Quirky yet utterly beautiful pop song which makes full use of Ruess’ idiosyncratic vocals over a backdrop of jazzy piano chords, squeaky string sections and eerie music box sounds. Dreamy and magical.
2) One Direction – History
Bittersweet Pop track which serves as a perfect ‘goodbye’ (at least for now) to fans. Considered by many as an update of Toy Story classic ‘You’ve Got A Friend In Me’, acoustic guitar strums and a sing-along Chorus make this a perfect Pop anthem.
3) Rihanna & Drake- Work
Rihanna returns with this laid-back reggae-pop track, aided by Drake. It’s rhythmic and catchy with Rihanna’s heavily auto-tuned vocals sliding effortlessly over clever production.
Stunning synthpop track in the same vein as material on Goulding’s debut ‘Lights’. Over jittery guitar samples, crashing percussion and simmering synths, Goulding sings of her best friend.
5) Zayn – PILLOWTALK
Sexy and sultry alternative R&B track comprised of thunderous beats, eerie electro elements, broken vocal samples, wailing guitars and soaring melodies. It’s a far-cry from Zayn’s One Direction days and conveys a far greater depth of maturity, mostly through its sexual themes.
6) Lion Babe – Where Do We Go
Funky disco-themed neo soul track from New York City duo Lion Babe.
7) Taylor Swift – Out of the Woods
Dramatic synthpop track comprised of broken vocal samples, gated percussion and Swift’s almost whispered vocals. One of the highlights of Swift’s ‘1989’ album, it’s perhaps the best representation of the album, utilising scatty samples and ’80’s electro sounds.
8) Lawson – Money
Lawson return after a period of instability in terms of musical output. The release of the band’s second album has been repeatedly delayed but they are now preparing or its release in March. ‘Money’ is its lead single (excluding last year’s single ‘Roads’), a catchy pop-rock track in a similar vein to ‘When She Was Mine’ and ‘Brokenhearted’.
Ex One Direction member Zayn Malik has set the world alight with excitement with the première of début solo single ‘PILLOWTALK’.
‘PILLOWTALK’ is a sexy and sultry alternative R&B track comprised of thunderous beats, eerie electro elements, broken vocal samples, wailing guitars and soaring melodies. It’s a far-cry from Zayn’s One Direction days and conveys a far greater depth of maturity, mostly through its sexual themes.
The fizzy downtempo track is co-written by Zayn with Anthony Hannides and Michael Hannides of MYKL [who’s track ‘Red’, Zayn tweeted support of back in March 2015] in addition to Levi Lennox. The latter three also produced the track.
Zayn always exhibited one of the more powerful voices within One Direction and his buttery vocals suit this progressive R&B far more than the anthemic Pop of his boyband days. It’s a carefree transition into R&B in a similar fashion to Justin Timberlake following his NSYNC days.
In an astonishing twenty year career, Coldplay have exceeded all expectations to become one of the UK’s most successful exports. They’ve won eight Brit Awards, five MTV Video Awards, seven Grammy’s and sold over eighty million records worldwide, cementing their place as one of the world’s most successful acts. Once a quirky alternative-rock outfit unafraid of existing outside of the commercial market, Coldplay’s sound has grown with their popularity, becoming increasingly commercialised over the past five years. Fans first feared for the worst back in 2011 upon the release of ‘Mylo Xyloto‘, a concept album which was drenched in electro-elements and met with a mixed reception. Still, fans needn’t have worried for another four years.
‘A Head Full of Dreams‘ is the epitome of Pop music; a lively affair, full of catchy up-tempo tracks mawkishly coated in over-production. Whilst long-term collaborator Rik Sampson is still present, he has been demoted from production duties on this album, passing the baton to Norwegian Pop/R&B production duo Stargate, known for their work with Rihanna and Ne-Yo. Understandably, the result is an exuberant yet somewhat confused album on which Coldplay seemingly attempt to ditch their Rock-roots and transition into a Pop band. It’s the exact antithesis to previous album, the melancholic and ambient-influenced ‘Ghost Stories‘ and arguably, the entire foundation on which Coldplay built their career on.
