Hits 21 - 2006 (1): Arctic Monkeys, The Notorious B.I.G. & P Diddy, Meck & Leo Sayer

Episode Date: November 26, 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] Vault: https://open.spotify.com/playlist/5O5MHJUIQIUuf0Jv0Peb3C?si=e4057fb450f648b0 Piehole: https://open.spotify.com/playlist/2FmWkwasjtq5UkjKqZLcl4 Now That's What I Call Musings: https://open.spotify.com/show/2BiY89dz9uRlj6nJSI7ucb In Five: https://open.spotify.com/show/0IOBwf2KiHAVEtmbH9DiTw The Longest Night: https://open.spotify.com/show/5NuUhJFtC7xqCq9iJGNhqE Budgens & Dragons: https://open.spotify.com/show/3GHRMJ5PmPVux55QVzXg05 When the Sun Goes Down Nasty Girl Thunder In My Heart Again

🎵 Hi there everyone and welcome back to Hits 21, where me, Rob, me, Andy and me, Livy, all look back at every single UK number one of the 21st century from January 2000 right through to the present day and rest assured right now we are all indeed buzzing and chilling 2K6. If you want to get in touch with us you can find

us over on Twitter. We are at Hits21UK that is at Hits21UK that is at Hits21UK and you can email us too. Send it on over to Hits21Podcast at gmail.com if you are so inclined. Thank you so much for joining us again.

As you've probably guessed, this is the first episode where we'll be looking back at the year 2006. We're in the second half of the noughties now. this week we'll be covering the period between the 1st of January and the 25th of February and as it's the first episode of a new year there's a few points of order that I think we should we should address and I think we just want to let everybody know other podcasts that were're involved with, the three of us.

So Andy, you have Now That's What I Call Musings, which we gave a little bit of a launch a few weeks ago and you're helped out on that podcast by Jay. Jay also helps me and Lizzie out sometimes with The Longest Night podcast, which if you're a fan of Game of Thrones and House of the dragon then go ahead and listen to that uh lizzie you're also a guest on budgins and dragons every now and

again um yeah of course in five a podcast run by friend of our podcast edward thomas we've all been a guest on there at one point or another and i would also like to make a little announcement if only to force myself to do it because if i if i'm not held to this by anybody it may never happen it's been an idea floating around in my head for about a year and i've been trying to work out the format for it and then sit down and do it and classic procrastinator that i am i've not got around to it yet so if i get everybody listening to Hits 21 to hold me to this then it might actually come to be

so at the end of our 2006 coverage which will be in a few weeks time a couple of months time I'm going to be borrowing the Hits 21 feed for a little spin off show which I'm going to call Moments of Truth haven't quite got the format completely

ironed out yet but it's going to be me talking about a bunch of hip-hop tracks that I love a lot but not in a sort of like I am a voice of authority on hip-hop kind of way just in a sort of you know I have not had the upbringing that you would associate with someone who loves hip-hop as much as I do and so if you're not that into hip-hop or if you're not very familiar with it or if it's something that you find to be a little daunting or unwelcoming just stop on by and you might feel differently about the genre and find a way in uh if if all goes well um there was no poll of course at the end of our christmas episode because there was only one song to choose from.

Well, we can't have Shane win twice, especially not by default. So there's nothing left to do before we start the episode. So on to this week. And as always, it's time for some news headlines, this time from around the January and February period of 2006. February period of 2006. Charles Kennedy, the leader of the Liberal Democrats, resigns from his position after being forced to admit that he had been struggling with substance abuses. Kennedy was made aware that ITV news were about to break the story and he subsequently called a pre-emptive press conference and announced the news instead. Sven-Goran Eriksson announces that he will resign from his position as England manager after the next World Cup. Meanwhile in London, a whale is spotted swimming in the River Thames,

nicknamed Willie. Many attempts were made to save the bottlenose whale but she sadly died a day after being spotted. And in Kent, a Securitas deposit containing over 200 million pounds is broken into. The thieves made off with 53 million pounds as they have no means of transporting the full amount. To date it is the largest cash robbery in British history, not all of the money has been recovered and some of the suspects are still at large. The films to hit the top of the UK box office during this period were as follows. The Chronicles of Narnia,

Lion, the Witch and the Wardrobe for one more week, King Kong for one more week, Jarhead for one week, Fun with Dick and Jane for two weeks, Zathura for one week, and Chicken Little for two weeks. On TV, Dancing on Ice airs its first episode, changing

my mum's life forever. While Chantelle Horton wins the fourth edition of Celebrity Big Brother, despite entering the house as the only non-celebrity. Meanwhile, Coldplay, Green Day and James Blunt were the big winners at the 2006

Brit Awards. And at the BAFTA Film Awards, hosted by Stephen Fry, Brokeback Mountain and its director Ang Lee take home Best Film and Best Director, respectively. Philip Seymour Hoffman wins Best Actor for his role in the Truman Capote biopic, while Reese Witherspoonpoon wins best actress for her role as june carter cash in walk the line the johnny cash biopic big year for biopics the award for best british film goes to wallace and gromit the curse of the were of it yay a worthy winner that's a banger of the film man absolutely um the album charts in january and february 2006 how are they well um i've only got a few to talk to you about this week um firstly the first number one of 2006 quite randomly is the strokes with first impressions

of earth which was released on the 30th of december 2005 so it was just in as a new entry uh one week at number one and only went gold so So a slight aberration there, but then always the thing, of course, that happens after Christmas is that in these days, people go out into the January sales. And so whatever was really big last year tends to be back at number one again. We had that with Sister Sisters last year and The Killers. This year, James Blunt's back at number one

for one week with Back to Bedlam. Just to remind that that album which came out in 2005 is now going 11 times platinum all told absolutely huge but yes then we do have two more new entries to talk about in this period first of all we've got

Hardfi remember them with Stars of CCTV that went number one for just one week but went double platinum. And considering what kind of band they were, double platinum's not half bad, to be honest. But then they are toppled by a new band who have got their first debut number one album

for four weeks at the top of the chart and went seven times platinum. It's Arctic Monkeys with with whatever people say I am, that's what I'm not, following up, of course, on their first very, very big hit single and Hits 21 Record of the Year winner. I bet you look good on the dance floor. The album, now following up, as I say, seven times platinum,

a massive hit, but there are still bigger hits to come this year. If only there was an opportunity to talk about Arctic Monkeys which it's not meant to be Lizzy, how are things stateside? Well, after Mariah Carey claimed the Christmas number one rap group D4L claimed the first new number one single

of 2006 with Laffy Taffy Oh my god Yeah, Laffy Taffy It stayed at number one for one week in the u.s and was certified gold but only got as high as number 29 in the uk when it was released here in april next up nelly made his return to the top of the charts with grills featuring paul wall and alien gip yeah no idea no idea it spent two weeks at number one and was certified platinum, but missed out on the top 20 in the UK, peaking at number 24 in April.

