Luscious piece of R&B/Soul with silky smooth vocals. Co-written by Paul Epworth, frequent collaborator with the likes of Adele & Duffy, this soul infused track is oozing with class and perfection.
2) Lianne La Havas – What You Don’t Do
Lianne La Havas is my discovery of the week and I cannot get enough of these two tracks. Her jazz-styled vocals are full of passion and soul and I love the big-band and soul infusion that underpins this catchy track.
3) Miguel – Coffee
Sexy, sultry and sleek. Miguel’s smooth vocals smother stuttering synthesisers and heavy percussion, resulting in a powerful piece of R&B perfection. Awesome lyrics to this too. Cannot get enough of this right now.
4) Miguel – What is Normal anyway?
Effortlessly smooth, with pensive lyrics and tinny guitar sounds. Miguel at his best.
5) Night Drive – Drones
Awesome electro-pop track which clearly uses elements of 1980’s electro and rock music as an influence. Catchy as hell.
6) Royworld – Dust
Irresistibly catchy pop-rock driven song with an awesome hook.
7) Teitur – One and Only
Gentle acoustic track which draws upon folk influences. Beautiful.
8) Jesse Boykins III – Plain
Awesome dance track with slightly off-pitch synthesisers, a throbbing beat, soulful vocals and gorgeous harmonies. SO good.
9) Sam Feldt ft Kimberly Anne – Show Me Love
Based upon Robin S’ massive nineties dance track of the same name, Sam Feldt gives it the 21st Century treatment and makes it more electro than dance. It’s a pleasant update of the original.
10) Shura – White Light
LOVE Shura. This is SO 80’s; imagine a hybrid of Janet Jackson & Madonna and you reach Shura. Fierce tinny drums, aggressive bass lines and funky guitar riffs, it’s catchy as hell.
I cannot believe it is six years today since the death of Michael Jackson sent shockwaves through the world. I still recall that day very well, my Dad ringing me from LA, where he and my Mum were holidaying at the time, to inform me my musical hero had died. It was a bizarre and immensely sad day for many people, including me.
Some of you may know that prior to Take That, Michael Jackson was my main obsession. He still largely is, it’s just other artists and things have come into my life in the last five years or so and therefore I tend to go through phases of becoming re-obsessed with particular things! MJ will always be one of my heroes and his music continues to take me to another world.
To celebrate his life, this blog lists thirty of my favourite Michael Jackson songs. Many are singles but some are simply album tracks. I could be here all day listing all of my favourites, both released and unreleased, singles, album tracks, tracks recorded with his brothers etc. but I have chosen thirty of my ultimate favourites that most people will be familiar with. So, in album order, here we go:
1) Don’t Stop Till You Get Enough
A disco classic, it’s Michael’s smooth falsetto that carries this groovy number. Still a classic years later.
2) Rock with You
Smooth, soulful and catchy, another perfect disco classic.
3) I Can’t Help it
Another smooth and soulful track from the ‘Off The Wall’ album, co-written by the legendary Stevie Wonder.
4) Wanna Be Startin’ Somethin’
Funky, punchy opener to the ‘Thriller’ album full of funk and an introduction to the aggression shown in some of Jackson’s later work. That “Mama-say mama-sah ma-ma-coo-sah” refrain at the end remains a classic part of pop history.
5) Beat It
Just one example of Jackson’s ability to write and record in all genres, fusing rock with R&B. Contains that amazing, distinctive amazing guitar solo from Eddie Van Halen.
6) P.Y.T (Pretty Young Thing)
Classic disco/funk song from the ‘Thriller’ album. It was originally Jackson’s own song but was rejected by producer Quincy Jones. Jones liked the title, however and subsequently wrote a new version with James Ingram which became the catchy disco version greatly known and loved today. Also featured two of Jackson’s sisters: Janet and La Toya.
7) Human Nature
Effortlessly smooth and soulful, written by Toto’s Steve Poraco with lyrics later added by lyricist John Bettis. The low-key guitar which drives the song is reminiscent of much of Toto’s work as a band and was a song not originally intended for ‘Thriller’. It appeared on the end of a demo cassette handed to producer Quincy Jones as a rough idea. Jones loved the idea and approached Poraco to complete it with help from Bettis. Michael’s falsetto is absolutely stunning and flutters endearingly over shimmering synthesisers.
8) Liberian Girl
Another silky R&B number written solely by Jackson. It’s sleek, sexy and a beautiful addition to the ‘Bad’ album.
9) Dirty Diana
Another heavy-rock song, this time from the ‘Bad’ album. One of a handful of songs written by Jackson on the subject of groupies, it’s dark, gritty and remains a classic.
10) Man in the Mirror
One of Jackson’s iconic songs which addresses making a difference. Written by Siedah Garrett (Jackson’s duet partner on ‘I Just Can’t Stop Loving You’) with legendary composer Glen Ballard, it was a global hit but only managed to reach the top 10 of the UK singles chart after Jackson’s death in 2009.
11) I Just Can’t Stop Loving You
Sultry, schmaltzy affair but it remains one of Jackson’s best love songs. Assisted by Siedah Garrett on lead vocals, this was the lead single from the ‘Bad’ album but was never accompanied by a music video.