Diversity is a likely focus on ‘A Head Full of Dreams‘, on which Coldplay attempt to branch out into various genres and sounds. Camp disco-stomper ‘Adventure of a Lifetime’ with its broken vocal samples and squeaky guitar riffs remains one of Coldplay’s best whilst the substantial, Hip-Hop heavy ‘Hymn for The Weekend’ – a duet with Beyonce – is comprised of tinkling piano riffs, hip hop beats and shiny brass instruments. These clever production elements all work nicely until ‘Army of One’, a ballad so bland, even clever production cannot reinvigorate it. Likewise, the track’s hidden feature ‘X Marks The Spot’ is an abortive Hip-Hop jam, best left to Martin’s close friends Jay-Z & Beyonce.
Despite its Pop approach, however, ‘A Head Full of Dreams‘ is still very much a typical Coldplay album. The signature Coldplay elements are still present; the anthemic Chorus’, wailing guitars, sweeping piano arpeggios and Martin’s pining vocals. The opening title track isn’t too far removed from the material on ‘Mylo Xyloto‘ albeit with a disco-funk groove. It’s a catchy opener abundant with the band’s trademark wailing guitars and is classic Coldplay, just with an extra sprinkle of Pop. Likewise ‘Fun’, a pleasant duet with Pop princess Tove Lo is more or less loyal to the band’s sound with distant guitar riffs, acoustic strums and Martin’s vocals warbling between his lowest and highest vocal range. The album’s finale and one of its highlights, ‘Up&Up’ is the band’s ‘Champagne Supernova’, just two minutes shorter. No surprise, then, that Noel Gallagher is guest guitarist on the track.
The hazy and tranquil interlude bridges between tracks – as present on the band’s previous two albums – also remain prevalent, the most enthralling being ‘Kaleidoscope’ which samples an Obama speech and clip of the president singing ‘Amazing Grace’. Furthermore, the dainty piano ballads are ever-enduring. ‘Everglow’ is gentle ballad on which ghost of Christmas past, Martin’s ex-wife Gwyneth Paltrow provides vocals on. ‘Amazing Day’ is one far superior, however and is one of the album’s highlights, built from elegant piano arpeggios and soaring melodies.
Whilst it’s far from their best work, ‘A Head Full of Dreams‘ is a compelling and enjoyable album; a reminder of Coldplay’s sustained presence in the music industry.
Rating: 4/5.
Album Highlights: ‘Hymn For The Weekend’, ‘Adventure of a Lifetime’, ‘Kaleidoscope’, ‘Amazing Day’, ‘Up&Up’.
‘A Head Full of Dreams’ is available now on Parlophone records.
After adapting Music Monday to make it strictly about current and new music, we realised that there was no way to draw focus to older music on this blog. So we have decided to publish a mixtape (or Spotify Playlist) of 20 songs on the first day of every month.
This makes January’s rather late but with no further ado, here’s the Music Box’s January Mixtape:
As a huge Thatter, every Christmas I hunt for festive Take That-related material. I thought it’d be great to put all of my discoveries in one place for all Thatters to look through. This is by no means definitive but there’s a good range of festive Take That content here! If you have any videos or images you think I have missed then feel free to let me know so I can add them here 🙂 Enjoy and Merry Christmas!
VIDEOS
Take That – Babe (Live & Kicking 1993)
Take That live on Live and Kicking back in December 1993 singing ‘Babe’.
Take That – Pray (Top of the Pops Christmas)
‘Pray’, performed on Top of the Pops at Christmas time.
Take That – Silent Night (Live Beautiful World Tour)
Whilst usually beginning live performances of ‘Pray’ with the middle eight, on this particular occasion it was replaced with a gorgeous version of ‘Silent Night’ before launching into their first ever UK number one. Awesome!
Take That – Jingle Bells (Live Beautiful World tour)
Another festive clip from the Beautiful World tour in which Take That sing Jingle Bells whilst Howard plays the trumpet.
Take That – Marks & Spencer Christmas Advert
The brilliant M&S Christmas advert from a few years back!
Take That – Greatest Day (Top of the Pops Christmas)
Greatest Day performed on Top of the Pops Christmas special.
Take That – Festive Message 2010.
Take That’s festive message from 2010. Howard looks extremely happy 😉
Take That – These Days (Top of the Pops Christmas)
‘These Days’ performed on the 2014 Top of the Pops Christmas special.
Take That – Turning on the Regent Street Christmas Lights
Take That turning on the Regent Street Christmas lights in 2014.