And finally for singles this week, Beyonce made her big return to the top with Check On It featuring Slim Thug, which spent five weeks at the top. It was certified double platinum in the US, but narrowly missed out on number one in the UK, peaking at number three behind our second song this week. So moving on to albums, and 2006 is yet another year where most of them only spend one week at number one.

So what I'm just going to do is go quickly through each of these with their time spent at number one, as well as their UK chart placing. So first up is The Breakthrough by Mary J. Blige, which spent two non-consecutive weeks at number one, but it peaked at number 22 in the UK. Then we have Unpredictable by Jamie Foxx, spent three non-consecutive weeks at number one. Got to number nine in the UK. Then we have Ancora by Il Divo. One week at number one. Also got to number one in the UK, but was presumably after this period

because Andy didn't mention it. Then we have The Greatest Songs of the 50s by Barry Manilow. One week at number one, number 12 in the UK. And finally this week, sing-alongs and lullabies for the film Curious George by Jack Johnson. One Week at Number One, number 15 in the UK.

I think Upside Down is on that. It is. Just to say, Ancora, I briefly mentioned it last year, that was one of the last number ones of 2005 in the UK. Oh, was it? Okay. That explains that then. Gip, by the way, is Big Gip from Goody Mob.

He's one of the four members of Goody Mob. Speaking of Goody Mob, we have another member of Goody Mob coming up this year. We do. In our chart. But thank you both very much for those reports and we are gonna press on with the number ones of 2006 now that's my goal I was number one for quite a while and it covered the first few weeks of 2006 so this next song it wasn't the first number one of 2006 but it was the first new number one of 2006 so to open the year it is this so who's that girl there i wonder what went wrong so that she had to roam the streets

she don't do major credit cards i doubt she does receipts it's all not quite legitimate And what a scummy man Just give him half a chance I bet he'll rob you if he can Can see it in his eyes, yeah That he's got a driving ban Amongst some other offences And I've seen him with girls of the night And he told Roxanne to put on her red light

They're all infected but he'll be alright Cos he's a scumbag, don't you know I said he's a scumbag, don't you know guitar solo Although you're trying not to listen I've heard your eyes are staring at the ground Okay, this is When the Sun Goes Down I've got a feeling in my stomach It starts to wonder what his story might be What his story might be Okay, this is When the Sun Goes Down by Arctic Monkeys. Released as the second single from the group's debut studio album titled Whatever People Say I Am, That's What I'm Not.

When the Sun Goes Down is Arctic Monkeys' second single overall to be released in the uk and they're second to reach number one however this is their last number one on the singles chart and it will be the last time we discuss them at least in depth on this podcast when the sun goes down went straight in at number one as a brand new entry knocking shane ward off the top of the charts. It stayed at number one for one week. In its first and only week at the top it sold 35,000 copies beating competition from Nasty Girl by the Notorious B.I.G and Pete Diddy which got to number two, All Time Love by Will Young which got to number three, Check On It by Beyonce

which got to number four, Say Say Say by High Tack which got to number three check on it by beyonce which got to number four say say say by high tack which got to number eight boys will be boys by the ordinary boys which climbed to number nine and eddie's song by son of dork which got to number 10 when it was knocked off the top of the charts when the sun goes down dropped one place to number two by the time it was done on the charts it had been inside the top 100 for 17 weeks the song is currently officially certified three times platinum so triple platinum in the uk as of 2023 so andy you can open the episode and the year with this i will and speaking of opening the year on a certain theme with your mention of ordinary boys there i really really like that in the start of this episode we've had the first

mentions of both chantelle and preston by the way isn't that lovely yeah yeah i'm sure that'll come up again so yeah this um cards on the table straight away I love this love love love this it's not quite as fantastic as I bet you look good on the dance floor in my book but it's pretty much a tie to be honest there's just so much to like here I think it's a cliche to say it but it really is true of Arctic Monkeys in their early era that what they're doing they make make it sound so easy. Like it's really deceptively simple songwriting and that there's really quite a lot going on here. They really play with structure quite a lot that it takes a whole third of the song to kick in

and then over half the song to get to the first chorus. But it never feels like it's dragging its feet. It always feels like it's bopping along at a very, very brisk pace. And I think what i particularly like this is that you know we've talked about that one bit of songs that you just that you love like the compliment in just a little and you're delirious in beautiful by christina aguilera you know there's been a few others like that one bit this song is just made of them absolutely made of them there's

so many little bits that if you're in some sort of indie bar and this song comes on that everyone will sing along to that particular moment. Probably my favourite one is Got a feeling in my stomach But like what a scummy man

and just so many. She don't do major credit cards. I doubt she does receipts. I also have a personal favourite. It's when he goes, and she's delighted when she sees it. And even the chorus is just really, really catchy as well. And it's not like hooks per se.

It's just a way of delivering a song that is just incredibly endearing and incredibly engaging. That almost every line of this song, the way Alex turner delivers it you're just really drawn in you're just really really with him i promise it helps that it is very catchy both in the verse and the chorus that they're very very different things they sound almost completely disconnected and i think at the time when i was not that switched on to arctic monkeys yet i think in my head i thought these were two different songs, that there's one that starts with, well, who's that girl there?

And then the chorus is a different song. I didn't realise that they were the same thing. They're that disconnected. But when you put them together, it just somehow works as this overall package. And like I say, that is really not an easy thing to do. This is really, really really precise confident songwriting here and i have to give that all the praise in the world um yeah i really really like this my only slight thing is that i kind of wish it went on a little bit longer which is a really rare thing

for me to say about any song really because i'm generally quite impatient with songs generally i complain about them going on a bit too long but i kind of would like a little bit more of this which i think is just a great compliment to give to it to be honest and isn't it nice that we're kicking off 2006 with this because i think this year of all years is the one for this kind of music for what you know what you might call landfill indie but you know for that noughties indie wave and rock music back in the mainstream, it's really nice to start it on this note because this is what this year is going to be all about, really. So yeah, really, really great statement of intent

for this era of music. Really original, really interesting, engaging song. I just want more of it. Yeah, it's fantastic. Absolutely love this. Amazing. Lizzie, what about you? Yeah, totally agree with you, Andy. I do agree that this is kind of the start of something

in terms of indie taking over, but I wish there was more of this side. I think the other side of that comes in later in the year as an example of one which is kind of like dakota by stereophonics where it's all about sound and the lyrics are clearly an afterthought and then you do get all these kind of copycat bands that come in the wake of this like the pigeon detectives and milburn and cortinas like all these bands like lad bands with matching Fred Perry's and Paul Weller haircuts. And they just do nothing.

