Hits 21 - 2007 (1): Mika, Kaiser Chiefs, Take That

Episode Date: February 11, 2024

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

Do-da-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do-do- Hi there everyone and welcome back to Hits21 where me, Rob, me, Andy, and And me Livy. Or look back at every single UK number one of the 21st century from January 2000 right through to the present day. If you want to get in touch with us you can find us over on Twitter. We are at HITS21UK. That is at HITS21UK and you can email us too. Just send it on over to HITS21podcast at gmail.com. Thank you so much for joining us again. You find us taking our first step into the year 2007. This week we will be covering the period between the 1st of January and the 17th of March. New beginnings. We didn't have a poll last week because it was just Leona, so it is time to press on with this week's episode and as always it is time for some

news headlines from around the time the songs we're covering in this episode were at number one, in the UK. Two people are killed and 36 people are injured when a national express coach travelling from London to Aberdeen crashes near Heathrow Airport. Meanwhile two helicopters collided in mid-air in Shropshire and that killed one person and injured two others. Nine people are killed and several more are injured as Cyclone Kirl hits the UK, bringing torrential rains and Gale Force winds. Meanwhile the news of the world's royal editor Clive Goodman

is jailed for four months after pleading guilty to phone hacking charges. And across the UK thousands of cars are damaged after Tesco and Morrison supplied faulty petrol containing silicon. Meanwhile Skywatchers everywhere are treated to the first total lunar eclipse in almost half a decade. The films to hit the top of the UK box office during this period were as follows. Night at the museum for one more week after last year. The pursuit of happiness for one week. Rocky Balboa for two weeks.

Dream Girls for one week. Music and lyrics for one week. Hot Fuzz for three weeks. And then Norbit for two weeks and amid her custody battle with Kevin Federline, this is the point where Britney Spears shaves her head. Sir Terry Wogan apologises after announcing that the wrong act had been chosen to represent the UK at Eurovision. Remember this one well.

Singer Cindy Almuzny was initially announced as the winner when it was in fact Scooch who had been chosen to fly the flag for the public. Let's see how they get on later in the year. Meanwhile, the last episode of Grandstand airs on the BBC and the first episode of Skins airs on E4. Speaking of Channel 4, on Channel 4, Bollywood actress Shilpa Shetty has declared the winner of the fifth series of Celebrity Big Brother. Throughout the series, however, Shilpa had endured prolonged racist abuse from fellow housemates, particularly from model Danielle Lloyd and S-Club singer Jo O'Meara, as well as further insults from reality star Jade

Goody, her partner Jack Tweedweed and her mother Jackie Budden. Dark but formative week in my life. Definitely. Definitely. Yeah. Lizzie you'll definitely know and Andy maybe your experience growing up near Liverpool was the same but I spent most of my life just surrounded by white people like I hadn't spent much time with Indian kids and Indian families, which means that I don't think I'd ever seen racism directed towards an Indian person to quite the extent that it happened to Shilpa on Big Brother and it was a big, like even only being 12, 13 years old and having a very tiny understanding of the world. It wasn't even anything to do with the way that Big Brother necessarily framed the show and how they edited the footage, but I knew that something was wrong.

I knew that there was... I remember just being very uncomfortable and I remember not wanting to watch it with my mum because I was embarrassed wanting to watch it with my mum because I was embarrassed to be watching it. If you know what I mean I don't know if you too had a similar kind of experience watching this at the time. I didn't watch it at the time. I've until last year I'd never seen an episode of Big Brother so I just heard about it by Osmosis and I actually went to school with quite a lot of kids of other races. So it was quite a big deal. Yeah.

Everybody was very much pro-Shilpa. Not that anyone, anyone wasn't, but yeah, it was quite the thing that was happening there. Lizzie, did you watch it? Yeah, I did. It was like you say, it was kind of embarrassing and shameful to witness, but I feel like everybody did watch it. It really did feel like one of those I can't believe they've actually left it in sort of things. Andy, how are the UK album charts looking at this point? I have a few big ones to talk to you about this week but I have one colossal one to talk to you about this week. The very first number one album of

2007 is in fact the highest selling album of the whole decade. It is Back to Black by Amy Winehouse. Oh okay yeah. Which means two weeks at number one initially at least and then it returns. It went 14 times platinum as of 2023. Holy balls. Wow. Within the decade itself, within the decade sales, it was the third highest selling album of the decade, which is impressive considering it only had three years of that decade. But in the whole 21st century, looking back, it is the highest selling album of the 2000s and is the 13th highest selling album of all time in the UK. It's brilliant obviously, it's brilliant, it

deserves it but wow, wow, 14 times platinum that is colossal and only two weeks of number one with that. It was a proper slow burner, it's sort of consistently been big ever since really back to black and thoroughly well deserved But that is eventually replaced at the top by the view with hats off to the buskers Which went single platinum and was number one for one week Probably not as good an album as back to black. I think that's fair That's then replaced at the top by Not Too Late by Nora Jones, which also went to number one for one week and only went gold

during that dubious club. So after Back to Black it was a bit of a quiet week, but then we've got another big big taste maker for 2007. It's only Meeker with Life in Cartoon Motion, which went to number one for two weeks and went five times platinum another belter of an album there only we had an opportunity to discuss meeker Amy Winehouse then returned to number one for another week with Back to Black before being toppled by Kaiser Chiefs with their second album yours truly angry mob which stayed at number one for two weeks and went double platinum. Such a shame we won't get to talk about Kaiser Chiefs all meeker this week.