Gary Barlow: Let’s Pray for Christmas
This song was a runner up entry into the BBC’s Pebble Mill at One Christmas song competition and is one of the oldest clips of Captain Barlow in existence. Boy, has Gary come a long way from this!
Gary Barlow: Happy Xmas (War is Over)
This is Gary Barlow performing a cover of John Lennon’s ‘Happy Xmas (War Is Over)’ on a TV show in the late nineties.
Gary Barlow: CBeebies Bedtime Story 2010
An absolutely adorable clip of Gary appearing on CBeebies during Christmas 2010. He reads an Elmer story.
Gary Barlow & Coldplay: Christmas Lights
Gary Barlow joins Coldplay onstage (admittedly rather briefly!) to sing the beautiful ‘Christmas Lights.’
Gary Barlow & Michael Buble: Home & Rule The World
Gary singing ‘Home’ and ‘Rule The World’ with Michael Buble on Michael Buble’s 2011 Christmas special on ITV.
Gary Barlow, Tulisa, Nicole Scherzinger & Dawn French: Fairytale of New York
A pretty comical clip of Gary being joined by the legendary Dawn French, the awesome Nicole Scherzinger and the… well, Tulisa. Great version of ‘Fairytale of New York’.
Gary Barlow – We Like To Love (Live on Text Santa)
I’ve always found this song rather wintry anyway and this was reinforced when Gary performed this on Text Santa.
Gary Barlow & Loose Women – Text Santa
Comical sketch involving the Captain and some of the Loose Women!
Peter Kay’s Geraldine McQueen – Once Upon a Christmas Song
Gary Barlow co-wrote this with Peter Kay himself. It was released in 2008 and reached Number Five on the UK Singles chart. All proceeds went to NSPCC.
Donny Osmond – Christmas Time
Co-written by Gary along with long term collaborator Eliot Kennedy.
Mark Owen – Child (Live Top of the Pops Christmas)
Mark Owen performs his hit single ‘Child’ on Top of the Pops Christmas back in the late nineties.
Mark Owen – Lantern
Mark Owen performed this still unreleased original track at a Charity event a few Christmas’ ago.
Mark Owen wishing a fan a Merry Christmas
Pretty self explanatory!
Robbie Williams – Walk This Sleigh
Robbie Williams’ tongue in cheek version of a Christmas song.
Robbie Williams & Nicole Kidman – Somethin’ Stupid
An amazing version of a Frank and Nancy Sinatra classic, Robbie reached Christmas Number 1 in 2001 with a little help from Nicole Kidman with their version of ‘Somethin’ Stupid’.
Robbie Williams – Happy Xmas (War is Over)
Robbie Williams singing John Lennon’s ‘Happy Xmas (War is over)’ – The Take That lads sure love this one!
Robbie Williams – Merry Xmas Everybody/Merry Christmas Everyone
Taken from last year’s performance for Radio 2, here’s Robbie singing the Slade classic ‘Merry Xmas Everybody’ and ‘Merry Christmas Everyone’ by Shakin’ Stevens.
Robbie Williams – Candy (Live Top Of The Pops Christmas)
Not really Christmas but Robbie performed ‘Candy’ on the TOTP Christmas special last year.
Robbie Williams – Different (NYE Top of the Pops)
Robbie performs the brilliant ‘Different’ on a New Years Eve Top of the Pops special.
Robbie Williams – Soul Transmission
This isn’t strictly a Christmas track although christmas is mentioned so I think I can be forgiven!
Robbie Williams – The Promise
Robbie refers to this as his Christmas song so I thought it worthy to be included in this post.
Robbie Williams – Dream a Little Dream
This is Robbie’s interpretation of a classic, released at Christmas time with a festive video.
GALLERY
Take That get their Christmas jumpers out with Reggie Yates and Fearne Cotton for the 2014 Christmas Day Top of the Pops Special.(Broadcast on BBC1-2pm, Thursday 25th December) Photo by Mark Allan EMBARGOED UNTIL 20/12/14
It’s a Tuesday evening and I’m stood in the intimate but beautifully endearing Old Market in Hove. A quick glance around me illustrates that certainly on an age spectrum – this is one of the most diverse crowds I have been a part of.
A huge black and white sci-fi themed cartoon tapestry forms the stage’s backdrop and an assortment of keyboards, synthesisers, pedals and guitars litter the stage. When Shura takes to the stage at 9:15pm, she is greeted with a surprisingly loud reception considering the intimacy of the gig.
