going into the vault. I'm afraid I am putting Your Beautiful in the pie hole. Well, it's like the end of the music video, isn't it, where he jumps off that platform into the sea?

Into a giant pie. He dies straight into the pie hole. Yeah. Yeah, fair enough. Andy, how about you? Are any songs going anywhere for you? No, I don't think Your Beautiful is anywhere near that bad.

And I did think about putting I'll Be Okay in the vault, but no, no, that would be overly generous. So no, nothing's going anywhere for me this week. Yeah, in terms of my nominations for the Pie Hall or the vault, everything is blank. I'm not sending any song anywhere this week. So that means that's it for this week's episode. Thank you so much for listening.

When we come back, we will be continuing our journey through 2005. And we're getting towards a very good period of 2005, if you ask me. So we'll see you then. Thank you very much. See you then. Bye-bye. See ya. Bye.

This shape was brilliant. This shape was pure i saw three angles of that i'm sure and i saw three pointy corners and then i saw three straight sides the top was very narrow and the base was oh so wide Wait, that sounds like... A triangle, my triangle Oh, triangle, it's true I saw your shape in a crowded place Now I don't know what to do

Cause you're gone and I'm so blue