12) Leave Me Alone
Funky, gritty closer to the ‘Bad’ album, originally only included as a bonus track. The accompanying music video addressed Jackson’s troubled relationship with the press and aimed to dispel many of the apparently ludicrous rumours circling camp Jackson at the time.
13) Speed Demon
Funk rock song that appeared on the ‘Bad’ album. Its lyrical content isn’t perhaps as edgy or significant as Jackson’s other singles (it was reportedly written upon Jackson receiving a speeding ticket for driving too fast…), it’s still a lot of fun and a welcome addition to the ‘Bad’ album.
14) Smooth Criminal
We never did find out if Annie was okay, did we?! One of Jackson’s best-known and well-loved songs which discuss the unfortunate affairs of a woman named Annie who has been assaulted by a smooth assailant. It’s dark, groovy, and definitely one of Jackson’s best. The music video was pioneering at the time too, featuring that amazing anti-gravity forward-lean.
15) Heal The World
Another of Jackson’s ‘save the world’-themed songs, this time from 1991’s ‘Dangerous’ album. It remained one of Jackson’s proudest creations and was the stimulus to the creation of Jackson’s ‘Heal the World’ foundation. It was performed multiple times during Jackson’s career and remains well-loved.
16) Who Is It?
Paranoia infused R&B number which details a man’s despair after his lover leaves him for another man. The bass line is instantly recognisable and the percussion for the track is aided by Jackson’s own beat-boxing.Indeed, a snippet of Jackson beatboxing the song during an interview with Oprah Winfrey in early 1993 rocketed the track further up the charts. It’s lengthy (like much of Jackson’s work) but completely necessary. The choral introduction, the repeated fade-out all contribute to its success as a record.
17) Remember the Time
One of the pioneering New Jack Swing songs from the 90’s, ‘Remember The Time’ was written by Jackson along with ‘Dangerous’ producer Teddy Riley and Bernard Belle. The ‘Dangerous’ era marked a musical departure for Jackson who ventured into a more mature R&B/New Jack Swing sound as he made the transition from working with Quincy Jones to Teddy Riley. There are various interpretations on the subject of the song. Some argue it was about Jackson’s second wife Debbie Rowe whilst many believe it was about Jackson’s affection for Diana Ross. Accompanied by one of the greatest music videos of the 90’s, Egyptian themed with Eddie Murphy, Iman Bowie & Magic Johnson.
18) Black or White
Despite the widely perceived irony relating to Jackson’s ever-changing appearance, this remains one of his best-loved hits. Fused with a variety of genres including New Jack Swing, R&B, Hip hop and Rock, it’s a showcase of Jackson’s ability to blur the boundaries in music. Heavy percussion, grunge guitars, gritty vocals and a fun rap, it’s a little bit of everything but it works.
19) Will You Be There
Gorgeous, gentle gospel ballad from the ‘Dangerous’ album, also appearing on the Free Willy soundtrack. Features a lengthy introduction including an interlude by the Cleveland Orchestra and a portion of the Cleveland Chorus performing Beethoven’s ninth symphony.
20) Stranger in Moscow
One of Jackson’s most heartfelt, sincere and darkest songs. It was critically acclaimed upon release and is widely recognised to be one of Michael’s best works. The lyrics are inspired by a poem Jackson wrote in a hotel room in Moscow whilst on the ‘Dangerous’ tour in 1993 with music later added by Brad Buxer (who was uncredited). It documents loneliness and isolation, cleverly incorporating Russian imagery and symbolism. The song was originally planned as one of the only a handful of new tracks to be added to a planned Greatest Hits compilation. Jackson was so satisfied with the result that ‘HIStory’ became a double disk album – one of greatest hits and the second, a collection of new material.
21) Smile
Based upon Charlie Chaplin’s instrumental composition and Nat King Cole’s original version with lyrics, this was the closing track to HIStory. Critical reception at the time was mostly negative but there is no doubt that Jackson’s vocal performance on this number is impeccable. Yes, it’s a little bit Disney, a bit schmaltzy but it’s also very beautiful, particularly the whistled outro.
22) They Don’t Care About Us
Gritty, aggressive R&B/Hip Hop track which remains Jackson’s most controversial song. A portion of its lyrical content was believed by many to be anti-Semitic which Jackson strenuously denied. He later re-worded and re-recorded the lyrics and current copies of ‘HIStory’ either feature the amended lyrics or sound effects in place of the said lyrics. The song also had two music videos, both also the subject of controversy. Nevertheless, it’s still a classic Michael Jackson track.
23) You Are Not Alone
Stunning ballad written by R.Kelly and recorded for the ‘HIStory’ album. The accompanying video caused a stir when it featured a half-nude Jackson and then-wife Lisa Marie Presley.
24) Childhood
Another stunning Jackson ballad which also appeared on the soundtrack to Free Willy 2: The Adventure Home. Gentle and a little eerie, the song’s instrumentation utilises piano, orchestra, choir and Jackson’s vocals. Lyrically, it documents Jackson’s perceived difficult upbringing, a matter which plagued most of his life.
25) Ghosts
Edgy New Jack Swing track from Jackson’s 1997 remix album: ‘Blood on the Dancefloor: History in the Mix’. Featuring lyrics such as ‘And who gave you the right to shake my family tree?’, it’s another paranoia infused track but one which works perfectly. It was accompanied by a similarly titled film of the same name in which Jackson played a variety of characters.