They don't live in the memory because they have nothing to say. But anyway, I'm going off track. Back to this. Yeah, I love it. It's one of the more unexpected hits that we'll cover, I think. Like, of all their big singles, this one might be the least radio-friendly and one of the least music video channel-friendly. Like, the song itself is a pretty grim character study of a sex worker and a shameless pimp. And the video is pretty blatant in portraying that as well, with the pimp played by the excellent Stephen Graham who is perhaps my favourite living

British actor. He's amazing in everything. I'm always like whenever I see him I'm like oh my god it's Stephen Graham! But yeah on top of that the song is just under three and a half minutes long but the intro takes up over a minute of that like you say with a prologue followed by a sort of sinister guitar riff and a pounding drum beat so like you say a third of the song is taken up before it actually gets to the meat of the verses I guess so like in terms of it actually getting to number one it's a great song obviously but that's often not enough. There's a couple of other likely factors at play, like January is usually a quiet period for chart hits, as the big labels would save their heavy hits for the summer,

and this was the first release of theirs since I Bet You Look Gone on the Dance Floor, released one week before. Whatever people say I am, that's what i'm not so when the album did release it became the fastest selling debut album in british history selling around 120 000 copies on its first day and by the end of the week it had sold over 360 000 copies which is more than the rest of that week's top 20 combined yeah so why them and not some other indie band like why not one of the bands i've already mentioned because there were plenty of them around this time there's a real proliferation of them and they're starting to

like not stink up the charts but they're they're sort of expanding and recreating in the wake of this sort of resurgence of it like it's not like there was a shortage of them at this point but this song highlights the arctic monkeys at their best like alex turner could and often still can paint a vivid picture with witty imaginative lyrics and true to life characters that he cares about and even identifies with like the lyrics come first and the rest of the band provides a perfect canvas for Turner to paint a picture on there were plenty of other indie bands that came after this or even before this who figured out how to approximate the Arctic Monkeys sound but their ability to tell a story like this one would be hindered by one of

two things they don't know anybody like the people depicted here or they don't care about the sort of people depicted here like Turner's storytelling ability and his understanding of the characters in his songs is, to me, what separated them from the bands that came in their wake, the ones I've already mentioned. This song in particular invites you into its world, which is grimy and unsettling to outsiders, but familiar and almost mundane to those within it. It does what a lot of the best art does which is to disturb the comfortable and comfort the disturbed and I may be reading too much into that but I can sum it up by saying yeah it's a great song and I wish we'd had more of this sort of thing on the charts but sadly I just wanted to give the arctic monkeys a good send-off because they deserve it

they really did change the landscape of british music and i think they deserve more credit for that yeah i think unfortunately i think arctic monkeys legacy has probably been damaged by their imitators true because after this there was a and i would argue to a degree with Hardfire as well although they were less engaging as storytellers and musicians there was a mad rush between sort of like the end of 2005 and the

end of 2007 to just kind of sign as many acts that like you know the vague shape of Arctic Monkeys there's so many bands that come up like you're saying pigeon detectives all the ones you mentioned before the enemy the view um there's so many bands like that where they they only really had enough ideas for half an album and i think a lot of record labels did just panic and they were like well um hmm cobbled streets guitars um

bomber jackets uh graffitied uh shutters on high streets uh yeah sure whatever punk mods britain uni jack they're just throwing anything at the wall it's like britain punks mods the past yes now yeah no that is exactly it that was kind of the remit and then it all kind of wound up a bit you know like i mean can anybody sing a song by the view that isn't same genes superstar treatment yeah the only one i remember is face for the radio and then they were fighting on stage at the Deaf Institute earlier this year. So good for them. But I think, Lizzie, you are totally right, though.

And you've touched on something I think I said when we were discussing Better Look Good on the Dance Floor, which is that Alex Turner was an excellent documentarian. And it just so happened that music was his outlet. And also, I think when he was no longer a good documentarian and he was off on his flights of fancy with his stupid like from the first track on humbug you can see that the sharpness has gone already like i like humbug it's a good record but the edge has just disappeared and he's talking all these silly metaphors now and i'm just like nah you grew up too fast nah you know i mean but what helped him survive for another two or three

albums in my opinion was that he also had ideas as a songwriter as well which meant that when when his original you know when his life's work was dried up he could sustain it afterwards as well with you know sets of number you know loads of number one albums and things like that but anyway yeah sort of digress as well um like you andy i don't like love this quite as much as i bet you look good on the dance floor but it it is still so great. Like, it still has that same ability and that same great penchant Arctic Monkeys had in their early days of kind of ripping up the rug and exposing the underbelly of, you know, day to day. You know, like, because the term when the sun goes down, it hasn't always meant, like, as a positive thing, because it's like, when the sun goes down you know vampires horror whatever

but there's you know in the context of the album if you were say eight or nine tracks through and you see this you see this track title which is when the sun goes down you must think like oh it's all gonna be a bit lads lads lads lads lads you know when the sun goes down you can't stop us we're gonna get on it etc but it But it's actually about, and it is completely true, the vibe of rougher states, and the vibe, how the vibe shifts when the security of daylight is gone, and all the night crawlers emerge to make things a bit uneasy. And I guess it's about the people who are exploited year round it don't stop in the winter in this other world that exists at night you know i guess you can probably debate over whether this is sympathetic or patronizing towards um prostitution and sex work but like you can't

say that this kind of stuff doesn't happen to some women so i'm not exactly saying like fair enough but i am saying like this is just how alex turner observed it as a teenager it's important to remember i think they're only what 18 19 at this stage maybe 20 at most and so he's a young man with young eyes still he might have a bit of an older head on his shoulders, but his perspective is still going to be affected by the ignorance, I guess, and the naivety of youth. And maybe we have, maybe we haven't, but I know that we've encountered people who are in situations like the one described in this song.

We may not know them personally, but we've seen them. And I don't think that this is necessarily unsympathetic either i think that you are obviously very much on the side um of obviously on the of the woman in this situation who uh in the music video coincidentally um was played by uh lauren socha or socha or socia who was you won from Misfits um Kelly and she also turned up as the babysitter in Catastrophe she's also um the sister of um the guy who plays Harvey in This Is England so Michael Socha that's the one yeah yeah um and she's also with uh Stephen Graham in the film that was based on this song, the short film. It's only half an hour long.