Damn it! Oh, so unfair. But yes, this is the coming of the biggest album of the, well, not the century, the biggest album of the decade. We're a big fan of Back 2 albums, apparently. We are. Yeah. Lizzie, how are things in the States to open 2007? Just to add, I know we've already harped on quite a bit, but of all the people we never get to cover on this show, I think Amy Winehouse might be the saddest. Oh, I know. Definitely. I know. Unbelievable. Yeah. As I've previously mentioned, Irreplaceable by Beyonce was the

US Christmas number one for 2006, and it stayed at number one until the 24th of February, when it was finally knocked off the top spot by Nelly Fatardo and her single, Say It Right. It was the third single from her album, Loose, and was her second single to reach number one in America. It stayed at number one for one week and was eventually certified four times platinum, but sadly only got to number ten in the UK. Stupid British public. After that, Justin Timberlake returned to number one with What Goes Around, Ellipses Comes Around. It was his third consecutive number one hit from Future Sex Love Sounds

and it stayed at number one for one week, eventually being certified platinum. Back here in the UK it peaked at number four while Take That were at number one with Shine. More on that later. And finally for singles this week, American rapper Mims scored a number one hit with his debut single This Is Why I'm Hot. It was the lead single from his debut album Music is My Saviour. Yeah I know. And it stayed at number one for two hot. It was the lead single from his debut album, Music is My Saviour, yeah I know. And it stayed at number one for two weeks. It was certified double platinum in the US, but it only got to number 18 in the UK later this year.

This is one of those where, I mean, I do trust you Lizzie, but this is one of those where sometimes I think, you've just made that up. Surely you've just made that up. Mims at number one, what what is the end not familiar this is why this is why this is why I'm hot this is why yeah yeah never heard it they really got into snap and we didn't we weren't that big on snap the best that we had was soldier boy but they had like I mean Laffy Taffy was huge over there and this is why I'm hot and there's all sorts of other ones like

that. So over to albums so we've got Hip Hop is Dead by Naz which spent one week at number one peaked at number 68 in the UK. We have 21 by O'Marrion one week at number one got to number 24 in the UK, somehow being Naz, I don't know. Then we have Dreamgirl's music from the motion picture. 2 weeks at number 1, ineligible for the main UK charts but got to number 2 on the Sound Tracks chart. Then we have Daughtry by Daughtry. 2 weeks at number 1 got to number 13 in the UK.

Next up is Late Night Special by Prissy Ricky, one week at number one, failed to chart in the UK. Then we have Not Too Late by Nora Jones, three weeks at number one, as Andy mentioned, also hit number one in the UK. And finally this week for albums we have Infinity on High by Fall Out Boy, gotts number one for one week, gotts number three in the UK. And that's it for me. All right then, thank you both very much. Thank you for your patience everybody. We are now going to get to the first new number one of 2007. Of course, the first number one was Leona Lewis, who stayed at number one for four weeks and three of those weeks were in 2007 so the first new number one is this I tried to do every bouncy with my queasy smile Am I too dirty? Am I too flirty? Do I like what you like?

Yeah, I could be wholesome, I could be low So I'm just a little bit shy Why don't you like me? Why don't you like me? Without making me try I try to be like Chris Kelly But I know looks were too sad So I try the little Freddy I've got an answer to my

I could be brown, I could be blue, I could be violet I could be red, I could be purple, I could be anything you like You gotta be green, you gotta be me, you gotta be everything more Why don't you like me, why don't you like me, why don't you walk out the door Okay, this is Grace Kelly by Meeker. Released as the second single from his debut studio album titled Life in Cartoon Motion, Grace Kelly is Meeker's second single overall to be released in the UK and is first to reach number one. However, as of 2024, it is his last. Grace Kelly first entered the UK chart at number three, reaching number one during its

second week on the chart, knocking Leona Lewis off the top spot. It stayed at number one for five weeks. Across its five weeks atop the chart it sold 246,000 copies. Along the way it beat competition from same genes by the view, Too Little Too Late by JoJo, Exceda by Mason. This ain't the scene it's an arms race by Fall Out Boy, The Prayer by Block Party, Ruby by Kaiser Chiefs and I Wanna Love You by Acon and Snoop Dogg. When it was knocked off the top of the charts, Grace Kelly fell one place to number two. By the time it was done on the charts, it had been inside the top 104, 49 weeks. The song is currently officially certified two times platinum, so double platinum in the UK as of 2024.

Andy, kick us off with Meeker. Well, dear listener, I want to talk to you. The last time we talked, Mr Smith, you reduced me to tears. I promise you it won't happen again. So you just have to let that theatrical side out there because it's Meeker, of course, I have to let the theatrical side out. That's what he's all about. Oh isn't this wonderful? Isn't this wonderful? I've been so looking forward to Mika arriving on the scene. One of the highest compliments I can pay to Mika

in general already at the start is that although this is like right up there and is absolutely brilliant and I've got nothing but praise for it, it's not even my favourite Mika song, it's not even my favourite off-life and cartoon motion that would be love today which I think is just the total complete package as a pop song. But this is just glorious! I mean there's so much to unpack with this. First of all the whole story behind it and the subject matter of what this is where Mika had been plugging away trying to get a record deal under any kind of persona or any kind of sound or genre or style for quite a few years without success and just sort of wrote this in frustration of like

look I will do anything, I will do anything, just sign me, I will make myself, I will paint myself purple I will do anything, you know, to get a record deal and I like songs like that I like sort of songs about the industry that are then cheekily used as a lead single. But yeah, it's done with this kind of quirky, almost like Vorderville style to it, where it's like there's a lot of really old reference points in there, like Grace Kelly, who a lot of kids, including me, wouldn't have even heard of at the time, like it's a really old reference point and all the clips from the old movies The Grace Kelly's in as well. It's just like a really new viewpoint