26) You are My Life
Gorgeous, soft ballad from Jackson’s last studio album in his lifetime, ‘Invincible’. Co-written by legendary composers Kenneth ‘Babyface’ Edmonds and Carole Bayer Sager along with John McClain, Jackson changed the original title from ‘You are My World’ and subsequently received lead song-writing credit. Recorded just weeks before the release of ‘Invincible’, this song demonstrates the difficulty Jackson had in selecting and producing material for the album. It’s a beautiful ballad, however.
27) Butterflies
Another gorgeous ballad from ‘Invincible’, written by British R&B duo ‘Floetry’ consisting of Marsha Ambrosius and Natalie Stewart. When Jackson’s ‘Invincible’ album was the subject of delays, the duo ended up also recording the track for their own album. Rumoured to be a single but never saw commercial release due to Jackson’s ongoing conflicts with his record label. Lush, gentle with stunning, soaring harmonies, this is one of Jackson’s most underrated and endearing works.
28) Cry
Second single from ‘Invincible’, written by R. Kelly. Another ‘change-the-world’ song, this failed to generate the same reception and publicity as previous songs with similar lyrical themes, not aided by Jackson’s refusal to appear in the music video. Still, it’s a pretty song with a fantastic gospel performed climax.
29) One More Chance
Jackson’s final song written by R. Kelly which was the lead single for his 2003 Greatest Hits album ‘Number Ones’. It’s a smooth, catchy R&B number which was a big hit across the world.
30) Best of Joy
Repetitive but beautiful song, rumoured to be Jackson’s final recording before he died. What it lacks in innovation it makes up for in its charming presentation and Jackson’s famous falsetto.
BONUS:
31) Gone Too Soon
Absolutely gorgeous ballad from the Dangerous album, dedicated to AIDS victim Ryan White who passed away in 1990. White became a national poster-boy for HIV/AIDS when he was expelled from school due to his infection. He became infected with the virus from a contaminated blood treatment and later passed away aged just 18. Written by Larry Grossman and Buz Kohan, this was the final single to be released from the ‘Dangerous’ album.
One of Take That’s best songs in their twenty five year career. So much optimism, so much energy and so much power. Mark Owen’s vocals are on point and the harmonies are perfect too. Since seeing the Take That boys live and seeing this performed live again, it’s completely reinforced what an incredible song this is.
2) Take That – The Garden
Absolutely stunning song, opener of ‘The Circus’ album. I love the little touches of production by John Shanks – from the eerie and soft opening to Howard’s stomping bridge leading into the second chorus. It’s perfect that each member gets to perform lead vocals during different sections and once again, this has to be one of the best Take That songs in their back catalogue. Gorgeous, inspiring lyrics, stunning falsetto vocals from Gary Barlow and so much power in those final explosive chorus’.
3) Take That – Flaws
Gentle but powerful ballad from the ‘III’ album. I’ve always loved this but its beauty has certainly been reinforced since seeing Mark Owen & Howard Donald’s stunning contemporary dance to it on Take That’s current tour. Very raw and very beautiful.
4) Take That – Up All Night
This was never one of my favourites from ‘The Circus’ album but I always appreciated the musicianship within it and what a great song it was overall. As the years have gone by, however, I’ve finally come to love it. I love its energy and it is the epitome of fun.
5) Finley Quaye – Sunday Shining
Heard this on the radio the other day and fell in love. Love its almost grunge-rock feel but it’s also infused with elements of Soul. Catchy with a distinctive vocal.
6) Olly Murs – Beautiful To Me
Probably my favourite Olly single in years! Catchy and emotive with beautiful lyrics, it’s a perfect pop track. Love the stomping percussion and Olly’s vocal is very strong (although the autotune usage could be reduced a little…) Can’t get enough of this right now.
7) Jennifer Lopez & Trey Songz – What You Mean to Me
Beautiful rendition of a stunning song written by Gary Barlow and Eliot Kennedy for the Finding Neverland musical. Gorgeous lyrics and JLO & Trey sound fantastic together.
8) Rixton – Let the Road
This is utterly refreshing. The majority of this track is performed acapella before launching into a dynamic album opener. Like this band a lot.
9) Rixton – We All Want The Same Thing
I know this only featured the other week but I honestly can’t get enough of this right now. Irresistibly catchy. Pop music at its best.
10) Tinie Tempah & Jess Glynne – No Letting Go
Catchy as hell and bound to be an integral part of the soundtrack to summer 2015. Jess Glynne’s voice is just awesome. A winning combination of artists.
On 8th June 2015, after minimal sleep, I hopped on board a rather early train from Brighton to London to see my favourite band live at the O2 arena. It had been four long years since I last saw Take That, then a five-piece and performing to a sold-out Wembley Stadium, on their Progress tour. Evidently much has changed since then. Despite minor apprehension due to the inescapable fact that my second favourite member Jason Orange would not be onstage and sleep deprivation, I was exceptionally excited.