It's just called Scummy Man, which was the original version of the song. In terms of its structure, like you were saying, Andy, there is so much going on here. You even get Alex Turner delivering like a prologue. You know, it's all a bit like you know two people not alike in dignity in fair sheffield where we lay our scene you know it's and then you get the explosion into the rest of the song which displays all the energy and nimbleness than the early arctic monkeys are really known for and you get the epilogue as well just before the curtain comes down it's kind of like you know really nicely bookended by these like opening and closing chapters all inside three minutes and 20 seconds it's like a

short play it shows how good like you were saying lizzie how good arctic monkeys were at bringing their characters to life all the little details like oh look here comes a ford mondayo isn't he mister ink and just all these little details that, oh, look, here comes a Ford Mondeo. Isn't he Mr. Inca? And just all these little details that make it so recognisable and so familiar in a way. Even just little things like got a driving ban amongst some other offences and things like that. You know, just so easily just in a snapshot, like providing an excellent snapshot of a person,

of a particular moment in somebody's life or you know a particular just a particular street corner if anything it's all back to what we were discussing before about how like the whatever people say i'm that's what i'm not it starts with the view from the afternoon looking ahead at the night out and then you have like six songs about going on a night out in a row which are all about basically the same thing and then um but then towards the end of the album it's about destroying that image that they've made and it's all wet concrete again like i was saying and like soggy pavements and you know the fine rain that really cuts through and this is you know like the crash at the end of the album the come down if you

will because after this you got from the wrist to the rubble which again is all about waking up after a night out and being like oh god why back to the grind and then you have obviously a certain romance that caps it all off and looks at it affectionately without being patronizing um but the one the one negative point i have about this um it's probably a bit harsh but it's funny enough we know we're talking about a band from sheffield i forget which episode it is but you know um the the blouse bit from brass eye yeah the um the the pulp spoof thing that Chris Morris did the um is it Mio Myra that's all yeah well when the sun goes down often teeters very close to exactly fitting that mold of a razor sharp Chris Morris parody of Arctic Monkeys. Like, you can imagine, you know, put that in a 2006 setting

as opposed to a 1996 setting, and you can imagine, what is it, is it Ted Maul, the host of the fake host of the news that he's playing? It's like you can imagine him, you know, walking through that HMV, like, you know, going, this is where pop happens. And this new tune from the scummy lads of Sheffield, titled I'm Wazzy for a Prozzie, is causing quite the stir.

Yeah, the caption all coming up. All the, she don't do major credit cards at all. She does receipts. It's all a bit like, if you were to make fun of Arctic Monkeys, this is something that you would probably do. It's so open and so sincere and so the accent is so affected that it it teeters over the edge of becoming a full-blown stereotype i think with all the over pronunciation of the words but i like that they use it to their advantage like if i'm in monday with seo i get what you mean rob but it's

very much coming at it from hindsight because the reason why that template exists is from this it's it's them sounding like what they sound like you know it comes from this so i mean if this song didn't exist there wouldn't be that kind of parody template to put on it if you know what i mean it's kind of maybe that's a hindsight thing really and to be parodiable means you have a distinct sound which a lot of those indie bands didn't yeah no totally um like i'm and i'm not saying that like you know this is a necessarily terrible thing it's like you know it's still i still like those parts of the song a lot um but i do think that the it just leaves itself open a little bit for if like if you didn't like this i think that that is the sort of thing you would point at if you know what i mean i'm trying to see it from the perspective of somebody who

dislikes this song and is trying to come up with reasons for doing so because like i don't like this as much as i bet you look good on the dance floor and i was looking for reasons why and i think that this is not necessarily one that is like it's not the strongest thing I could possibly come up with but I just think that the two book-ending bits of the song just have this little part of me that's like I can imagine this you know just sort of like being made fun of a little bit I don't know if you want to say anything more about you can defend the accents a bit more I mean it's not the accent that's the problem I think it's the

over pronunciation of some of the words because the accent doesn't bother me in the rest of the song. I mean, it doesn't really bother me at the start and the end either. It's just something I noticed and an image in my mind formed. And I thought, yeah, I could write something about that. It's just what I've always associated with Alex Turner's own voice. and I think that is a very valuable thing to have, especially in indie rock where it is very easy to become anonymous in terms of your actual voice

I think this song is the one where the accent is really let loose and I think we might not identify them with the accents and have that as a point of parody so much if not for this song, so I think it's just kind of looking at it the other way really um and i don't think it's a gimmick i think it's just a nice personal touch i am i don't think they would be half as endearing as they are without laying it on thick with the accents um and i think it's just a personal touch

that i really really love i have no problem with it at all yeah there's also because we don't know who the narrator of this song is it might be alex or it might be somebody else who is observing this you know this woman who's being mistreated by a scummy man like it's it's never really made clear what so you mean that alex could be necessarily could be sort of putting a voice on a little bit Because Yeah, because he's looking through someone else's eyes Hmm, yeah, okay Well, hopefully we've given everybody A lot to sit with

Everybody tends to be very nice giving us their thoughts On social media and stuff like that So please continue, what do you think About this Write them, yeah, do PO Box 547 But we will move on Through 2006

And the next song up Is this Platinum Chanel cologne and I stay Dressed to impress Spark these bitches' interests Sex is all I expect If they watch TV in the Lex They know, they know Quarter past four, left the club tips Say no more, except how I'm getting home tomorrow She's a drop it off when he see a T.O.

Back of my mind, I hope she swallow Man, she spilled the drink on my cream wallows Reached the gate, hungry just ate Riffin', she got to be to work by eight This must mean she ain't tryin' to wait Conversate, sex on the first date I state, you know what you do to me She starts off, well I don't usually

Then I whip it out, rubber no doubt Step out, show me what you all about Fingers in your mouth, Open up your blouse. Pull your G-string down south. Do that back out. In the parking lot. Buy a Cherokee and a green drop top. And I don't stop.

Until I squirt. Jeans and skirt. Butt naked. It all work. It all work. And I love my little nasty girl. No, I love my little nasty girl. I love my little nasty girl.

All the ladies, if you want me, grab your titties. I'm G-I-G. My little nasty girl. Okay, this is Nasty Girl by like a whole bunch of people. Notorious B.I.G., P. Diddy, Nelly, Jagged Edge, and Avery Storm. Released as the lead single from his second posthumous compilation album titled Duets, The Final Chapter, Nasty Girl is Biggie's eighth single to be released overall in the UK and his first to reach number one. It is however his last and this is the last time that we'll be discussing Biggie in depth on this podcast. It's also the last time we'll be discussing P. Diddy and Nelly. The song is a reinterpretation of Biggie's 1997 song Nasty Boy,

which was never released as a single in the UK. Nasty Girl first entered the UK chart at number two, jumping to number one during its second week on the chart, knocking Arctic Monkeys off the top spot. It stayed at number one, jumping to number one during its second week on the chart, knocking Arctic Monkeys off the top spot. It stayed at number one for two weeks. In its first week atop the chart, it sold 27,000 copies, beating competition from Analogue by Aha, which got to number 10. In its second week at the top, it sold 25,000 copies, beating competition from Run It by Chris Brown, which got to number 2, and You Spin Me Round Like a Record 2006 by Dead or Alive, which got to number 5. When it was knocked off the top of the charts, Nasty Girl 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. The song is currently officially certified platinum in the UK. As of 2023, I guess that's the end of Big Brother, you know, Celebrity Big Brother, isn't it? With Pete Burns and Preston both being in the charts at the moment. I guess that's the aftermath of that happening. Yeah, it's a shame we didn't get a chart re-entry for Doing the Crab by Michael Barrymore.