But not new in a vacuum and that's the other wonderful part about this is that I obviously had a really big monologue last year about Scissor sisters and what they meant to me and how great and validating it felt to me as a kid to have something like that being big and mainstream in the charts and although this is very different it does still sit in that alternative queer kind of space and I think without that kind of Toe and having been set a few months earlier by Scissor Sisters you wouldn't really have the door as open for me I don't think I certainly don't think one can erect directly to the other, but I think we're in a world

now where this kind of flamboyant, slightly off-kilter, slightly unhinged view of pop music with a very queer sensibility and a very kind of flamboyant streak to it. That's like what people are going for at the moment. And that's just wonderful. It's really really really wonderful for that to be capitalized on and I think Mika in general goes further with that. That I think one of the very highest compliments again that I keep saying that but I've got a lot of compliments Mika but one of the very highest compliments I can give to Mika is that he really made a genuine contribution to normalising flamboyant, non-masculine male music across the mainstream. That I think, this is music that like the chaviolads in the playground and the mean girls and your dad and your granddad could like all love

and it not be taboo to love this and the reason for that is just because the quality of the music is so so good boy does he know how to write a song like they're just so full of hooks they're so full of brilliant vocal acrobatics they're so full of joy that you can't help but get swept up in them and Grace Kelly is you know the example, one of the strongest debut singles I could really think of, to be honest. But everything on that album, I mean, that album, Life and Cartoon Motion, is just amazing. It's got Love Today, Big Girls You're Beautiful, Lollipop, Happy Ending, like so many songs, almost every song on that, before I sat down and listened to the album last year for the first time in ages, I found myself thinking, God I know every song on this, like not even through listening

to the album, I know every song on this due to osmosis. Like all of these songs were everywhere. It's really a phenomenon that I can't really recall with any other artist where almost everything on the album really got cut through and penetrated because people were just so interested in Mika. And again, that's because he's something completely different, something really alternative, who's exciting as an artist. And sitting in that place as someone who's really open indoors and really normalising things in the mainstream, that's just something to be incredibly proud of. As for this song, I think it's just absolutely brilliant. My one and only complaints about it, and it's the only one, is that I think it's a little bit short, a little bit brief. I think it could go further and go even bigger and even

more bananas. But that's just me wanting more of this. And as you can see, I've got nothing but praise for it. So to see it clocking in at like just about three minutes, I'm like, oh, give me a little bit more, give me a little bit more give me a little bit more but it's so confident it's so different it's so fun it has so much to say and it is so full of content that I I will certainly be putting this in the vault for sure and it's an absolute cracker of an opening to 2007 and a real icon of an era. So it's absolutely wonderful. But in the style of the song, after each chorus of talk, after each chorus, of course, I'm going to hand over to Lizzie now.

It's just with the simple statement of getting angry doesn't solve anything. Yeah, Lizzie, what about you for Grace Kelly? Yeah, I don't think I can better that. Um, I agree that I think sister sister's kind of you for Grace Kelly? Yeah, I don't think I can better that. I agree that I think Scissor Sisters kind of paved the way for this, but I also think it's an example of another phenomenon, which I mentioned to you both in the group chat,

which is the January number one. It's this kind of period at the beginning of the year where things are a bit quiet and so something like this can kind of sneak into number one. You don't see it as much anymore but even then saying that at the time of recording the number one is Stick Season by Noah Cahan who I don't think has had a hit before then. No. So it's proof that this sort of thing cancelled happen. But yeah, we've had this, we had when the song goes down last year, there's surely other examples of these

kind of not necessarily unusual but unexpected number ones kind of sneaking in. And I like that I like that these more underrated stars get a chance to shine before all the big stars come back and have their big summer hits like more on that later this year But yeah, I love this. I think it's very colorful and expressive in a way that I think is quite rare for number ones in this century Particularly going forward where it all does feel like it's sort of built to fit a formula. This feels like an expression of the artist and their identity, which, yeah, I really treasure this because you don't get it very often. I wrote a note here,

it's like if Killer Queen by Queen was written from the perspective of the Killer Queen. And obviously it references, you know, Freddie and Grace Kelly. Yeah, I agree with you, Andy, that it kind of references points that aren't necessarily obvious in a modern context. In a way, it's kind of like, you know how Paul McCartney used to do those like vaudeville types on? Yes. Like, Honey Pie, where it wasn't fashionable, but that was kind of the point. He was just very much liked this style, so he did it. And with me, it seems like very much the same thing. It's his way of expressing himself and distancing himself from the crowd. And what better way to do that as well

than with that falsetto, with that falsetto, I mean. Like, I will say, as much as it's very ostentatious, I think it's quite human as well, the fact that he just about hits the note. I think if it was so like perfect and pristine you'd get something like I don't know sugar baby love by the Rubettes where it's like the sound a biblically accurate angel would make before they devour you. I think you do get the sense of yeah someone putting it on for show and it's

impressive but it's also like oh you're flying too close to the sun there. But you like that about him. It feels honest and it feels genuine and it's very pure. It's a shame we don't get another Meeker number one because I think at this point I would have seen Meeker in this song and thought give it ten years he's going to be like the biggest star in Britain. And it never was to be, but I'm glad we at least got this. Like you Andy, I'm putting this straight into the vault.

I love it. Humphrey, we're leaving. I'm always gonna have a slight resentment of Sugar Baby Love because it kept this town in big enough for both of us. Oh no. Like number one, back in 1974. But it's funny that we're mentioning Sparks and Queen

and stuff like that, and we'll get to that in a second. Yeah, I agree. This is sort of magnificent. I think it's quite an achievement actually to make a song that is about so much emotional turmoil and confusion sounds so joyous and direct and as you were saying exuberant and ostentatious and when we covered

Sizzly sisters I remember having a little moment where I couldn't quite think of the word that I wanted to think of a word that kind of summed up my chemical romance and the Sizzle Sister songs together. And I think the word I was actually looking for was pride. I think we were sort of close with flamboyant or whatever we said, but it is prideful. And I think this is also prideful as well. I'm glad you mentioned scissor sisters Andy first

Because I put them in my notes too that there is a scissor sisters Flair to this in the way that it tries to find the good in the bad And that makes me think that me because label Eventually we're kind of happy to see this and happy to hear it and happy to push it out there After the success that I don't feel like dancing had already had. Because the song obviously as we've kind of alluded to, it's about Mika being told by a record label executive that be more this, be more that, you know, like be, you think even it gets told, you know, more like Craig David, like, what? The label executives know anything. Instead, Mika decides to just be himself. And this comes out, just this loud

theatrical marvel of a pop hit, you know, it's so rare, even I think past the 70s to get something that is just so, as was mentioning sparks and Queen before something so glam Because this is unabashedly itself in the best that in the way that a lot of the best glam Really was you know Maybe I'm maybe more nostalgic for this than I should be because of how poor quite a lot of 2010s pop is I think But there were points during the 2010s where I would have happily sacrificed a toe for pop music that was as consistently well written and lovingly composed and as personal as this. You know, you can really feel this grow outwards from its original demos that were no doubt worked out on the piano. I think you can sort of get that feeling.