Much had changed for me too since 2011’s Progress Tour. Last time I had seen the boys, I was sixteen years old, had just finished sitting my GCSE’s, attended the tour with a friend I’m no longer in touch with and was positioned towards the back of Wembley Stadium. Four years on, I am now an adult (eek!) and a university student. I had a great time at Progress Live but being so far away, I spent most of it in envy of those standing close to the stage, particularly when the guys went and said goodbye to audience members during ‘Eight Letters’. I also spent far too much of the show absorbed in taking photos and videos and not being in the moment. Unfortunately, we were also surrounded by utter fools. Nobody stood until Rob came on, the family in front kept looking at each other in horror every time Rob swore (I know, they evidently weren’t familiar with Rob’s stage persona…), I got a dirty look for practically hyperventilating when the boys came onstage, the couple next to us spent 90% of the concert snogging and those behind appeared to just be there for a day out. So when it came to seeing Take That on their next tour, I vowed to do things completely differently. And that, I did.
I purchased the hat in self-parody of myself and to stand out… Bizarrely, I think I managed to pull it off!
For this tour, I decided to go with full-on, die-hard Thatters like myself. I am lucky enough to have many friends who also love Take That but not quite to the same level as me. So this time I went with Kim & Andy – two of my favourite people on Twitter, two amazing friends and two people with a mutual appreciation of the boys. It was my first time going with Thatters and I plan to continue to do so in future! Eight hours of queueing passed amazingly quickly with them both aided by multiple trips to the toilet, to see other friends, purchasing tea and buying merchandise. The second difference this time was that for the first time I was not going to be high up in the venue. I was not going to be at the back. I was not going to be surrounded by people merely at the show for a night out. I was going to be standing. And not only standing but in the front pit! FINALLY! I’d always been apprehensive about doing so before, mainly because of being an Olympic worrier fearing needing the loo or not having enough water or feeling rammed in by everybody. But after my experience at Progress I craved to be around other Thatters – people who are actually familiar with all songs, lyrics and share my levels of excitement. Plus as we all had quite a shock with Jason’s departure, I learnt to take nothing for granted when it comes to Take That and vowed to experience the tour from as close as possible to the stage. I’ve never met any of the boys so to be in the pits and be so close to them was a dream come true.
Come 6:15pm and we were lined up like cattle by the turnstiles. There’d been around fifty people queueing in front of us so we had no idea how close we’d be able to get to the stage but remained optimistic, overall. Thankfully, the system was fair and nobody felt the need to sprint into the arena. We were let in in order and we managed to get three rows from the front! I was utterly mesmerised. To go from being towards the back of Wembley Stadium to three rows away from the stage in the O2 Arena was a dream come true.
Ella Henderson was an incredible support act. Take That’s choice of support act is always spot on and I’ve seen some amazing artists over the years – Beverley Knight, Gary Go and Lady Gaga, just to name a few. Despite liking the The Pet Shop Boys’ material, I was utterly bored throughout their set opening the Progress tour. Ella, on the other hand, bought class, sophistication and fun to the O2 Arena. Despite being familiar with many songs from her album, I wasn’t exactly able to sing along much but still had an awesome time and her thirty-five minute set whizzed by. I wore my tacky fluorescent yellow hat for her set which appeared to get her attention! I shared a couple of little moments with her where she smiled at me, particularly during my favourite of hers, ‘Rockets’ which no-one else knew but I was able to sing along to. Her voice is absolutely incredible and I wish her all the success in the world, I really do. I’m so glad she’s already had a number one single and album. She truly deserves it.
Another difference for this tour is I had managed to avoid most spoilers (aside from the practically unavoidable pictures of the bike!) I muted lots of people on Twitter and any time I saw anything related to the tour, I would quickly scroll past. It was so, so tricky staying away from the setlist but I am SO glad I did. Even just one look at the set-list to a show will remain engrained in my memory. The problem with this is that I will then spend the concert thinking about what’s happening next so it was utterly refreshing to go to the show and know barely a thing about it! It turned out I knew most of the setlist through people spoiling online and my own guess work but wasn’t sure of the order and forgot lots of songs so it all worked out nicely as one big surprise!
I’ll save a lot of my comment on the show itself for a review I am planning (this post is just to discuss my personal experience more than anything) but will mention a few things from a fan-boy perspective (not a professional, like I aim for the tone of my review to be!). The fifteen minute introduction absolutely blew me away. Take That have a knack for absolutely incredible tour openers, both visually and musically. I loved the music that opened the show and the way the boys came onto the stage. The set-list was fantastic, particularly the emphasis on songs from the TT4 era. It was perfect to have so many songs from The Circus album. The balance between front-stage and b-stage was also wonderful as pretty much the whole arena was catered for nicely.