All the way out at number 89 or whatever it got to. Rejected by the British public. Definitely. How do you feel about Nasty Girl, though, Lizzie? It's a weird song, this. The biggie part is arguably the least weird thing about it given that as you mentioned it's a verse lifted from Nasty Boy on his final studio album Life After Death which if I understand correctly was finished and

ready for release before his death and the album was released two weeks after he was shot dead. Yeah, he was killed the night of... There was a big party in Los Angeles to promote the record. It was finished and they played... It was a big double album. It's like 100 minutes long. Yeah, yeah. And they played it at this party.

And then Biggie left the party to go back to the hotel. And at that point, it was at that point that he was killed and shot. So it is officially a studio album rather than a posthumous album? Yes, yeah. Cool. So in that sense, this song could just be classified as a remix if it was just Big E's vocal, but it's full of collaborators who don't really do anything to improve it or really add anything to it.

The production by Jazzy, I think Jazzy Faye, it's fine, albeit a bit repetitive. Jagged Edge's chorus is fine, albeit a bit repetitive. The Diddy verse especially is one I could do without, with him sounding like weirdly desperate. Like, I need you weirdly desperate like i need you to dance i need you to strip all right jesus and also veering into like maybe i'm reading too much into this but like kind of grooming territory like you ain't seen the world yet rock la perla yet rock them pearl sets flew in a pearl jet like propositioning this imaginary woman not great and like of all the big billionaire rap stars i think diddy might have the most

boring flow of all of them but i think we've said previously that his fairly anonymous voice makes him easy to slot into guest verses like this one still would have preferred more biggie who conversely had one of the more distinctive voices in rap then nelly comes in and he does his nelly thing it's like being told we have hot in here at home and the inclusion of avery storm is interesting if only because it means we have another Rick Rock on our hands this is his sole appearance on any UK single not just number one, single it's surprising really because he collaborated with a lot of big names

like Nelly, Jadakiss, Rick Ross, even Pitbull like sure he's playing fourth or fifth fiddle on this song, but he has a nice enough voice, not a million miles away from, like, Justin Timberlake, which I would imagine is a bit of a commodity around this time, as we'll see later in the year. But, yeah, overall, this feels like a case of too many cooks spoiling the broth.

I get the whole point of the duets album which was unsurprisingly combining old biggie vocals with new verses from some of the biggest names in hip-hop and r&b but biggie's actual studio work rarely featured other artists nor did it need to because he was in a class of his own all this sort of approach does is make the featured artists look worse by comparison i totally agree the the whole duets final chapter thing is just a weird weird record it none of the verses on it necessarily are, you know, that bad, but it's that, like, that quality, that weird feeling that, like, this is just stuff that they've lifted from Biggie's solo material, put up against verses that aren't quite as good as Biggie's, and then put over some of the worst beats. They're just so lifeless. beats are so left the first half of the album isn't like terrible because you get um what you want which is um jay-z is involved in

that and um it has been said you got eminem on that and 1970 something is okay but then jesus you get like oh god i'm with whatever um mi casa with r kelly um wake up with corn there is a corn feature on that album yeah it just doesn't work at all it is just another like just another one of diddy's ideas that he had after Biggie died. Oh, yeah. Which sure just coincided with him making a lot of money. Just a coincidence. Yeah, just a coincidence. Andy, how do we feel about Nasty Girl? I'm not going to linger too long on this,

and I will preface everything I say with I'm very mindful that this song really was not made for me, who, you know, at the time, a 13-year-old Northern British white gay teenager who was very into Doctor Who. Like, this was not made for me. And that's possibly why I dislike it so much. It's probably one of my least favourite songs

we've ever covered on the show, to be honest. so much. It's probably one of my least favourite songs we've ever covered on the show to be honest. It's really just gross. Really like, ugh. I think it strays way, way too far, like Lizzie said, past the creepy line

where there's some lines that just make me want to retch because they're so graphic and so kind of treating it like a piece of meat and I just think, ugh, horrible. And then it goes on for so, so long. Can you not lend one of those minutes to the Arctic Monkeys, please? And I agree with you about the beat as well.

It sounds incredibly tacky, incredibly sort of tinny and in your face. I absolutely hated this. Absolutely hated it. I also as well have absolutely no memory of this from the time which again probably because I'm absolutely not the market for this I think it's probably got to number one off the back of you know getting the fan base of

several different rappers to buy into this so I think it's probably just a kind of cumulative effect there but I really can think of very little good to say about this and the first time i listened to this i was like oh god that was awful but at least it's done but then i thought you know what you know i've got to be fair i've got to listen to everything quite a few times for the show i need to make sure i know songs very very well in order to talk about

them and then by like the fourth or fifth lesson i was like this is so disgusting i feel like i'm a like horrible disgusting man just by listening to this i'm in public i want to turn it down because it makes me want to cringe thinking that anyone might overhear me listening to this and it was one of those songs that was like i would only listen to this again if i had a gun to my head and then by the final time i listened to it well i take it back what i said about a gun to my head. And then by the final time I listened to it, well, I take it back what I said about the gun to my head because compared to listening to this any more times at all, death had substantially lost its sting. So I absolutely despise this.

And it's just gross. The lyrics are absolutely horrible and I can't see past it. What's wrong with men? Chill the F out, men. Treat your women better than this. Chill out. It's horrible. I've got nothing more constructive to say about it than that.

I just thought it was awful. Sorry. I think it is also the weirdness of asking a woman to strip for a dead man. Yeah, I don't want to go too far into my notes, so I'll just say nothing at this point but carry on okay i could i could read out some of the worst lyrics but i'm not really sure they're fit for air we might get taken on spotify if i read some of them out but it's like just it's so so graphic it leaves nothing to the imagination at all and i don't expect it to be like poetry but I expect at least some level of mystique

not like you know basically saying like hello woman I am here to touch your breasts and then ejaculate like it's basically just that throughout the whole song it's sung by five different people each more like abrasive about it than the last

and they're all singing it at the same woman and all at the same woman these five guys just in a ring just leching at her Jesus guys sort yourself out have a pint and go to bed have an early night cards on the table I mean I don't think it's any secret

I'm a huge fan of Biggie's music and story I think Ready to Die is one of the best albums of the 90s, probably one of the greatest rap releases of all time. I don't think anyone's actually disputing that. Life After Death is a great follow-up as well with some of the finest mainstream rap cuts of the era. I've read books about him.