Whilst many may still be unfamiliar with Shura (real name Aleksandra Denton), she has undoubtedly generated a buzz in the past year. The music video for break-out track ‘Touch’ went viral, notable for its presence of her friends kissing each other, irrespective of gender. She has also been propelled through airplay on Radio 1 in addition to being longlisted in the BBC’s Sound of 2015. Born in Moscow and raised in Manchester, she writes, plays, sings and produces her own material. As she fervently swaps from keyboard to guitar throughout the set, at times it’s easy to question what she cannot do.
Musically, she mirrors late-eighties Madonna on her more lively material and Janet Jackson on the shimmering tender ballads. Throughout her forty minute set, she and her three male band members steadily progress through material from her forthcoming debut album.
Overall, the evening accentuates that Shura’s forte is her softer side. Her almost-whispered vocals are sugary and gentle, coated in eerie and reverberating effects but aching with sincerity. Each is evocative and compels the audience into a dreamy haze. Fan favourite ‘Touch’ remains a stand-out in the set list. Exuberant with fuzzy synthesisers and encompassing warmth, it’s as charming live as it is on record. Shura beams during its finish as she sneakily samples the riff from Gwen Stefani and Eve’s ‘Let Me Blow Your Mind’. It’s a reminder of her remarkable musical aptitude and emphasises her eclectic taste in music. Previously unheard ‘Kids N Stuff’ is an introspective and gentle ballad featuring clinking synths, wailing guitars and infinitely reverberating vocals which captivates the audience. The ethereal ‘2Shy’, another of her most popular tracks, is given an alternative live arrangement which evolves into an electrifying climax. Shura grins and there’s an audible cackle as she launches into a phenomenal guitar solo – it’s another moment in which her passion for music is crystal clear.
That’s not to disregard the more up-tempo stuff, however. ‘Indecision’ (Shura’s ‘Holiday’) understandably prompts a rapturous response from the crowd. It’s a fantastically catchy track and Shura at her best. Likewise ‘What Happened’, is an electrifying pop-rock track reminiscent at times of Cyndi Lauper.
As the evening comes to a close, Shura is almost apologetic as she introduces the final song of the evening, the funky ‘White Light’, informing the crowd that she is still writing songs for her album. She needn’t apologise. Her succinct eight song set has captivated the audience and kept them on side all evening.
With more live dates already lined up for next year and the anticipated release of her debut album, it looks like 2016 is set to be an amazing year for Shura.
Gorgeous jazz cover of Joni Mitchell’s 1975 ‘The Hissing of Summer Lawns’ album. George has always produced wonderful covers and this is no exception.
2) Anastacia – Left Outside Alone
Killer pop-rock track released eleven years ago (I know, I can’t quite believe it either!) Co-written by Anastacia with hit songwriters Dallas Austin and Glen Ballard, this was a huge pop hit upon release and remains a brilliant song.
3) Anastacia – You’ll Never Be Alone
Lovely, if slightly slushy, pop ballad by Anastacia. She truly is one of the most underrated pop acts in the world. What a voice!
4) Anastacia – Take This Chance
Uplifting and inspiring new track from Anastacia’s Greatest Hits compilation album. She’s still got it! Awesome song.
5) Carly Rae Jepsen – Tell Me
Carly Rae Jepsen’s debut album did not receive much attention upon release. I only came across it this week and fell in love. It’s different to the stuff she’s become well-known but each song is hugely enjoyable. This is a great acoustic-based ballad.
6) Carly Rae Jepsen – Sunshine on my shoulders
Lovely and relaxing cover of the John Denver track.
7) Carly Rae Jepsen – Worldly Matters
Another acoustic based pop track. The entire album is a hugely enjoyable listen – full of sunny & chirpy pop tracks.
8) Coldplay – Everglow
Classic Coldplay ballad but with greater electro elements. This is a promotional track for the band’s upcoming ‘A Head Full of Dreams’ album.
9) The 1975 – The Sound (Live)
MY GOD THIS IS GOOD.
Catchy as hell. I am SO ready for this next album.
10) The 1975 – Somebody Else (Live)
Cartchy 80’s-esque indie-pop track comprised of broken vocal samples, funky bass lines and slamming percussion. The 1975 at their best and a teasing insight into how the new album is going to sound.