The whole show was absolutely incredible but some parts were made even more so by being in the pits. Being in the left pit, just three rows from the stage, we got SO much Markie action! I love how he performs on a more intimate level, interacting with the nearby crowd. He sung to and smiled at so many people around me and I’m pretty sure he smiled and winked at me. It also meant we got to witness the ‘Flaws’ shirt lift rather close which was greatly appreciated by many 😉
The flames during ‘Get Ready For It’ were scorching but you certainly felt the full atmosphere being so close! I was also finally able to bounce properly to ‘Hold Up A Light’ (it doesn’t have the same effect when you’re in seats!). Being in the pits for the confetti explosion during ‘Greatest Day’ is also incredible, although trying not to ingest it was very tricky! I’m still leaving a trail of confetti around the house from my pockets, wallet, phone case etc (much to my mother’s annoyance…) Also, can we just discuss ‘The Garden’ for a moment?! It must have looked spectacular to anyone outside of the pit but for us inside, it was mesmerising. Having those huge curtains drawn around us made us feel completely cut off from the rest of the arena, like it was just Take That and us. It also provided some much needed cool air after the intensity of heat from the flames in ‘Get Ready For It’! It was incredible to watch the puppet show from inside the sheet-dome. Furthermore, being underneath Mark’s cape/costume during ‘Shine’ took me right back to Primary School parachute games! Looking around during ‘Rule The World’ and seeing all of the lights also blew me away, as did looking at all the arms in the air during ‘Never Forget’.
I don’t think it’s been a secret that I’ve found 2015 a challenge so far and happy days have been very few so far this year. Take That have been such a strong source of light for me (I know it’s cheesy but it’s true) and the ‘III’ era has been without a doubt the most important Take That era to me. I am feeling a lot better now but that day and evening was the most beautiful, amazing and happy day I have had this year. So much so, I decided right away that I had to book more tickets and go again! I know twice isn’t anywhere near as many times as most Thatters but it ended up being enough for me. I could just about afford it and wanted to experience it again and am so glad I did. I’ve thankfully managed to avoid the post-tour blues since seeing them for a second time and I think it’s out of my system now! Don’t get me wrong, if money was no object, I’d go and see the boys numerous times but at the same time I think going excessively would probably make it lose some of its magic. I had two AMAZING days/nights and feel satisfied now! My second date was just as spell-bounding as my first except we were able to get right next to the walk-way between main stage and b-stage. We were a little concerned about a mob of drunken people behind us but thankfully they were tamed by Take That’s arrival onstage and were relatively well-behaved for the rest of the show. I wasn’t feeling very optimistic about touching the boys because of the swarm of drunks that had closed in but Alice and I managed to barge our way through and we were able to touch them!! I cupped Gary Barlow’s upper arm (I can confirm it is rock solid -pure muscle), touched Howard Donald’s sweaty arm and Mark’s jacket! A dream come true for someone who has never ever been that close to them before.
Seeing Take That has without a doubt been my favourite part of 2015 so far and I cannot put into words how much I value their existence. I had so much fun both times and am so grateful I got to go twice. I’d also go as far to say the boys managed to surpass ‘Progress’ with this tour. It was absolutely incredible and I am so glad they have stayed together and proved all of the critics wrong.
Smooth, soulful; everything Simply Red does best. Beautiful.
2) Simply Red – Love Wonders
Love the slightly dark, night-time tone of this.
3) Mark Morrison – Return of Mack
Without a doubt one of the best pop/R&B tracks of the 90’s. Funky and catchy as hell.
4) Joni Mitchell – How Do You Stop
Stunning cover that completely surpasses the original. Aided by Seal on backing vocals, this is a stunning interpretation. Joni and Seal’s voices blend beautifully together.
5) The Japanese House – Still
I love the debut EP by The Japanese House and this is one of its highlights. Produced by Matt Healy and George Daniel from The 1975, it’s a stunning piece of electro-pop full of dramatic drum breaks, layered vocals and squeaky synthesisers. Beautiful.
6) Joni Mitchell – Help Me
Love Joni Mitchell and I am slowly getting through listening to most of her discography. I absolutely love this! So uplifting, so jazzy and soulful. It’s reminiscent of cycling through the countryside on a summer’s day.
7) Jamie XX – Loud Places
Keep hearing this on the radio and it always manages to grab my attention. The distorted vocals on the chorus and the stamping beats all contribute to how endearing it is.
8) Rixton – Where are u now
Prior to hearing this on radio, I hadn’t bothered checking out the original. This absolutely blew me away and made me actually sit up and listen to Rixton properly for the first time. Harmonies are on point, the jazzy piano interpretation and eerie guitar screams are stunning. Jake Roche’s lead vocal is also fantastic. I ended up checking out the original after this and this is definitely the superior version.
9) Justin Timberlake – Cry Me A River
Throwback to 2002! What a tune.
10) Justin Timberlake – I Think She Knows
Awesome interlude from the FutureSex/LoveSounds album. Love the guitar work on this.
There was a lot riding on S Club 7’s 2015 Bring it all Back reunion tour. A rather rusty and slack performance on Children in Need last year left the public all rather apprehensive on the reunion of the spectacular seven. “Can Jo no longer sing?” “I’m not sure Paul can get down on the floor anymore.” “Do they not have a stylist?” You get the drift. Still, there was an air of excitement and a consistent buzz on social media for weeks in the aftermath of S Club 7’s first performance as a seven-piece in twelve long years. Since their break up in 2003, S Club 7 have long been affiliated with nostalgia. They were an integral part of many’s childhoods, more so than anything could be to children today. They had their own TV show(s), documentaries, albums, tours etc. They were huge. And rightly so. What they lacked in credibility they made up for in fun. Every song was a hit (usually co-written by pop genius Cathy Dennis) and guaranteed to leave a huge smile on your face (except the ballads which could admittedly result in the odd tear…) S Club 7 were all that was good about the 90’s and noughties. They were the soundtrack to people’s childhoods, a pure reflection of joy and elation. No wonder, then, that demand to see them was so high for their reunion tour.