Mika said that he interpolated bits of the barber of Seville into this as well, like bits of that opera. You know, this is basically a theatre kid being let loose on the charts and it's easy to see why it was a number one for so long because I think its attitude is infectious and I think it proves that people can connect with this kind of stuff when it is put in front of them, like in January, where January is a known dead period for like, you know, labels just don't put anything out because no one's got any money, because everybody knows how long January feels payment wise. You're waiting for that next paycheck to come through and so nobody

releases anything in January, except somebody like Mika who might be looking to just sneak in and land a number one because he doesn't get a number one after this. He has a few top tens but it's all kind of over by sort of like 2009. I remember hearing We Are Golden on the radio precisely once and I remember exactly where I was. I was on holiday in Ayrshire with my parents and we parked up next to the beach on the seafront in air and I heard it come on the radio. It was a brand new song by me, it's called We Are Golden. I remember listening to it thinking, yeah, it's fine. And then I never heard it again.

Like it made it into the top 10, but then it was out and gone. And none of these other songs bothered the top 40 after this. I think it's because people got a little bit, like the public at large got a little bit irritated with just how sunny he was and how I do like love today and I kind of like happy ending big girl, the other one lo Lollipop. Like, I don't mind them necessarily, but I think that after, you know, it just, I think when you put yourself out there that firmly that Mika did, and then I just think this leans a little too far, like Mika, this song, like his future songs, it leans a little bit too

far into that after So-Mate. There's not a lot of variety in atmosphere with Mika, I don't think, with the songs that he released. Apart from maybe Relax, Take It Easy, that was, you know, that was, but that was his lead single and it didn't go very well. And so I think there was a bit of a rethink. Just stuff like with the kachin-nah at the end of the song. And as more and more singles came out, like, I think they're all decent the kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin-kachin of Mika's, of this song and of the stuff that Mika does. Which makes this like, it's not

a fluke exactly, but you kind of know what I mean. I feel like it's like the best example of what Mika can do. And unless you're a pophead who really wants to get into like more stuff, I don't think I would ever really encourage people to go through life in Cartoon Motion if they're not prepared for like just, it's the same. It's just as bright. It's a sunny day and a smiley face constantly. But I am glad that this was number one because it is, this is wonderful and warm. And I think it's a shame that we don't get to chat about Love Today, which is another one I like, not as much as this. But those two together, I feel like if you just said just those two, that's everything you need to understand, Meeker. I, you know, I'd have no problems with just those two. Just wanted to make a little shout out to

Lollipop, which didn't get into the top 40, but that was bigger at my school than this was. Cause I remember throughout the year, meeker ringtones were a really big deal. Like everybody Bluetooth in meeker ringtones to each other and Lollipop and Happy Ending were the two that everybody at my school would like send into each other. And then there was a point where somebody's phone would accidentally go off in class and nobody knew who's it was because everybody

had lollipop as their ringtone. I don't know why that was the bigger one than Grace Kelly at least at my school. But I think yeah, people at my school, kids bought into him, I think, but just kids isn't quite enough to get to number one. I have one of the things that I would be really remiss if I didn't say about this one. Like the main role that Grace Kelly has in my life is that you know we all have our default karaoke song that if someone asks you to do karaoke then like for me it's a little respect by Eurasia but with my husband it's always this. So I've heard this song sung live by my husband like dozens of times.

So that's the main role that this song has in my life. So yeah, but it'd be very remiss not to mention that bit. I just have a bit of a theory actually. Do you reckon he was just a little bit too late? I don't think so. No, I think it, like I say,, it was just the right place because I do think the environment was there from Sys-A-Sisters and a couple of other acts and the kind of the indie movement in general to kind of let people sneak in who might otherwise not have

snuck in. So I think a few years earlier or a few years later, it's hard to know obviously, but I think this was his best shot around now. Yeah, I think I think this few years earlier or a few years later, it's hard to know obviously, but I think this was his best shot Around now. Yeah, I think I think this was the right time. But what do you mean by that? Like, what's the case for him being a bit late? Well, I think the sister sisters were kind of big before that. It's just that they only had a number one in 2006 and There was also a lot more of this kind of glam pop around a couple of years ago I'm thinking things like Some Girls by Rachel Stevens and like Goldfrapp. Yeah whereas you know give it a year, two years and it's all gonna be samey club bangers and moody synth pop and Mika doesn't really fit into that the same way. Yeah that's fair, that's fair. I think that Mika was slightly too late in the sense that like by his second album,

I think people moved on very quickly. I think we're about to enter a period of like significant upheaval and change. Oh, yeah. The charts in 2009 compared to 2007 are virtually unrecognizable. Pop moves like that. It really moves fast. Something, I don't know what happens, but well actually I know what happens. Lady Gaga happens.

But like it just, there is like a seismic event coming and it means that on the other side of that seismic event, artists like Mika try to sneak in and go, hey, remember me from like two years ago? Wow. Artists like Mika tried to sneak in and go, hey, remember me from like two years ago? Wow two years ago feels like a long time Mika right now Sorry, you know and so You know we are golden gets top ten because it's a comeback single, but I don't think people really bought into what was it? The boy who knew too much yeah The album yeah, which was a bit of a shame really, but I think that's more an indictment of where pop heads

in the early years of the 2010s rather than Mika himself. I'm just looking at this episode, you know what I think happens? America. You look at this episode and it's all British acts, right? And then give it to 2009. And it is largely dominated by, you know, Yagaga, Sibion, César, Rihanna's. Like you say, there is a kind of shift that happens. It means that sort of not top tier British acts kind of get left in the dust and it's a bit of a shame. There's only one way to round off this segment. Ka-ching! Gah! We will move swiftly on to the second track this week, which is this. Let it never be said, the romance is dead

Cause the soul of two elves occupying my head There is nothing I need, except the function to breathe But I'm not really first, doesn't matter to me Ruby, Ruby, this is Ruby by Kaiser Chiefs. Released as the lead single from the band's second studio album, titled Yours Truly, Angry Mob, Ruby is Kaiser Chiefs' fifth single overall to be released in the UK and their first to reach number one. However, as of 2024, it is their last.