If Simon Cowell was particularly apprehensive about Ben Haenow being declared the eleventh winner of the X Factor, he had every right to be. The alleged curse of male X Factor winner has been in full force since Series One winner Steve Brookstein’s refusal to be Cowell’s puppet and subsequent drop from Syco music. Since then, male winners have come and gone; Shayne Ward, Leon Jackson, Joe McElderry, Matt Cardle and James Arthur – all recipients of a fleeting moment of fame.
Still, it began promisingly for Ben Haenow. During his stint on the X Factor, the former white van driver was largely consistent, gaining the most votes in six out of the ten weeks. Début single was an enjoyable cover of OneRepublic’s ‘Something I Need’, a rousing pop-gospel anthem. It is largely this sound that Haenow has adopted for his début self-titled album but with varied results.
Lead single ‘Second Hand Heart’, a duet with US powerhouse singer Kelly Clarkson opens the album modestly. Whilst a pleasant pop track, it’s clear why Clarkson has been enlisted to lend her vocals to it. Without her sparkle, it’s unlikely the track would have charted at all (it reached a dispiriting #21 in the UK singles chart). ‘Slamming Doors’ and ‘Way Back When’ are mope-y ‘love is exhausting’ pop ballads whilst mediocre vocals let down saccharine piano ballad ‘Make it back to me’. ‘Start Again’ is an average arena pop-rock anthem featuring an easy sing-along chorus and it all gets overly-sentimental on ‘Brother’, a track about, well, you guessed it. It’s a generic pop-rock anthem but has a competent chorus.
There are some successes, however. ‘All Yours’ is Haenow’s Macy Gray moment, utilising R&B beats, a jazz organ and rich gospel choir vocals. Haenow’s vocals are sturdy and well-matched to the track. ‘Lions’ is a charming Ben Howard-esque ballad featuring folk acoustic guitars and a melodic chorus whilst ‘Something I Need’ is still a surprisingly enjoyable and substantial cover which closes the album beautifully.
The album’s triumph is ‘Testify’, a buoyant and rousing pop track which mirrors the pop-gospel synthesis found on ‘Something I Need’. Co-written by Daniel Bedingfield, it’s tight in production, catchy and optimistic, featuring gospel music-like piano chords, fierce percussion and of course a gospel choir.
The main issue is the album lacks any variation or diversity. It’s consistent in genre but is painfully dull aside from its pop-gospel moments. It’s the generic and conventional X Factor winner album, plastered from start to finish with a drab form of pop-rock. At times even Haenow sounds bored; it’s evident he’d much rather have created the rock album he’d always wanted to make.
A bland and uninspiring album which, had it developed the pop-gospel theme further, could have been infinitely better.
Rating: 2/5.
Highlights: All Yours, Testify, Something I Need, Lions, Greatest Mistake (Deluxe Track).
Since her launch onto the music scene five years ago, Ellie Goulding has become one of the UK’s most successful artists. Largely propelled by an appearance on ‘Later… with Jools Holland’ in addition to winning the BBC Sound of 2010 poll, début album ‘Lights’ was a huge success, spawning six singles. Second album ‘Halcyon’ fared even better whilst the spectacular ‘Love Me Like You Do’, taken from the Fifty Shades of Grey soundtrack flew into Number One around the world earlier this year.
‘Delirium’ is far more of a pop effort than previous two albums. Whilst the eerie electro elements, reverberated vocals and scatty synths are still present, it’s far more upbeat in nature and is abundant with catchy pop hooks. An assortment of huge pop writers are present on the album, aiding Goulding in her venture into commercial Pop, including Ryan Tedder, Greg Kurstin, Max Martin, Carl Falk and Jim Eliot.
The pop-iest moments are the album’s forte. Greg Kurstin is enlisted as a writer on five tracks and each of these work beautifully. ‘Aftertaste’ is an exuberant track featuring shimmering synths, piano chords and funky guitar riffs. It’s still undoubtedly Goulding and her electro-pop but Kurstin’s production adds an extra dimension which transforms it into one of the album’s highlights. Similarly, ‘Don’t Panic’ is a pop/disco foot-stomper built around an oriental xylophone-like riff which is at times reminiscent of 80’s Madonna & Cyndi Lauper. ‘Something In The Way You Move’ is effortlessly catchy with funky bass riffs and melodic pop hooks whilst ‘Around U’ is somewhat bizarrely reminiscent of computer game music but is hugely enjoyable. It’s a breathy, synthpop track which could easily have been featured on début album ‘Lights’.
The album also uses elements of gospel-music on a selection of tracks. ‘Holding on For Life’ is a prime example, featuring a gospel choir and house piano riffs to create a unique but triumphant fusion of gospel-house. ‘We Can’t Move To This’ is built around scatty vocal clips, evolving into a nineties-house-like track with bizarre pitch-moderated vocals. Sultry power-ballad ‘Love Me Like You Do’ is slotted in nicely into the middle of the album and is still a prodigious piece of pop perfection.
‘Keep On Dancing’ is a more assertive track featuring a catchy whistling hook, descending hollow synths and dance-pop percussion whilst ‘Codes’ is a superior version of ‘On My Mind’, utilising jittery synths, meticulously programmed beats and a hugely addictive chorus.
The album does lose focus at times. Lead single ‘On My Mind’ is by far one of the worst tracks on the record. Goulding’s attempt to fuse electro-pop with R&B results in a confused track on which trap drums and rap-like vocals fall flat. Similarly, whilst undoubtedly catchy, the repetition present in ‘Don’t Need Nobody’ is more irritating than enjoyable.
Towards the end, whilst maintaining the pop and electro-pop elements, Goulding revisits the folktronica she bought to prominence on début album ‘Lights’. This is particularly the case on ‘Lost and Found’ and ‘Devotion’, two slightly intense moments featuring acoustic guitars and shimmering piano chords but feature impressive electro breaks. Second single, the dark and emotive ‘Army’ is also loyal to Goulding’s signature sound and is particularly reminiscent of material on ‘Hacylon’. It’s a gorgeous pop ballad and a stand-out moment on the album. The album closes with ‘Scream It Out’, an epic arena-anthem track with a euphoric chorus.
At sixteen tracks and almost an hour long, ‘Delirium’ is incredibly long. An album of this length is always an audacious feat but it holds its own and is largely enjoyable.
A bold, effervescent album which remains loyal to Goulding’s signature sound but exhibits the courage to place a pop spin on it.
Rating: 4/5.
Highlights: Aftertaste, Something in the Way You Move, Codes, Love Me Like You Do, Don’t Panic, Army.
Impossibly catchy indie-pop track on which American indie-pop band Bleachers team up with Canadian singer-songwriter Grimes. Minimalistic instrumentation is coated with Grimes’ syrupy and melodic vocals.
2) One Direction – End of the Day
Euphoric arena anthem which remains loyal to the boyband’s signature sound. Awesome track.
3) One Direction – Love You Goodbye
One Direction ballads are always exceptional and this is no exception. Taken from the band’s final (at least for now) album ‘Made in the A.M.’, this is emotive and heartfelt with catchy ‘hey, hey, hey’s’ and gorgeous weeping electric guitars. One of their best tracks.
4) One Direction – Long Way Down
Lovely, gentle acoustic-based track from ‘Made in the A.M.’ It’s one of the more reflective tracks and the Chorus is rather low-key but this is part of what makes it so endearing. In places it sounds rather like Lady Antebellum and these Country elements work beautifully.
5) One Direction – What a Feeling
One Direction channel Fleetwood Mac on this ’80’s synthpop-influenced pop track. It’s one of the stand-out moments from latest album ‘Made in the A.M’ with funky guitar riffs and gorgeous, rich layered harmonies.
6) Ben Haenow – All Yours
Brilliant euphoric pop from last year’s X Factor winner Ben Haenow.
7) Ben Haenow – Testify
Epic gospel-influenced track from Ben Haenow’s début album. The drum loop is fierce and the gospel choir adds an extra depth to the track. It’s the best track on the album and is crying out to be a single.
8) Ben Haenow – Greatest Mistake
One of the stronger tracks Ben Haenow’s début album. The Chorus is incredibly catchy and his raspy vocals sound fierce on it. Great track.
9) Justin Bieber – Company
Sultry and irresistibly catchy pop track with a funky bass line & elements of tropical house. Bieber at his best.
10) Justin Bieber – Been You
Bonus track on the deluxe version of Justin’s latest album ‘Purpose’. Incredibly catchy electropop-influenced track more than strong enough to have been included on the standard edition of the album.
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