Fans needn’t have been worried about that Children in Need performance. It was evident that much hard work and intense rehearsals had taken place prior to the tour. Dance routines were slick and polished, harmonies were tight (admittedly aided by a little pre-recorded playback) and most importantly lead-singer Jo O’Meara has DEFINITELY still got it. Critics were quick to comment upon her shaky and flat vocal performance during the CIN extravaganza which O’Meara dismissed as nerves. Over the course of the tour, she more than proved she’s still got her powerhouse vocal, the backbone of all S Club 7 recordings.
The show opened with pulsing techno beats, more smoke than a sauna and six dancers in fluorescent clothing ostentatiously bouncing around the stage. “This is not a drill”, an assertive voice resonated into each corner of the 02 arena. A countdown from seven to zero with clips of the S Club 7 from their heyday climaxed with each member rising one by one from the inner depths of the stage. “7” album track “Bring the House Down” was a brave choice to begin a reunion concert with, considering it was never a single release but it was a wise choice. A common favourite of fans with tonnes of energy, it truly got the party in swing. From then on in, the group powered through their hits with more gusto than an 80’s workout video, sending the audience wild. Aside from minor weight gain and a few wrinkles, it was like no time had passed. Tina still did her thing, Jon is still looking for romance, Paul could just about get down on the floor, okay, you get it. “S Club Party” sent a rapture through the entire arena whilst “You’re My Number One’ had a slight musical makeover which dragged it from the 90’s more into euro-pop territory. “Love Ain’t Gonna Wait for You” was accompanied by a highly polished dance routine which went down a treat.
[Photo from Digital Spy].Unfortunately, the show dangerously lost its focus for a while. Each member performed a solo number, an unnecessary move that to many, was an excuse to nip to the bar or have a quick loo break. Tina Barrett’s performance of ‘Stronger’ (an S Club 7 album track from ‘Sunshine’) would have been fine if she had been accompanied by the other six members. Hanna Spearitt lip-synched her way through Paula Abdul’s 1988 hit ‘Straight Up’ whilst Bradley McIntosh ‘DJ’ed’ a mixture of throwback S Club songs. They were far from bad performances, just rather baffling to fans. Other solos were more successful however. Paul Cattermole’s solo version of ‘Reach’ in which he accompanied himself with an acoustic guitar, began slightly apprehensively but soon won fans over and was a beautiful moment in the show. Jon Lee and Jo O’Meara, by far the strongest vocally in the group, performed old S Club 7 b-side ‘Hello Friend’. Their fantastic and incredibly underrated vocal abilities were really showcased and their voices blended effortlessly with each other. Rachel Stevens performed a mash-up of two of her massive solo hits – ‘Some Girls’ and ‘Sweet dreams my LA ex’, again, a welcome addition to the show. It does feel a little like the inclusion of all other members’ solos were squeezed in to justify Stevens’ solo segment, however. It’s most likely most S Club 7 fans would rather them have been replaced with other S Club material. There was a missed opportunity to perform “Show Me Your Colours”, an album track from ‘Sunshine’ and firm fan favourite. Even more disappointing when Stevens (soloist on the track) informed a fan it was originally on the setlist. Other material such as ‘Friday Night’, ‘Best Friend’, ‘Sunshine’, ‘Summertime Feeling’, ‘Let Me Sleep’ and ‘Gangsta Love’, the list of potential successes goes on.
The white costumes are out which can only mean one song… Never Had a Dream Come True! [Fan photo from Twitter].That said, the solos are hardly worth of a complaint. The hits were all there and the running order worked well too. Fans went wild for biggest hits ‘S Club Party’, ‘Reach’, ‘Don’t Stop Movin’ and ‘Bring it all back’ and each of these songs were performed with as much energy and charisma as the first time around. The ballads were some of the finest moments of the show, however. Of course, these too were more saccharine than a tub of Ben & Jerry’s ice cream but it’s easy to forget quite how beautiful they were. “Two in a Million” has to be one of the greatest and most underrated cheesy-pop love songs ever. “Say Goodbye” only served as a painful reminder to the group’s break up and was surprisingly rather poignant, resulting in the group standing on-stage to regain their composure and take-in the atmosphere for a couple of minutes before ploughing on. “Have You Ever”, easily one of the group’s best songs in their catalogue was a stunning moment in the show where O’Meara really showcased her incredible voice and the group’s harmonies formed a gorgeous wall of sound. “Never Had a Dream Come True”, the penultimate song, was also gorgeous but was gladly followed by the more up-tempo and less intense “Don’t Stop Movin’ to close the show.
Perhaps the most refreshing element of the show was the group’s genuine appreciation to be there. Of course, money is always a significant factor in groups reforming but with S Club 7, it was evident that they were overwhelmed by the response of their ever-loyal fans and were having a whale of a time onstage. This created an even more vibrant energy and atmosphere. There was also a much-valued acknowledgement of the fact their fanbase are all adults now, demonstrated in each member’s statement in the tour programme and enjoyable cover of ‘Uptown Funk’.