Ruby first entered the UK chart at number 2, reaching number 1 during its third week on the chart, knocking Nika off the top spot. It stayed at number 1 for one week. In its first and only week atop the charts, it sold 38,000 copies, beating competition from Lil Star by Khalees and Celo Green, which climbed to number 3. How to Save a Life by the Frey, which climbed to number 5. The Sweet Escape by Gwen Stefani and Acon, which climbed to number 7.

Catch You by Sophie Ellis-Bexter, which climbed to number 8. And Shine by Take That, which climbed to number 10. When it was knocked off the top of the charts, Ruby dropped one place to number two. By the time it was done on the charts, it had been inside the top 104 43 weeks. The song is currently officially certified two times platinum, so double platinum in the UK as of 20 for Lizzie. Lizzie, Lizzie, Lizzie, Lizzie. How are we with Kaiser Chiefs? I never really got into the Kaiser Chiefs at the time because I didn't really have a need for them.

Like, I was already into a lot of the old British rock bands that influenced them, like The Blurs and Bowies and XTCs. And because I was a bit of a snob back then, I saw them as a sort of British rock continuity band who didn't have much of an individual identity of their own. A lot like Oasis, I thought they were maybe too derivative of their influences and I found that a little bit difficult to look at. But in hindsight, I probably should have devoted more attention to them because yeah this is pretty good. It's got a lot of the usual like modern

rock tropes like the big sing-along football terrace style chorus, the sort of Chelsea dagger type thing, but it's got a pretty solid like strangler'sler's groove underpinning the whole thing. It is very loud and infectious, but it's energetic and they kind of sell the sort of slightly detached Terry Hall style lyrics in the verses, even though it is just a song about unrequited love ultimately. I think, yeah, they they do enough to pull it off. I don't have an awful lot to say about it. I just think, yeah, it's pretty solid and I'm sorry for not giving them more of a chance. I know Andy, you were a big fan of them at the time, right? A huge fan, huge fan, yeah.

So I'm curious to see where you come up from this because like, is this their second album? It is yeah I'm gonna hand over to you in the slightly awkward way Andy what do you think? Oh, you missed such an opportunity to repeat what Rob did and cue me in with Andy Andy Andy Andy Andy I come at this from a really difficult point because I was a huge fan of Kaiser chiefs and I remain a Huge huge fanboy of their first album. But this song is not very representative of what I liked about them. This is, it's not a

flu kit, but it's definitely like, it's a hit because it's the lead single of their second album. And that's basically it, to be honest. I was an absolutely huge Kaiser T-Ships fan. I think of the absolute glut of British bands trying to cash in on the indie movements in the mid-noughties I think if you put it on a scale of like the very worst being oh I don't know who would we say is the very one like the kooks maybe at the very worst end of it and then in the middle twang all the twang yeah the enemy and then yeah the middle you've got like the fratellis or something and then key in quite high up and then at the very top very top I

would put Kaiser Chiefs as like one of the best bands to come out of the mid-nauties really because that first album employment it's kind of similar to life in cartoon motionfully enough in that there are so many songs off it that were really really successful, some of which without even being singles. Like if you look at like media of that era, you're hearing Kaiser Cheese everywhere, that first album's got Every Day I Love You Less and Less, I Predict a Riot, Modern Way, Na Na Na Na, Oh My God, Born to Be a Dancer Saturday Saturday Night, these were all very, very well known songs that were out there. And for good reason, they were really, really catchy for starters. They were really good songs that had really

interesting instrumentation that kind of combined like sort of homemade, almost like the clash kind of a sound with synths and weirdness. They had really kind of verbose lyrics that were quite odd and used quite strange vocabulary sometimes. I think Ricky Wilson was a great frontman who had quite a lot of charisma about him. And so I absolutely adored that first album. And I still think it's brilliant to this day. But then they do take it down turn after that first album They never quite recapture the magic and this is good like it is really good I think I think this is a really nice lead single

But I know that this came in at pretty late stage of the album because they needed a lead single The other songs of this album I mean there are some good ones that you could sort of see fitting in unemployment like one called heat dies down and good ones that you could sort of see fitting in unemployment like one called He Dies Down and there's a few others but like the highlights from this album are where they try and expand their sound and do something a bit different. There's a song called Love's Not a Competition but I'm Winning which is probably the best one off this album which you might know Rob because it often quite shows up on lists of songs where the cover is better than the original because Paramore did a cover of Love's Not a Competition but I'm winning.

As soon as you mentioned Love's Not a Competition, there was a thing in the centre of my body that went OOP! Like that! Can't need to... You know that meme of that boy who's straining really hard and his veins are showing? I was like, don't mention it, don't mention the cover. Well, that's what I'm here for. But no, it was a lovely cover. But like their second album, they kind of expand their sound a bit and they have a lot of songs that are quite good, but they're not very commercial, like the title track of Angry Mob and Like Loves Not a Competition, But I'm Winning, where they're very nice, but they're not the kind of mod party that they were on the first album. Where in the first album you can easily see virtually all of the songs being sung by Paul Weller.