I'm fascinated by his story and his rise in the industry from being sucked into crack dealing at 16, going to prison and then being the biggest rap star on the planet at 22, like I think he's one of the greatest to ever do it, but like obviously again it's not like a unique opinion that either I think he is though

probably the oldest 24 year old to ever exist, he has a voice like a bass tuba and a flow like hot butter like the first 30 seconds of hypnotise off Life After Death, probably among the greatest 30 seconds of music to ever be recorded, it's just so, oh, it's just, it's impossible to describe how I feel when he comes in with just so good than your average, but oh god it's so good, the way he just glides into that is just

so effortless because so much of his work was effortless, it's weird, like so many people from around Biggie at the time say that like, he liked music but rap wasn't something that he necessarily cared about, it was a means to an end, it was

all about the Benjamins it was all about the cash and like the reason that he got into crack dealing was like well i want to make some money i've got the gift of the gab and i want to make some money and then he moved away from crack dealing but still applying the same two things he has the gift of the gab and he wants to make loads of money and he just realized that rap was a faster way to do that and a less dangerous way um at least for a time to do that and he has this huge catalog of great tracks to pick from you know ready to die is like 15 16 tracks life after death is a double album

and so sean coombs picks this one you know it just for all of all the tracks to remix he picks nasty boy like it's not a terrible track by any means but it's long and slightly annoying and it's a bit it's filler on side b of that double album the song is so sparse too sparse to justify its runtime and is an example of what Coombs I imagine would have eventually turned Biggie into had his life not been cut so tragically short. There are people out there who still to this

day say like, oh, if Biggie was out there right now he'd be changing the game and it's like, nah. By his fifth album he'd have been out of ideas and nowadays he'd be on TV complaining about cancel culture. Like, you just know. Like, you don't have to listen to him much to get this picture and it's only because his career was so short that p diddy didn't have mountains of material to sell to people after he was gone like it's not like a tupac situation where like as much

as tupac was only a year older he'd been recording music for a lot longer than Biggie. All of Biggie's music was recorded within a four-year period, a four or five-year period, whereas Tupac was like seven years. He was very, very young when he started. And this is slightly less ghoulish than Ghetto Gospel because it's a remix of a pre-existing song as opposed to a glorified demo

given status that the original artist might not have wanted uh and you know hey look as far as i'm concerned you know i've read a lot about biggie i don't know him but i like to think that if there's one artist in the modern era who wouldn't have minded being turned into AI these days or having some of his old demos hawked for cash it's Biggie like he told us very proudly he loved the dough more than you know you know but it's still an example of Diddy wringing the corpse of his friend dry to line his own pockets like I definitely prefer the mix on this to Nasty Boy. I think there's a little bit more colour and life and decoration and personality in it. The staccato beats switch up midway through each verse.

You know, the... They suddenly switch to... They make a decent go of putting a chorus together. Which, I mean, is bare minimum for me in a pop song really but like Diddy's verse just oh and Nelly's verse isn't much better it only exposes how much weaker they are as rappers compared to Biggie it just and it goes on too long just cut Diddy's verse entirely if you ask me

bring it back towards four minutes as opposed to touching five you know this cut Diddy's verse entirely, if you ask me, bring it back towards four minutes, as opposed to touching five, you know, this Diddy verse, you could pull it out, put it on a piece of paper, there is every party rap cliche on literally every line, every single line, he has nothing original to say as a rapper, never has, like, the best tracks on the only not really a solo album that that puff daddy and the family thing that he did in 97 and like all the only good songs on that are the ones with biggie on them like all the other ones are just total dreck um he has in this he has he is instructing a girl to dance for him check reference to luxury lingerie or fashion. Check.

Reference to jewelry and or luxury airliners. Check. Reference to Hennessy. Check. Boasting that everyone wants to fuck him. Check. Reference to Patron. Check.

And now all of these things are fine, but Diddy has never found a way to be interested behind the mic ever. No. Ever. Like, this guy has five albums now. Every single one of them is just a total snooze fest, apart from occasional bits where, like, you look back and go, oh, I remember this.

Like, Tell Me on Press Play from around this time. I think it's from the later in 2006, which has Tell Me with Christina Aguilera from Press Play. That's OK. But I also can't get on board with this idea of, like you were saying, Lizzie, using a dead man's memory to get off on women grabbing their own breasts in a club. Yeah. I just, you know, you can maybe say that it's what biggie would have wanted because that was the life that he lived you know like he was a party guy he liked the women he loved money you

know there is no secret about his womanizing it was his life you know like but oh jesus grab your titties for big what a line putty in your hand. You know, I just, I don't, I thought I didn't mind this, but the more I've talked about it, you know. You're going very Frank Grimes there. The song is driving me insane. Yeah, it's just, I think in all this debate about the posthumous releases

that mainly rappers have had something that people don't tend to bring up much when they're debating the ethics over songs like ghetto gospel and nasty girl and stuff it's just like a lot of it just isn't very good like the posthumous material it just isn't any good and it's's mostly because, like with this album, it's like with the duets album. It's like he takes some good biggie verses and makes them sound just... I don't know how he manages to make them sound so lifeless.

Some of the names on that album, you've got like Mobb Deep turning up. And I mean, to be honest, they were done by that point mob deep they were not asked they were on g unit yeah yeah and so like it just it the whole album is mostly rubbish just a revolving door of guest artists rapping average verses while biggie's previously recorded albums are played over worse beats and like this is one of the more kind of bearable cuts from it the whole second half of the record is a complete waste of time just a total total waste of time um and like this is it's just whatever man like i do like the beat

switch up which keeps coming back and nelly's verse isn't terrible and biggie's verse is biggie's verse like you know it's not one of his best but it's still him like he finds spaces and rhythm in places i don't think i didn't even know existed he was a very singular character very very singular character but this um and yeah like you know he wouldn't have minded this i'm know, he wouldn't have minded this, I'm sure. Like, he wouldn't have begrudged P. Diddy trying to make some money, you know. But yeah, not like this. Just to follow on something you said, because you kind of said, like, of all the biggest singles, why this? I think it does make sense, like, because you said it yourself. The original Nasty Boy is not great.

nasty boy is not great and if you're going to like try and take this and give it a bit of a spruce up then it makes sense to to do it with that song but like you say the way they've done it to turn it into something kind of creepy is not how you do something like this that's a good point though that like maybe diddy's looking back at life after death and being like hmm well i don't think we should remix um another bitch in my life or any of the what's that other one you won't um you won't redo play a hater either um of course yeah there is a little bit too much filler on that second half of that album but tiger yeah yeah okay so we come to the third and final song this week and it is this Take me baby, I'm all yours Do just what you wanna do with my love

Take me baby, I'm all yours Do just what you wanna do with my love With my love With my love Standing here Alone with you Wondering what it is That I'm supposed to do

There you are With a love light in your eyes The bridges are burned down Your arms are open wide Am I in too deep Or should I swim to the shore Is this the real thing I don't know

Cause I've never been here before And I feel Father in my heart Okay, this is Thunder In My Heart, or Thunder My Heart Again by Mech featuring Leo Sayer. Released as a standalone single, Thunder In My Heart Again is Mech's first single to be released in the UK and his first to reach number one. However, this is also his last and this will be the last time that we'll be discussing Mech on this podcast and also Leo Sayer. and this will be the last time that we'll be discussing Mech on this podcast, and also Leo Sayer. The song is a remix of Leo Sayer's original song, Thunder In My Heart, which reached number 22 in the UK in 1977. Thunder In My Heart, again, went straight in at number one as a brand new entry, knocking the Notorious B.I.G. off the top of the charts. And it stayed at number one for two weeks in its first week atop the charts it sold 36,000 copies beating competition from you got

the love o6 by candy statin and the source which got to number seven and sugar we're going down by fallout boy which got to number eight in week two it sold 34,000 copies, beating competition from Woman in Love by Liz McClarnon, which got to number 5. It's the only new entry in the top 10. When it was knocked off the top of the charts, Thunder in My Heart fell two places to number 3.

By the time it was done on the charts, it had been inside the top 104, 18 weeks. The song is currently officially certified silver in the uk as of 2023 i've got to say apart from sugar we're going down and like a few that were hovering around the charts in uh arctic monkeys week at the top a lot of covers and remixes of old tracks this week. You know, you've got Nasty Boy from the 90s and then Thunder In My Heart from the 70s. Candy Staten, you've got The Love.

A cover of Woman In Love for some reason by Liz McClarnon of all people. I don't know why, but anyway. Andy, how do you feel about this? Yeah, I completely agree. I mean, no disrespect to Liz McClarnon but I think it shows you how quiet the charts were at this time that she was having a crack at number one

yeah this is fine this is absolutely fine I think I've kind of had everything this week in terms of my spectrum I've had a song which I absolutely love a song which I absolutely hated and then this is really slap bang in the middle my immediate comparison point for this is really slap bang in the middle um my

immediate comparison point for this is take me to the clouds above um from a few years ago and that it's just it's just a very nice remix of a song really that just works and everything i could say about it is just through that reference point that it makes it sound like a new song rather than an updated song um it does an appropriate treatment to the song, and it actually works very, very well. You kind of can't unhear it. When you listen to the original, you think, oh, no, it needs a bit more oomph.

It needs a bit more of that 06 oomph, oomph, oomph behind it. So, yeah, I really, really don't have much to say about this at all just because I think it's just a very, very nice remix, to be honest. I think my favourite part of it is those verses that Rip me baby, I'm all yours. I think that's the best part of it. But yeah, it's just a nice remix of a nice original song. Like I say, it's very much in that

take me to the clouds above kind of category, where it's probably another in that take me to the clouds above kind of category um where it's probably another one of those songs that's what's we call it to be called it bar pop you know the ones that you kind of listen to with the girls from the office at five o'clock on a friday like lola's theme and you're a superstar and that sort of thing um definitely fits in that category for me and there's nothing wrong with that at all it's very 2006 it's very straight down the line it knows what it wants to be and doesn't try and do anything more than that it's just a solid middling number one here yeah it's fine it's fine i have nothing more to say

about it than that yeah uh again i think like andy i think this is fine um don't have a lot to say about it i actually assumed that it got to number one because of Big Brother, but I didn't realise that he was in Next Year's. He's in The Infamous One. Oh, is he? Yeah, that's the one where he leaves the house by climbing over the fence and then having a shouting match with a security guard. So that was fun.

Wow, you can see how much of a controversy was caused by the incidents uh plural that i'd forgotten about that like exactly yeah same here god um but yeah this um like i mean i'll start with the remix i think it's barely a remix at all it is they've kind of slapped a bit of a... It's got a drum beat with a bit more oomph to it than the original 70s track, but that's to be expected. And there's also a little reverb-y thing that happens at the end of the chorus,

like, with my love, with my love. And that's it. It feels like something that would be dropped in the middle of a set, as in, like, it would flow from one song into this into another. But as a standalone single, I don't see how it's significantly different from the original or at least significant enough to warrant putting your own name on it and saying featuring the original artist who does 99% of the work here.

featuring the original artist who does 99% of the work here and in terms of the original song I don't get on with Leo Sayer in general he's he's in that Elton John world I don't love Elton John and I certainly don't love Leo Sayer I'd maybe put him between Elton John and Freddie Mercury, but he's not as good as either of them. And this is him trying to be a bit more like muscle shoals, like heavy soul. He's really straining to hit those notes. Hit me, baby! And the rest of his singles, even from the album that this is from,

they don't sound like that. They sound like the rest of his songs. Like When I Need You and You Make Me Feel Like Dancing. That's his kind of domain, that sort of soft pop, like sub disco. This doesn't work. And like the composition in general, it sounds like a disco song written by andrew lloyd weber oh i can't get on with it yes like there's something a bit too forced about it there's no

natural energy there's no sexual prowess it's like leo like say say, in the studio straining the notes and like, oh god please let me into this world and no, like it's, I'm actually, I actually think I like it less when I'm actually thinking of the original song. The remix does at least add, like you say, a bit of oomph to it that it definitely needed but yeah not a big fan of this maybe not maybe not bad enough to put it in the pie hole but it's definitely not my sort of thing do you know it really kind of got me thinking though what you were saying lizzie about um that they've just kind of slapped something on it and essentially re-released it rather than remixed it. And I do think the new production on it is worthy of calling it a remix at least. But I see what you mean. And this is going to sound like I'm making a joke, but I'm really not.

I mean, this is kind of a serious point that with kind of revisiting this ancient stuff, which young people won't have heard of at all. revisiting this ancient stuff which young people won't have heard of at all i kind of think that after amarillo all bets are off really that everything is being looked at as oh people might like that because we've had are you ready for love as well and then amarillo you got suddenly got like 11 12 year old kids who are demanding amarillo being put on the school discos it's like anything for his fair game now whether it's 70s 60s beyond that like anything is fair game now, whether it's 70s, 60s, beyond that. Like, anything is fair game. And I do think that's part of it, why something as random as this is popping up in the charts. Yeah, maybe.

Yeah, I had a little bit of a sit and a think about why this was number one. Because, like, it's a relatively no-name DJ at this point, like, releasing a song that didn't even hit the top 20 30 years ago. And I don't know, was it like a ringtone thing, this? Or, like, was it just always on the music channels and people were interested in the video? I don't really remember why this was so big.

I do remember the song being out very well, though. Like, it was big. I just don't know where why this was so big. I do remember the song being out very well, though. Like, it was big. I just don't know where it came from. Yeah. Yeah, the thing with this, I'm broadly in the same place as you two, I think. You know, something to appreciate, I guess, which is that I thought after the initial sort of

new disco wave of the very early 2000s, I thought that was kind of it. But hey, disco still lives, apparently, in 2006. Who knew? But this is all right. Like, I think it's basically out of ideas by the halfway point, but the original idea, and the only idea this song has, is to bring the third verse from the original and slap it right at the front. I think's kind of clever because it is the catchiest bit of the leo sayer original and it's a great display i think of like at least leo sayer attempting to do something different he gives it a go i don't find the vocals as bothersome um as you lizzie i think that he's definitely not one of my favourites Leo Sayer I don't think I could sing

you anything he's done outside of the ones that you've just named you know like he's fine to me you know a bit like a part of pop history and apparently he got married earlier this year and I felt like oh that's nice for him but like I've completely forgotten about

the meltdown that he had on Big Brother which I watched every single nice for him, but, like, I'd completely forgotten about the meltdown that he had on Big Brother, um, which I watched every single episode of that Big Brother series, and I'm sure we'll definitely talk about it in our first episode of 2007, um, but, like, with this, just, while it's beefier and louder than the original, I just don't't that doesn't necessarily mean it's better it feels like all the subtleties and all the details of the original mix are kind of lost and what you're left with is something that's slick but can only really feel important for about a month like this feels like it only managed to get where it did like because it was just one of those things that we all just sort of collectively agreed not to question it was like oh this is popular i wonder why i don't know it's good though isn't it

yeah sure whatever and then like six months down the line it's like what you know it just it feels a bit like a passing phase you know i i don't know it just feels like something that was very much of the moment and it's kind of i think proven by the fact that leo sayer and mech never touched the charts again after this i mean to be fair leo sayer getting you know 35 years worth of chart hits fair play to him i mean he doesn't do anything on this one but um apart from you know provide the original song that's been remixed and mech was nice enough i suppose to put his you know leo the original song that's been remixed, and Mech was nice enough, I suppose, to put his, you know, Leo Say's name on it too, but yeah, it's fine, I just, whenever I'm listening to this, I'm just sort of fatigued by the end, like, the first half is like, yeah, pretty cool idea, and then, like, halfway through, it goes back to the, standing here, alone with you,

wondering what it is that I've and i'm just like we've done this there are other bits of the song that you could take out there are different lyrics every chorus has a different lyric in the original and i don't know why they didn't do that why they didn't carry that over mech whoever whoever this person is like why mech did not decide to carry over the extra lyrics and just for a bit of variety. I might have liked it a bit more, but it's just, well, I've done the first minute

and now I'm just gonna have to do this three times, even though I've already done it and I've gotten everything out of it that I can. It's one of those, I think, where if you listen to it the first time, it's like, yeah, pretty cool, pretty exciting. But then like, once you know where it's going and you realize that it's going nowhere that the first act didn't go then what's the point yeah i mean this is this

this was my issue with having nothing to say about it it's like there's just no meat on the bones really i think that the advent of downloads really helps this kind of thing along you know because can you really imagine people actually going out to a shop and buying this, really? Yeah, that is exactly it. That is a really good point. You can listen to that 30-second preview on iTunes and think, oh, that sounds fun. 79p, boom, done, and there's a sale.

I actually have a bit of info on this. Okay. Oh, yes, go ahead. There's forum posts from as early as September 2005 saying that people have like had a white label copied that they put it in set lists eventually it

got played a lot by Pete Tong on his Radio 1 show yes of course and so by December it was announced that the single was going to come out in February and I think it just got played enough by the likes of come out in February and I think it just got played enough by the likes of Pete Tong and Joe Wiley that it just sort of took off it's a bit

like um Groovejet in that regard it like built and built in popularity and then the single releases and everyone who was going to buy it eventually bought it and like you say Andy it's a lot easier now they can just press a button and they've got it. That proves a point right there. It was radio. And people like Pete Tong and Joe Wiley were tastemakers, and there's nothing wrong with that. That was kind of a necessary thing because it's a big world out there in the industry,

and a little bit of curation and a little bit of signposting to help guide people towards the next big thing, it was necessary in those days um and it's not now you don't really have those tastemakers anymore you just have people who are big on tiktok frankly um and it's a little bit depressing isn't it to think about and i should also point out this is on the same label as call on me oh i mean that's that's not a surprise well an enlightening end to the episode Lizzie thank you very much we'll stick with you Lizzie

when the sun goes down nasty girl thunder in my heart again are any of them going into the pie hole or the vault for you well the arctic monkey sang about when the sun goes down but for me it goes up all the way up into the vault

swish nasty girl is pretty nasty but not nasty enough to go into the pie hole and thunder in my heart it's not going in either the pie hole or the vault no worries Andy, Arctic Monkeys, Biggie

Mech and Leo Sayer, how are we feeling? Well, Arctic Monkeys, I got a feeling in my stomach that I'm going to put it in the vault, yeah, in the vault, yeah. As for Nasty Girl, more like Nasty Song. P. Diddy, more like Pie Diddy. Into the pie hole, please. Yeah, slamming that one into the pie hole. And Thunder in my heart,

Leo Sayer, more like Leo Meh. In the middle. Doesn't go anywhere for me, yeah. Yeah, Arctic Monkeys, they're going into the vault for me. That's pretty clear cut. Nasty Girl and

Thunder in my heart again are just in the middle. Nasty Girl and Thunder In My Heart, again, are just in the middle. Nasty Girl's a little closer to the pie hole than Thunder In My Heart, but just stays out. So that's it for this week's episode. Thank you very much for listening. When we come back, we'll be continuing our journey through 2006. And we'll see you for it. So bye-bye.

Bye-bye. See ya. ............ Sex is all I expect as they watch TV in the Lex They know, they know Quarter past four, left the club tipsy Say no more, except how I'm getting home tomorrow Caesar drop you off when he see a P.O. Back of my mind, I hope she swallow Man, she still the drink on my cream wallows Reach the gate, hungry just ate

Griffin, she got to be to work by eight This must mean she ain't trying to wait Conversate, sex on the first date I stink, you know what you do to me She starts off, but I don't usually Then I whipped it out, rubber no doubt Step out, show me what you all about Figures in your mouth, open up your blouse

Pull your G-string down south Threw that back out in the parking lot Buy a Cherokee and a green drop top And I don't stop until I squirt Je parking lot by a charity and a green drop top. And I don't stop until I squirt jeans, skirt, butt neck. It all works. You nasty boy, you nasty. You nasty boy, you nasty. You nasty boy, you nasty.

You nasty, you nasty. You nasty boy, you nasty. You nasty boy, you nasty. You nasty boy, you nasty. You nasty, you nasty. I remember we went to Tennessee.