The only real fault in the show aside from the bizarre solos was the lack of a live band. Considering their past shows always featured a live band to accompany them, it felt a bit slap-dash, a bit Eurovision/X Factor, a shame when the production in general was so well constructed. Despite this, the show provided an evening of nostalgia, a time capsule back to the late 90’s where all of us twenty-somethings could become primary school children again. And if that doesn’t brighten up your life for just a moment or two, nothing will.
Rating: 4/5.
The last date of the tour involved the other six band members joining Paul onstage for his acoustic rendition of ‘Reach’. [Image from entasia.net].
It’s been five years since Mick Hucknall disbanded Simply Red following an extensive farewell tour and greatest hits album. Fans were under the impression that this was the last we’d see of Simply Red as Hucknall expressed a desire to spend more time with his family and release material under his own name. But now, Simply Red have returned with an album and tour to celebrate thirty years since their formation.
It was always rather peculiar, Hucknall’s decision to continue recording music under his own name rather than the Simply Red label. Simply Red, after-all, is Mick Hucknall. The band is well-known for its revolving-door policy regarding band members; there has not been an original member (aside from Hucknall of course) in the band since 1995’s ‘Life’ album. This appears to have finally dawned upon Hucknall and the band’s 30th anniversary has seen him go to great lengths to celebrate the band’s long and hugely successful career.
And “Big Love” is just that. A celebration. A celebration of love and life. It’s a concept album relating to family and love which is part of its overall success. It’s an optimistic, uplifting album; a real joy to listen to. It’s obvious Hucknall has seen a surge in creativity and inspiration for this album; it’s the first album of all original material since 1995’s ‘Life’ album. Family life has evidently tamed the former wild sex-crazed front-man.
The album utilises up-tempo, catchy tracks to maintain its pace. Lead single “Shine On” is a big, fun track with funk-driven guitars and punchy percussion – a true reflection of the album as a whole. “Daydreaming” is a catchy ’70’s disco-infused number on which Hucknall’s glossy vocals really shine whilst the album ventures into a soft rather bizarre rock ‘n’ roll-gospel infusion on “Tight Tones”.
Elsewhere, “Big Love” demonstrates Hucknall’s softer side. The title track is a schmaltz-y affair, with a sweeping melody, gentle vocals and fairground piano arpeggios. “Dad” is a syrupy sweet ballad about… yes, you’ve got it, Hucknall’s father. It’s rather saccharine, with a lovely message but the lyrics themselves are a little bit ‘teen’ with some lazy rhymes. Nevertheless, it’s a poignant addition to the album following the loss of his father during Simply Red’s absence. The album also makes use of previously successful formulas for the band. There’s a throwback to ‘Night Nurse’ on ‘Love Wonders’ with its reggae-styled beat, sweeping strings and Hucknall’s butterscotch vocals. There’s also a nod back to 2003’s ‘Home’ album on ‘Love Gave Me More’ with its tinkling piano and 60’s sweeping strings.
From time to time, hitting notes requires some strain from Hucknall and it’s evident his wild past has caught up with him slightly. Nevertheless he has always had one of the most powerful voices in the industry, soft and syrupy for the ballads, a growling rasp for more uptempo songs and an incredible vocal range that would make most of today’s acts envious.
Whilst it may lack the polished finish of 2003’s ‘Home’ and the power of 1991’s ‘Stars’, it is far from a bad album. It seems Hucknall has got his mojo back. I for one hope it stays.
Fans of The 1975 have been waiting for this day for months. We have been subjected time and time again to the same cryptic tweet (“1st June, The 1975”) from front man Matt Healy over the past four months with the expectation of an announcement or new music.
Of course, die-hard fans will recognise this date as being an integral part in the band’s history. The origin of thee band’s name lies within a scrawled phrase Matty found on the back page of an old Beat diary he was given. Finding the use of ‘the’ prior to ‘1975’ fascinating, it became the band’s name after a multitude of others (B I G S L E E P and Drive Like I Do being just a couple of examples).
Yesterday evening, (31/05/2015) each member posted an image of a cartoon strip on their social media accounts, seemingly implying The 1975 were to disappear. The cartoon appeared to centralise on the themes of finality and change through a series of statements and speech bubbles. There’s a swipe at NME magazine, two contrasting depictions of Healy (‘Old Matty’ presented as a figure dressed in black whilst ‘new Matty’ is a male dressed in pink) and a series of gossip-y, social media inspired speech bubbles. Fans were left even further perplexed this morning upon discovering all propaganda related to The 1975; official website, Facebook, Twitter and Instagram pages in addition to the band’s solo social media accounts had all vanished from the web.
Fans were sent into overdrive as they perceived these manoeuvres as signifying the end of the band. This seems highly unlikely, however, considering the band’s existing success and reputation. It appears that the band is in the process of reinvention, a concept Matt Healy is obsessed with. This bold move more than likely reinforces his discontent of social media culture. Furthermore, it appears to signify the end of The 1975 as the public know them and the caricature Healy felt he had become of himself. It’s a clever move, one that’s certainly earned them publicity.
Whilst this may be an uncertain time for fans, it’s also an exciting one as it marks the beginning of a whole new era…
I love this guy. His entire discography has this soft, soothing quality about it like a hot drink on a bitter winter’s day, that makes everything seem okay. The studio version hasn’t surfaced on YouTube yet but here’s a pleasant live performance of it. Beautiful song.