You know, it's like a sort of mod and update of the mod movement really. So I love what they were about at first and they were the first band that I ever chose to go and see live. I say chose to because the first band I actually saw live was when my friend dragged me along to see The Offspring in 2004 and that was was alright. But I chose to go and see the Kaiser Chiefs and it was absolutely amazing time. But no, anyway, to this song, I really do like Ruby. I think it's got obviously great hook. And I do like that they still have those kind of odd lyrics that just, they just read really strangely, like due to lack of interest, tomorrow is cancelled, is one that I always quite like. It's just a very, very well put together pop rock song that you can easily see why it goes on. And

it's borrowing quite a lot still from 60s and 70s bands. I think there's quite a clear kinks influence in this one one actually. Yeah, there's a lot of showing your work with this song and with Kaiser Chiefs in general. But this one's not my favourite of them. The nostalgia around Kaiser Chiefs that I feel in general is very, very heavy and so I'll always love hearing this. And it is a really nice song I think, but I think if we were covering something like Oh My God or Every Day I Love You Less and Less then they would be like 10 out of 10 for me. Yeah, just everybody go and re-listen to employment. It's so good. Ignore the fact that every song features some sort of uuuuuhhhh but other than that. Yeah,

just brilliant first album. Funnily enough, for those of us who follow us on Twitter, last year I decided to review every single album that I own. We've had two this week, which I gave five stars out of five, Life and Cartoon Motion and Employment. I gave both of them five stars. Yours truly, Angry Mob, was like three, unfortunately. So to answer your question in a very long with fashion Lizzie. Yes, I was a huge fan of them, but this is not particularly represented

of them, unfortunately. But I do still really like this. Interesting. Yeah. Andy, it's strange. Have you been reading my notes or have I been reading yours? Yeah, this is good. Pretty good. I always think, like you, Andy, I think that Kaiser Chiefs are at their best when they're not like this. I prefer them when they're slightly stranger. Things like, every day I love you, listen, let's, and oh my god, like they had this quite slightly quirky fidgety brand of, you know, the 2000s post-Britpop indie rock thing. When they really allowed themselves to be that way, I always thought that things like Oh My God, and things like this old backstreet dentist working a shirt with your name tag

on, drifting apart like a plate tectonic, etc. That was the side of them I preferred. But it feels like for this second album, they kind of got refined, if you know what I mean, and it means that you get stuff like Ruby, which is, you know, it's a good showing of their skills and it's basically a money machine with the Ruby Ruby Ruby Ruby Ruby, because it's like proper sing-along chorus where everybody, it's a kind of chorus that everybody can get on board with. It's been sung at festivals and pubs and in living rooms and everywhere you know because everybody knows it you know and I've always liked

the how the the sugary kind of like power pop that which, which I'm, I'm, I am kind of into, but I just find this to be a bit upper mid table kinds of chiefs. Yeah. Of those first two albums. Like it's decent. It will probably qualify for the Europa League, but it's not gonna, you know, it's not gonna win the title. If you know what I mean, it's just kind of.

Yeah, like Man City. Yeah. It's not gonna win the title, if you know what I mean. It's just kind of... Like Man City. Yeah. Well, more like Brighton at the moment, I suppose. But I think it's also a great songwriting decision to bring the lead guitar lick back in under the second half of the chorus. And I've always liked you, Andy, loved that lyric that due to lack of interest tomorrow was canceled.

And I do think that going through life without Akaiji Chiefs number one would have been a bit unfair because they were a staple of this particular period. They were a staple of this era. And they did deserve this as well because if only for the amount of grafting that they had to do beforehand as well because normally you get quite a lot of bands, the

average time span is like four years between starting as a band, getting signed and getting your first hit. You spend the first year rehearsing and playing a few gigs, the second gig making yourself tighter, the third year looking for a label, then the fourth year you go over the top and that's it. But Kaiser Chiefs have been around in some form under different names since about 1996. So if you think like that's eight years of grafting between being in a band and getting the one with employment. And then another two years after that, three years after that to get a number one, it's a long time.

And so I think fair enough, they are a bit of a, not exactly a rags to riches thing, but they deserved a moment in the sun and they got it and they took it and Ruby is very well executed for what it is. I will say though that Kaisa Chiefs as they are in this kind of mould and the person that Ricky Wilson becomes, I find it very hard to draw the line between something like Every Day I Love You Less and Less and person singing in that song being a judge on the voice 10 years later. I always thought there's a there is a disconnect where like he completely Cleans up his public image You know if you look on the front cover of yours truly angry mob

He's got his hair down his fringes down and he's beard's a bit unruly and You know that sort of thing. And then you look at him on the voice and it's like, he's got a very Cliff Richard 50s hairstyle. His beard is very well cropped. And you can tell that at some point he pays a stylist. And it's the start of him becoming the acceptable face of the voice alongside, you know, Tom Jones and Will I Am? acceptable face of the voice alongside you know Tom Jones and Will I Am. Just so strange that like he was elevated to that kind of status. In a way 2007 is a bit of a crossroads for British indie rock.

You either go two ways with your difficult second album, you do more of the same and it all kind of falls a bit flat or you sell out and go full pop and you make it big and the Kaiser G's made it big. I just have a few extra things to add on this that I forgot to say. One of which was when you were talking about lyrics that you liked, Robert I have to mention my favourite ever which is P-P-Penuma thorax is a word that is long. That's a great name for this. And the other thing I have to mention my favorite ever, which is, P-P-Penuma thorax is a word that is long. That's a great name for this. And the other thing I have to plug,

which I forgot to mention when I was talking about employment is anyone who's got time, I cannot recommend enough their live DVD enjoyment because it's a live DVD in the loosest sense. It's part like my performances for about 20 minutes of it. And the rest is a kind of made on the fly parody documentary about leads, narrated by Bill Nye, which is absolutely bananas and is written in this kind of Steve Coogan weird kind of a cervix style. And it's genuinely genuinely hilarious and it's not a live DVD at all.

It's kind of like the Kaiser Chiefs do comedy. I can't recommend it highly enough because that's what they were like back then. They were just genuinely very strange. So yeah, I'm glad to have been able to pay tribute to them, but you can kind of stop after the first album and that live DVD. Alright then, we will move on to our third and final song this week, album and that live DVD. Alright then, we will move on to our third and final song this week, which is... This! And I want you to get out I don't know what there is to see But I know it's time for you to leave We're all just pushing along

Trying to figure it out Out, out, out, out Your anticipation pulls you down When you can have it all You can have it all Oh, oh, oh, oh, so come on So come on, get it on I don't know what you're waiting for