2) Victoria Beckham – Let Your Head Go
Guilty pleasure, as most of the Spice Girls’ solo material tends to be! In all fairness, whilst Victoria lacked vocal ability (she’s definitely found her niche in fashion designing), her brief pop career was enjoyable. She produced some great pop hits. This is dance-pop at its best; irresistibly catchy.
3) Will Young – Blue
Despite being a long-term fan of Will, new album ‘85% Proof’ left me greatly underwhelmed. Previous album ‘Echoes’ marked a change in direction but it had flare. ‘85% Proof’ falls a little bit flat for me – there’s no particular stand-out track strong enough to represent the album (hence why lead single ‘Love Revolution’ failed to make the Top 40). 85% Proof isn’t awful – it’s well written and has a nice flow to it, it’s just not really my thing if I am honest. This is one of a sheer minority that I enjoyed a lot during my listening experience, however. It’s got a ’70’s feel to it – a kind of glam-rock sound.
4) Backstreet Boys – She’s a Dream
Lyrics aside (a boyband declaring that “Shorty ain’t got cable, she don’t even got a radio” is rather idiosyncratic but what more can you expect from a song co-written by T-Pain?!) this is a fine piece of R&B. It feels like all participants have had a somewhat fantastic time tampering with as many gadgets and effects on this one, especially with its over-usage of autotune, but its rich harmonies and catchy beat make it an irresistible track.
5) Lemar – Very Best
Lemar’s last album ‘Invincible’ was criminally underrated. It marked a departure from his usual R&B/Soul sound and advanced more into a pop-rock territory. Unfortunately, it massively underperformed which is a real shame when it’s such a strong, enjoyable album. “Very Best” is one of its high points, a rather sweet and sentimental affair with a powerful message. The middle eight (1:56 – 2:19) is also one of my favourite parts of a song ever.
6) 5ive – Let’s Dance
One of the first singles I ever bought. Pop perfection.
7) S Club 7 – Love Ain’t Gonna Wait For You
Catchy disco-pop from the group’s final album ‘Seeing Double’. It’s a little more mature than the group’s earlier material but still manages to be catchy with an irresistible sing-along chorus.
8) Alesha Dixon – The Way We Are
I’m not a massive fan of Alesha or her music, although ‘To Love Again’, written by Gary Barlow & John Shanks was a beautiful song and ‘The Boy Does Nothing’ was a great track too. This is enjoyable, however. Catchy and a return to her Garage roots.
9) A1 – Caught in the Middle
Without a doubt, one of the greatest boyband ballads ever. I wouldn’t even regard this as a guilty pleasure, it’s that bloody good. More mature than the band’s earlier work, this was a risk that paid off and this became a massive hit back in 2002. That middle eight is awesome too.
10) Wet Wet Wet – Goodnight Girl
One of my all time favourite love songs. Marti Pellow has such a beautiful voice and the layered harmonies are gorgeous. I love the concept of the song too.
Catchy disco track from the ‘Seeing Double’ era that never made it onto the album. Bit of a guilty pleasure, this!
2) Rachel Stevens – Heaven Has To Wait
Rachel Stevens had a great, if short, solo career. Debut album ‘Funky Dory’ contained lots of fantastic songs and was a wonderful pop album. This is an absolutely gorgeous ballad taken from it.
3) Rachel Stevens – Blue Afternoon
Love the chilled-out, jazz feel to this track.
4) S Club 7 – Show Me Your Colours
Underrated track from the ‘Sunshine’ album. A firm favourite of many fans and this should have been a single. It’s more mature than a lot of their other material and Miss Rachel Stevens sounds fantastic on it. Moody, sultry and catchy. Awesome song.
5) Lawson – We are Kings (Acoustic)
Heard a full live performance of this and wasn’t as keen. This stripped back version is absolutely stunning, however. Andy Brown has such a great voice and his falsetto is just gorgeous. Love the message in this song.
6) Little Mix – Black Magic
One of the best pop tracks I have heard in ages. Staying loyal to the Little Mix sound but adding a little more guitar and 80’s into the mix, this is a massive step forward in the right direction for them. That guitar riff is SO nicked from ‘Girls Just Wanna Have Fun’, however…
7) The 1975 (Drive Like I Do) – One Wish
This track by The 1975 from their Drive Like I Do era recently surfaced online and it’s awesome. Even their work prior to their fame is polished and faultless. You can hear the Ladysmith Black Mambazo influence on this and a bit of The Talking Heads too. It’s simple but dreamy and irresistible with great harmonies.
8) Nathan Sykes – Kiss Me Quick
Cringey intro aside, this is incredibly catchy and really showcases Nathan’s incredible voice. Funky.
9) James Bay – Your Love Keeps Lifting Me Higher and Higher
I knew before even listening that James would do this classic justice and I was not wrong! It’s a very chilled out take in true James Bay style but it’s just so relaxing and beautiful. What a talent.
10) Victoria Beckham – IOU
Co-written by one of my favourite songwriters Chris Braide, I forgot all about this beautiful song until recently. Okay so it may lack credibility and may be slightly overloaded with cheese but that’s what great pop music is all about. Apparently written for husband David, this was an album track from Victoria’s debut album. Very pretty.
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