Your time is coming, don't be late Hey, hey, so come on See the light on your face Let it shine, just let it shine Alright, this is Shine by Take That. Released as the second single from the group's fourth studio album titled Beautiful World, Shine is Take That's 20th single overall to be released in the UK and their 10th to reach number one. It's a decent hit rate and it's not the last time we'll be coming to take that on

this podcast. Shine first entered the UK chart at number 83 reaching number one during its 6th week on the chart knocking the Kaiser Chiefs off the top spot. It stayed at number one for two weeks. In its first week at number one it sold 41,000 copies beating competition from standing in the way of control by the gossip which climbed to number seven, Miracle by Cascada which climbed to number eight and what goes around comes around by Justin Timberlake and in week two it sold 27,000 copies beating competition from the Creeps by Camille Jones and Feder de Grande which climbed to number seven and

say it right by Nelly Vitardo which climbed to number ten and that was a shame. When it was knocked off the top of the charts Shine fell three places to number four. By the time it was done on the charts, it had been inside the top 104, 60 weeks. The song is currently officially certified, platinum in the UK as of 2024. Wow, songs are staying around in the charts for a long time. Ever since downloads, ever since the Pivot to Downloads, I feel like songs are staying in the charts forever. Andy, take that, Shine, how are we?

I am very much of the same sort of comments about this as Lizzie did about Ruby in that it's just a nice song and that's sort of it really, that's all I have to say about it. I think it does a really good thing of securing, take that long term future in that Felly mae'n gwybod i'r ddweud o'r ddweud. Felly mae'n gwybod i'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r dd feature. We've done something that's kind of morose and heart felt now and that's something really cheery. It's kind of showing the versatility and both patience and shine are really well written songs they're really fun so it secures their long-term future really well. As for this I mean the main thing that surprises me about it is that it came out when it did because to me this is just like a summer song it's like the most summery of songs that when I think back to like summer 2007

it would probably be this song in amongst there somewhere. So I'm really surprised it came out when it did but that's just a random thought. There are a few criticisms I have of it. One is that I just, I've never bought Mark over as a front man to be honest. I think his voice is just a bit, you know. Let me know, yeah.

Yeah, though, that matters to me. So, just, I dunno. It reminds me a little bit of Ashley Peacock, where a lot of the time I'm like, stop being so hard on yourself, Uncle Fred. Yes. So, I mean, I'm being mean, but if we're going into, because we've talked about two artists so far who, you know, have got by on quite a lot of charisma with Mika and with Ricky

Wilson in the early days, and then you've got little Marco and he's doing his best. But it's a really, really well written song. It once again shows off Gary Barlow's intense talent for bridges that the bridge is the best bit about this song once again there. Let me know yeah let me know yeah your all that matters to me. It just really takes you away into the last act of the song which is lovely. The main thing I remember about this song is the Morrison's advert but I think to a lot of people this is just the Morrison's advert. But I think to a lot of people this is just the Morrison's song. And they've used it many times since, but the initial period of it I remember is those stupid adverts where celebrities kept bumping into each other in Morrison's, where I remember one where

Anton Deck bumped into Lulu, like in The Veg Isle or something. I remember Phil Jupiter's actually joking about this on Buzzcocks about how funny those adverts were, but there's one where Alan Hansen looks at some bread, picks one up and goes oh great value and throws it into the jolly. And all of this is to the tune of Shine. So yeah, I mean I always think of Morrison's when this song comes on, but yeah it's a really, really nice song and it also has that one bit, the compliment moment, which is the stop, stop being so hard on yourself. Yes. Yeah. Yeah. Which is a lovely, lovely bit. Yeah. It's just a really, really nice song.

It's funny you should mention Morrison's because on the rate your music page for shine, we'd take that in the comments over on the left hand side. One of the comments in big capital letters is right now at Morrison's we've got a two for one offer aren't you? Well hello Lulu what you got there you got some curry have you? At the time I absolutely love this and I have been known to profess my love for it in recent years But honestly right next to patience. I just find this to be less emotionally resonant these days Despite the volume at which it is performed I think it's just less impactful like like don't get me wrong like I still enjoy this a lot

I like that this week has been defined by bright, sunny, positive pop rock songs. All three of them, they all wear their hearts on their sleeves and they're about identity and love and friendship. You know, I'm always gonna have time for rock songs that aren't all, you know, macho and masculine and are about things like, you know, it's just one friend like this one saying to another, hey, I love you. Hope you feel better soon. You know, that kind of motivational poster kind of anthem, if you will. And it is a good display of take that strengths as a unit where you've got, you know, Barlow on piano, Howard and Jason doing some lovely backing vocals, Mark doing his best up front, even if, and this is something that was pointed out

to me by a friend of the podcast Edward Thomas and I have not been able to unhear it since it's so funny in the first verse when Mark says you're everything I want to be and it like the vocals yeah whatever vocal smoothing they've done on his voice just makes it sound like someone's like pinged his vocal chord at the same time It's just you're everything I want to be Yeah, it's really really kind of silly and the other thing that I kind of hold against this is That it's and I don't mean this is it's gonna sound like a massive insult when it's not but it's and I mean that it's more of a massive insult to another band, but like this sounds a bit yellow to me and I've

Yellow I like them to a point but I've always just found them to be like the the globia like like the the globia like too sugary end of things that Paul McCartney wrote in the second half of the Beatles career it just it feels like they take and like there's like bits of wings in there and it just they're just a little bit rubbery for me I think if I hear living thing on greatest hits radio one more time I might put my head through the windscreen in the car. Well, it just, it feel like if I hear that string section, the, it just, I've heard them too much over the years. I've heard them far too much over the years and their lesser elements have stuck

out to me a bit too much over the years. And this reminds me a little bit too much of ELO these days for me to be just that totally on board with it. I don't necessarily dislike ELO, I just find, I like them but I find them difficult. I just, I, Jeff Lynn is, you could kind of feel it on the new Beatles one that like, what was that called again? Now and then, that was it. That Jeff Lynn's hands had been on it at some point. Wait, just, I find them a bit too saccharine. I think saccharine is the word, and I think that with this, with all the vocal smoothing,

this has a similar kind of saccharine quality that I can't quite look past. Lizzie, it sounded like you agreed, how'd you feel? I mean, you're ignoring the best yellow song which is Telephone Line. Is it? Is it about? Well, what do you think it is? Don't bring me down. Love, don't bring me down. Oh, that's a good song.

Yeah. I still prefer Telephone Line though. There's a sort of longing that always kind of gets me on that. I think it's a nice one, but yeah, for me, don't bring me down. And obviously Mr. Blues Guy and Tentastone. I love Tentastone as well. I'm kind of sick of Mr. Blue Sky. I'd happily never hear it again.

Yeah. I'm in the wrong audience here. The thing with, like, out of the blue and discovery and a new world record and stuff, like, my dad loves E.L.O. and I wish I could love them just as much as he does. But... And Mr. Blue Sky will be played at my dad's funeral, I know that.

And so I have a hard time feeling any kind of animus towards that, but it just, I find them, I do like them. It's really strange to come at it like this. I do like them, but I will always be stopped from loving them because there's just this slightly, it's just this slightly it's just this slightly rubbery bubblegum like yeah I get it but like actual physical bubblegum stickiness to yeah a plasticky whiff I know what you mean yes yeah but sorry yes uh shine take that how are we

I mean I'm kind of bringing that up because I don't have much to say about this. I have very similar feelings on this one as I had about patience in that I think it is similarly well-crafted as a pop song, but it's too polished to be striking in any way and there's also a similar quasi religious thing going on in this and the chorus is Arguably even more blatant about it. You know, your time is coming, don't be late. And yeah, I agree with you. Mark isn't as strong a vocalist as Gary Barlow and the sweetening they've done, his voice makes him sound ridiculous. I think if they had just left his voice as quite open and raw, I would have liked that a lot more. I thought that would be more kind of honest.

But instead, they've done, like, say, Rob, this horrible thing where it sounds like someone twanging an elastic band. It doesn't suit him at all. And the fact that this is such a personal song about Robbie Williams and his battle with depression, I almost don't buy that because it sounds so impersonal. And the fact that it has lingered around on Morrison's

adverts for the best part of a decade now, just kind of solidifies that for me. It's, so it is a song dedicated to a friend, but it could be a song about anything really. It's, there's something kind of too polished and therefore not affecting in any way that I just can't look past. I'm sorry. I think I actually prefer patience to this because there's a bit more weight and heft to it, whereas this, it's all kind of too clean. And as much as it's obviously a well-written pop song, it's just not quite enough.

I do get that, actually. Yeah, yeah. So, before we go, and before we check whether we're going to put anything into the pie hole or the vault, I'm introducing a new feature, and it's called Did Rob Buy It. Or Did Rob Buy It on iTunes. Yeah, we'll call it that. Because Christmas 2006, I got my first iTunes voucher, and for the next two years, I spent a lot of time

buying music on iTunes. So, Grace Kelly by Meeker, I bought that. And Ruby by Kaiser Chiefs, I also bought that. I didn't buy Shine because I already had Beautiful World and had ripped it. I did buy Shine. Well, there we go. Threw a couple of us, you know, we have bought it.

The other songs I bought around this time, I'm fascinated by my 12 year old self right now. But so, Yeah Yeah by Body Rock rocks and stars in their eyes just jack Put your hands up for Detroit. I bought that um, I Love you by ordinary boys how to save a life by the fray and rowl by the automatic Um boogie tonight by booty love. So I was on the right side there same jeans by the view Um, I bought better look good on the dance side there same jeans by the view I bought

better look good on the dance floor and this in the scene it's an arms race fallout boy and the Saints are coming you two in green day I didn't buy the single I bought the video video and crystal ball by Keen golden touch by razor light the prayer by block Party, The Big Brother title theme by Mask, Run by Snow Patrol, Standing in the Way of Control, Gossip, Tribute by Tenacious D, I was one of those kinds of kids, Slam by Pendulum, Golden Scans, Klaxons, Clint Eastwood by Gorillaz, Perfect and then Exceda by Mason. Love Don't Let Me Go by David Guetta, which I heard for the first time in 17 years on

the radio last week. Calm Down Dearest by Jamie T, Clubfoot by Kassabian, LSF by Kassabian, Black and White Town by the Doves, Feels just like it should by Jamira Kwae, and Run by Celacy Atiaz. They were all on the FIFA 06, FIFA 07 soundtrack. Guns Don't Kill People, Rappers Do, Goldy Looking Chain, Love and Peace Are Else by U2 which is strange because I had that CD, How to Dismantle and Tommy Bomb, and Bittersweet Symphony by the Verve.

Buying all of those on the 31st of January 2007. All on one day? Yeah, all on one day. Jesus Christ! Wow. At a cost of, if we're talking like 79 PE each. Well, unbelievably, some of them were a bit cheaper and it only came in at like 9 quid. Could you believe it? I feel like I've just done that Peter K joke

about Netto, about his friend doing a trolley-dash round Netto, piled it up 11 quid and it feels like I've just done that. That's about 15 quid in today's money. And also we shouldn't finish this episode without saying as well that May Muller, the Eurovision entry in 2023 for the UK, she's the little girl in the Grace Kelly video sat on the piano. Oh! Did not know that. Because her mum was the director. Two years ago Mika presented Eurovision.

Yep. And I must say I was full of compliments for Mika but oh boy was he a bad Eurovision host. Oh he didn't do well. Just before we go we're gonna check Grace Kelly by me kuh Andy. Is that going in the vault for you? Oh, yes, Humphrey. We're leaving and going straight to the God you really made it sound like the like some woman going off to the bank there Humphrey we're off to Morrison's to go shopping with Alan Hansen

and Lulu. Uh, yeah, Grace Kelly, that's going in the vault for me. Um, Ruby by the Kaiser chiefs. I'm not putting that anywhere. Uh, vaulty, vaulty, vaulty, vaulty for me. Absolutely. Excellent. Yeah, it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's

it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's it's gotta say it's being tipped over by nostalgia, but what the hell arrest me for me. It's going nowhere All right then and shine by take that I'm not putting that anywhere It is going in the vault for me or should I say going in the vault uncle Fred? It's going nowhere from me He's going nowhere from me! Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha We'll see you then. Bye bye. See ya. Ka-ching-da! වවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවවව