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Music - The Singles Collection


IndieLondon gleefully checks out the cream of the week's singles. All you have to do is click on the pictures to order them...

MONDAY, NOVEMBER 29

SINGLE OF THE WEEK - GREEN DAY - BOULEVARD OF BROKEN DREAMS: How good are Green Day at the moment? American Idiot was the brilliant debut single from their latest album of the same name, and its follow-up, Boulevard of Broken Dreams, is an emotional, lyrically brilliant slice of pop-punk that is destined to become one of the band's greatest anthems. Sing-along, emotive and wearing its heart on its sleeve, the track is an excellent example of why many people are hailing American Idiot, the album, as their best long-player since Dookie. The single is certainly on a par with Good Riddance (Time Of Your Life) and, incredibly, isn't even the best thing on the album. That falls to Wake Me Up When September Ends. Nevertheless, I would urge you to rush out and buy this. Green Day remain at the cutting edge of the pop-punk explosion.
Album review l Order the album

SNOOP DOGG - DROP IT LIKE ITS HOT: Arriving hot off the back of the release of Snoop Dogg's seventh studio album, R&G: The Masterpiece, comes this monster of a rap single, featuring production values courtesy of The Neptunes and a guest vocal from N*E*R*D-man, Pharrell. Currently the biggest rap record in the US, the track features a killer hook that instantly buries itself in your brain, with Pharrell rapping the first verse over a characteristically beat-driven Neptunes production – complete with a brand new style of beat box. It's typical of the smooth style we have come to expect from Snoop, thereby ensuring he remains the top Dogg on the urban scene (and the artist everyone wants to work with; just check out the collaborations on the album).
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RAZORLIGHT – RIP IT UP: Along with Franz Ferdinand and Keane, Razorlight have probably enjoyed one of the best year’s on record for a band. Their meteoric rise is richly deserved, given the quality of their album, Up All Night, and former singles, Vice and Golden Touch. The band also won a legion of new admirers for their barn-storming gospel version of Golden Touch on Parkinson, and has played to sold-out venues up and down the country. For my money, they’re even better than Franz Ferdinand, given the infectious nature of much of their music, which is far more accessible than the Glaswegian outfit. Rip It Up is one of several party anthems on the long-player, which brings 2004 to a suitably rousing finale for the band – paving the way for plenty of pre-Christmas sales and taking them into 2005 on a big high.
Album review l Order the album l Audio l Download Golden Touch

THE BLACK VELVETS - GET ON YOUR LIFE: Hotly-tipped by the likes of Xfm and Radio 1, The Black Velvets possess the same sort of old-school rock 'n' roll swagger that marked out the likes of Oasis when they first appeared. They believe in their ability and they're not afraid to shout about it. Get On Your Life, which is being released in a strictly limited edition format, takes listeners back to the Zeppelin era, with a touch of the grunge of Soundgarden thrown in, making this an expansive, loud, rock 'n' roll monster, jam-packed with some excellent melodies and killer guitar hooks. If the early word is to be believed, The Black Velvets could be one of the name's on everyone's lips come 2005. So why not catch this particular train early? Get On Your Life is the sound of an exciting new outfit.
Audio

REM - AFTERMATH: The second single to emerge from REM's under-rated Around The Sun album is a more upbeat affair than the pensive brilliance of Leaving New York which provides another fitting showcase of Michael Stipe's vocal quality. The track contains a hint of country influence, as well as some lovely piano bursts and cello lines that make for an all-round satisfying experience. The strong lyrics, too, are typical of what we have come to expect from the band. As a timely reminder of Around The Sun in the run-up to Christmas, it should ensure that the long-player finds its way into several stockings come the big day.
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NINA JAYNE - NO ORDINARY PAIN: Born in North London to a Jamaican mother and Pakistani father, Nina Jayne grew up with a diverse soundscape, including country and western, and gospel and soul. It's little wonder to find hints of some of these in her debut single, No Ordinary Pain, which marks an eye-opening introduction to the artist. The track is an honest and heartfelt comment about homelessness, that is packed with memorable vocals, and a distinctive, enticing style that marks Nina out as an artist to watch. She is already attracting quite a buzz on the urban scene and has provided support for the likes of Amp Fiddler, Roy Ayers and Lionel Ritchie, with plenty more live dates to follow. The track comes highly recommended.
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BABYSHAMBLES – KILLAMANGIRO: Pete Doherty just seems to be everywhere at the moment – as part of The Libertines, in court, or with Wolfman. Here, he crops up in another of his personas, aka Babyshambles, for another new single, Killamangiro. The track is as fast, edgy and furious as we have come to expect from Doherty’s Libertines guise, with punk-infused guitars, and that memorably forceful set of vocals. Bonus track, The Man Who Came To Stay, is, ironically, the better of the two – featuring some truly blistering guitar work that provokes comparisons with the hard-rocking punk-style of former Blur guitarist, Graham Coxon. It might not be Doherty’s best work, but you have to tip your hat to a man who keeps on coming. If one band fails, there’s always another waiting in the wings. Babyshambles is fun, even if it might not be remembered as fondly as The Libertines. The track is released through Rough Trade Records.
Libertines review

FATBOY SLIM - WONDERFUL NIGHT: A welcome outing for one of the highlights to be taken from Fatboy Slim's latest album, Palookaville. Unlike former single, Slash Dot Slash, Wonderful Night sounds altogether more fresher for Mr Cook, and is a genuinely feel-good dance number, with a funky back beat, and some quirky and distinctive beats and breaks. The track also features a terrific vocal contribution from Lateef, from Latryx, and should have the dancefloors full come the Christmas season. Returning to the album, which was harshly criticised by many critics, it does feature a selection of cracking new songs that mark a change of pace for the Brighton-based DJ. By releasing Wonderful Night, he might yet provide an insight into what to expect, rather than some of the repetitive beats and dancefloor anthems that no longer carry the same charm, and which hinder the latter part of the album. Watch out for another fun video too!
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COLOUR OF FIRE - A PEARL NECKLACE FOR HER MAJESTY: It's time to get heavy, very heavy, for Colour of Fire's latest ball-buster - the crunching anthem, A Pearl Necklace for Her Majesty. Boasting all the sleazy values we have come to expect from the York outfit, including heavy guitar solos and soaring, inter-changing vocals, the track is one for the metal fans among you, given the heavy nature of the single. Bonus track, The Major Coincident, is a far more slow-building affair, even though it ultimately contains the same sort of brooding intensity. But Ghost is a haunting, acoustically-driven track that actually sounds much better for being a little more refined (and vocals that bare comparison with Muse). Rocksound hails the Colour of Fire sound as being 'alarmingly close to perfection', while Kerrang! stated that their songs soar 'majestically'. They've recently completed their debut album with U2 and New Order guru, Steve Osbourne, on production duties, and are planning a headline tour of Europe soon, with UK dates alongside Sparta and Million Dead.
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BAND AID 20 - DO THEY KNOW IT'S CHRISTMAS: "This project is not just about raising money – it's about putting the focus back on Africa and the problem of famine which has not gone away" - Midge Ure. With that statement in mind, it seems almost sacrelegious to write a bad word about the single, which clearly has a worthwhile agenda in bringing aid to people more unfortunate than us. Sadly, however, Band Aid 20, complete with the likes of Coldplay, Bono, The Darkness, Travis, Keane and Robbie Williams (to name but a few), pales by comparison with the original, lacking the passion or style of its record-breaking predecessor. It'll no doubt be embraced by a new generation, especially those who love Dido, Williams, Sugababes and co, but it probably won't be as fondly remembered in as many years from now (and Dizzee Rascal's rap sequence is probably as bad, if not worse, than the much-maligned Madonna rap on American Life). And one can't help wondering why such a talented bunch of artists couldn't have come up with something more original than a cover version. That said, it's a small price to pay for helping so many - so support it in whatever way possible (even if it means donating without buying the single).
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ICE CUBE - YOU CAN DO IT: A big club favourite for well over a year, not to mention a frequent flyer on Radio 1's playlist, Ice Cube's hip You Can Do It is one of those guilty pleasures that seems to have been around for ages (it was originally recorded in 1999, but has now been updated complete with new mixes from the Friday Night Posse). Needless to say, with Ice Cube on vocals, it's heavy on the attitude, but also high on fun, making it an easy one to get on down to, while getting jiggy with it even when it's on the radio. It's easy-going charm is such that it has stood the test of time well, making it a surefire bet to feature among plenty of hip-hop compilation albums in years to come. An ideal release for the upcoming party season.
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BRYAN ADAMS – FLYING: Having impressed greatly with his latest single, Open Road, Bryan Adams now returns to the sort of indifferent ballads that have become something of a trademark of late. Flying is probably one of the weakest songs on the new album, Room Service, which finds the Canadian rocker in deeply romantic mode, singing about another love of his life. Fans who can’t get enough of the singer in Everything I Do/All For Love mode, will no doubt swoon, while the cigarette lighters were out in force for the track during Adams’ recent live shows in the capital and at Brighton. He does them well (I’ll give him that), but I much prefer the rockier stuff, which, thankfully, can be found in abundance on the latest album.
Album review l Order the album l Album feature l Audio

NATASHA BEDINGFIELD - UNWRITTEN: Natasha Bedingfield has quickly emerged from the shadow of her older brother, Daniel, to become the better artist of the siblings, thanks to a grittier edge to her music that also marks her apart from some of the more bland pop singers out there. Unwritten, the title track from her debut album, is an upbeat ballad that sounds all the more refreshing for not playing to formula, mixing things up with a funky beat and some nice gospel touches. It's no coincidence that her style of music is drawing favourable comparisons with the likes of Nelly Furtado, rather than helping her to become burdened with the label of 'the next Britney' or 'next Christina'. It remains to be seen whether Natasha can genuinely break free from the pop shackles with her second album, but the omens are certainly good.
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69CORP -DEMONSEED: With a name like Demonseed, you could well imagine the latest track from 69Corp to be a heavy metal anthem to rival the intensity of Rammstein or Metallica. But you'd be wrong. Think Death in Vegas mixed with the darker side of Massive Attack and you're closer to what to expect. 69Corp are an elusive duo from Edinburgh and their latest offering is a strangely addictive affair, full of warped keyboards, a sly beat and some haunting vocals that really stop and make you listen. And while it's not going to set the world on fire, it's sure to build on 69Corp's ever-emerging reputation as music-makers to watch, capable of creating mood music to rival the likes of the aforementioned Massive Attack. Good luck in trying to find it, though, for one suspects this will find a niche in the specialist record shops of London, rather than the shelves of HMV or Virgin.

ALTER EGO - ROCKER: German techno duo, Alter Ego (aka Roman Flugel and Jorn Elling), first released Rocker at the beginning of the year in very limited qualities. Its success at Glastonbury, Creamfields and Sonar, however, has prompted them to put it out as a proper release, given that they have the support of the likes of John Peel, Jo Whiley, the Audio Bullys, Andy Weatherall and Black Strobe, to name but a few. As you might expect from a German techno crew, Rocker is a heavily electronic slice of Euro-disco, complete with 80s vibe, that touches on some of Mr Scruff's scuzzy cuts. It went down a storm among the Ibiza faithful in the Summer thanks to its nob-twiddling mix of monotonous beats and Euro sensibilities. That said, it's largely forgettable and probably is best suited to the underground from which it emerged. It is taken from the duo's fourth album, Transphormer.
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MONDAY, NOVEMBER 22

LEMON JELLY - STAY WITH YOU: Hurrah, hurrah! Lemon Jelly are back and the disc-wobbles are still as magnificent as ever. Having teased fans with excerpts from their new material during the excellent live shows in the Summer, Fred and Nick now prepare to unleash their third album, '64-'95, with this humdinger of a single, featuring a sublime sample of Gallagher and Lyle's I Wanna Stay With You, and plenty of the trademark Lemon Jelly bouncy beats. It's a genuinely uplifting, feel-good record that, quite possibly, represents the duo's most mainstream offering yet. But as a taster of what to expect from the new album (due in the new year), it really does heighten the anticipation. Exemplary as ever.
Pre-order the album l Lost Horizons l Caught live: Somerset House

KEANE - THIS IS THE LAST TIME: Keane opt to end 2004 on an upbeat high, with the fourth single to be released from their hopelessly successful debut album, Hopes and Fears. This Is The Last Time epitomises all that is great about listening to the band - strong pianos, powerful, heartfelt vocals and a freshness that is sometimes sorely missing from this genre of music (perhaps due to the absence of guitars?). Interestingly enough, the track was originally released on independent label, Fierce Panda, prior to their mainstream breakthrough, but appears in a remixed album version here. It should ensure that Keane end the year on as big a high as they began it. One can only guess what they will go on to achieve in 2005.
Interview l Album review l Order the album l Audio/video l Caught live

DELAYS - LOST IN A MELODY: The Delays emerged as one of the brightest new acts at the beginning of 2004, following the back to back hits, Nearer Than Heaven and Long Time Coming, taken from their glorious debut album, Faded Seaside Glamour. They have also been growing in stature during their live performances. It comes as no surprise, therefore, to find that their first new material has become a live favourite. Lost In A Melody is more dance-driven than previous offerings, with a driving beat and heavily synthesizer-led backing, but it still provides an effective showcase for Greg Gilbert's distinctive falsetto vocal style, as well as a suitably catchy feeling. What's more, it comes with the opening track on the album, the Jamaican-tinged, feel-good anthem Wanderlust, which really does recall the sound of the Delays at their brilliant best. It also means the band should end 2004 on a similar high to the way in which they began it.
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KRISTIAN LEONTIOU - SOME SAY: Talented new British singer-songwriter, Kristian Leontiou, looks to end a brilliant 2004 on a high with the release of the third single from his debut album, Some Day Soon. Some Say is another heartfelt, sweeping ballad-style epic that builds on the quality of his previous singles. Containing a quietly impressive guitar riff and some more powerful vocals, the track is a poignant love song that really does mark Leontiou out as one of the year's best finds. If previous tracks haven't already convinced you, then this should go some way to ensuring that the debut album makes it into your record collection by the end of the year.
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LINKIN PARK/JAY-Z: NUMB/ENCORE: Taken from Collision Course, MTV's once-in-a-lifetime performance of Linkin Park and Jay Z, which was captured live on July 18, 2004 at the Roxy Theatre in West Hollywood, California, this unique and exciting fusion of two of the biggest acts in rock and hip-hop/rap really does deliver the goods as an appetiser for the album itself. Featuring one of Linkin Park's biggest hits, and trademark nu-metal guitars and raging, the track is neatly mashed-up with Jay-Z's unmistakeable rapping style which works far better than one might initially have imagined. The track comes in a radio-friendly and explicit format, but is a must-have for fans of both artists nonetheless.
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OUKAST - PROTOTYPE/GHETTO MUSICK: Following hot-on-the-heels from the band's success at last week's MTV European Music Awards in Rome comes this double-A sided single to celebrate more brilliance from the duo's critically-acclaimed Speakerboxx/The Love Below album. Prototype is Andre 3000's funk-laden ballad to celebrate the discovery of his perfect woman, told in the singer's own inimitable style, while joint effort, Ghetto Musick, features a pumping beat offset against more of the duo's fluid rhythms and a Patti Labelle sample. I have to confess to hating Ghetto Musick when I first heard it, but following many listens as part of the whole Speakerboxx experience, I've come to admire the energy contained within. It would be foolish not to own the long-player by the end of the year, for it's the new standard-bearer in modern hip-hop, rivalled only by the likes of DM & Jemini and the new Handsome Boy Modeling School long-player.
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VERRA CRUZ - CORNER OF MY MIND: Verra Cruz - comprised of Marc James (guitar, vocals), Jimmy Cook (drums) and Nick Bright (bass) - are rapidly earning a name for themselves among the Kerrang!/Rocksound fanbase, thanks to the success of their previous single, Soul Collides. Their sound is all about big guitars and powerful lyrics which can't help but provoke comparisons with the likes of Bush and Foo Fighters. It's little wonder, then, that the band have already been picked up by top LA radio station, KROQ, which recently made them a 'Single Of The Week'. Corner of My Mind, the follow-up, is a foot-stomping, fireball of a track that is as fast and furious as they come. Bonus track, Rock And a Hard Place, really pushes the Bush comparisons, particularly vocally, while the live version of Bitter Feelings is a really terrific demonstration of their ability to slow things down a bit and add some poignancy to the mix. Heck, there's even a bit of Pearl Jam thrown in. Rock fans should be in guitar heaven.

THE BRAVERY - UNCONDITIONAL EP: A welcome re-release for The Bravery's Unconditional, which adds impetus to the claim that they could become one of the bands to watch in 2005. The track, which has been picked up by Xfm and co, is an exciting mix of driving rhythms, electo flourishes and Strokesian/Cure vocals, complete with one of those guitar riffs that hooks you in from the outset. The riff in question is right up there with the likes of Coldplay's In My Place and Modest Mouse's Float On for the way in which it reels you in. And while the vocals might not match the unique appeal of both of those bands, there is still plenty to admire and look out for in the future.

DEPECHE MODE - ENJOY THE SILENCE REMIXES: Talk about knowing when you're on to a good thing. Not satisfied with a 3CD remix album, and two formats of Enjoy The Silence on that, Depeche Mode now unleash several different single forms of their seminal track, with remixes from the likes of Richard X, Goldfrapp, Ewan Pearson and Black Strobe. Stretched across CD and vinyl formats, some of the makeovers make for an interesting interpretation on the timeless theme, while others simply get it completely wrong. Depeche Mode fans will probably want all variations to complete the collection, while they undoubtedly offer a suitable insight into what to expect from the remix album (which is as mixed a bag as you might expect).
Album review

NELLY AND CHRISTINA AGUILERA - TILT YA HEAD BACK: Another of those massive collaborations that seem to provide an easy recipe for success within the urban world of music at the mo, this one features superstar Nelly and Christina, and is actually quite good, thanks to a funky rhythm, a serious vibe, and some suitably sultry vocals from Miss Aguilera (who sounds much better here than on the recent Car Wash single). The track, which also features a sample of the Curtis Mayfield classic, Superfly, is taken from the Nelly double album, Sweat and Suit (and appears on Suit), which has provided the R&B star with yet another phenomenal success story. The vibe on this one is so hot it could easily crop up on the soundtrack to a Steven Soderbergh-backed crime caper at some point.
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STREETS - COULD WELL BE IN: There's been no stopping The Streets in 2004, largely because of the success of Dry Your Eyes. But the jury is still out, for me, on Mike Skinner, whose efforts from A Grand Don't Come For Free still fall between enormously annoying and ok. Could Well Be In is another soft track, in the style of Dry Your Eyes, which probably features the artist at his best, and which demonstrates a more mature outlook. It finds Mike in a first encounter with a love interest, Simone, and intertwines a conversation between him and Simone as well as lyrics about a dating program on television - all over a cool piano break! It makes a nice companion piece to Dry Your Eyes as well - love lost and found. That said, I still don't believe The Streets warrant the hype they continue to generate.
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SHANIA TWAIN - PARTY FOR TWO: Shania Twain releases another slice of trademark electro pop that should continue to mark her out as her country's leading country singer. Party For Two features a duet with Mark McGrath, sounding really like Bryan Adams (any mistake?), but is a fairly average entry into the back catalogue which seems tailor-made to promote the Greatest Hits album (released recently). Its certainly bouncy enough to generate the airplay it will undoubtedly receive, but Shania is probably capable of far better and her fans might feel a little disappointed. For me, it's a bit of a turn off that would fail to get the party started.
Album review l Order the album

MONDAY, NOVEMBER 15

MODEST MOUSE - OCEAN BREATHES SALTY: Having finally got some of the attention their music so clearly deserves following the release, earlier this year, of Float On, Washington-based alt-rockers, Modest Mouse, return with an even better track, in the form of Ocean Breathes Salty. Featuring a guitar riff that is even more memorable than the one on Float On, courtesy of Dann Gallucci, the track is an effortless ear-pleaser that demands repeat listening. Frontman, Isaac Brock's idiosyncratic lisp and edgy vocal style are also to the fore, making this an excellent advert for all the band has to offer. The track is one of the highlights from the new album, Good News For People Who Like Bad News, which could provide the more adventurous listener among you with one of the most surprisingly rewarding purchases of the year.
Album review l Order the album l Feature

EMBRACE - ASHES: Ok, so it's cool to like Embrace again. After seemingly becoming caught up in a sea of bland ballads, Embrace returned earlier this year with a truly enterprising new album, Out Of Nothing, which mixed things up a little and delivered some of their best material in ages. And while the Chris Martin-penned Gravity may have been a little old-school and ponderous, Ashes is a completely different kettle of fish - a skyscraping anthem that marks Embrace at their mighty, magnificent, soaring best. Feel-good in a way not usually associated with Embrace, the track builds and builds with heartlifting subtlety, courtesy of some terrific guitars and Danny McNamara's soaring vocals. It gets the album off to a terrific start and is well worth raving about. It means Embrace are, once again, at the forefront of the indie revival that seems to be taking place at the moment.
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MANDO DIAO - PARALYZED: Swedish hard-rockers Mando Diao finally release their debut UK single proper in the form of Paralyzed, a blistering ode to sex, tight pants and raging guitars. Recorded in their basement on garage-sale gear, the track recalls the gutsy brilliance of The Hives, with a slightly more mainstream tone. It's ballsy, slightly bluesy and guaranteed to get the sweat glands pumping, while serving as an excellent foretaster of what to expect from the debut album, which is due in early 2005. The blues-laden, retro-tinged rock workout of bonus track, Motown Blood, is another excellent example of their emerging talent, which contains the sound of a band that could have been around for years, instead of just starting out. While the guitar-charged fury of Bring 'Em In is simply bruising. One can only imagine what they might sound like live. But stay tuned, for Mando Diao could become another of 2005's biggest hits.

RADIO 4 - STATE OF ALERT: Punk-funk innovators, Radio 4, release one of the best tracks from their critically-acclaimed album, Stealing of a Nation, in the form of the supremely catchy, State of Alert. Featuring the band's bass line-driven, synthesizer-regulated disco-punk style, complete with edgy guitars and busy beats, State of Alert also provides a fitting showcase for Anthony Roman's distinct vocal style, which, at times, sounds strangely like the late Michael Hutchence, of INXS. The single is an excellent reminder of why the New York-based outfit are so highly regarded and comes complete with a live version of Transmission, which is a must for all fans. Bonus tracks, Pipe Bombs and Struggle (also recorded live) aint bad either!
Album review l Order the album l Feature

BLUES EXPLOSION - HOT GOSSIP: The Blues Explosion (John Spencer and co) release one of the highlights from their latest album, Damage, in the form of Hot Gossip, a rock/rap crossover that features an authoritative vocal from Public Enemy legend, Chuck D. Destined to become one of the Explosion's biggest anthems, Hot Gossip is as raw and emotive as we might expect from such a collaboration, featuring some typically blistering, blues-drenched guitar work, wrapped around those distinctive rap vocals. It shouldn't work as well as it does, but that just goes to show how talented Mr Spencer is. He's not afraid to push musical boundaries and the track could well earn the excellent album more listeners as a result.
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PAUL WELLER - THINKING OF YOU: The latest track to emerge from Paul Weller's album of cover versions, Studio 150, is a slightly curious choice for the artist, given that it was originally a disco smash for Sister Sledge (originally penned by Nile Rogers and Bernard Edwards). Slower in style and much more heartfelt, the track showcases a tender side to Weller that isn't usually quite so apparent, and is an eye-opening entry onto the former Jam singer's CV. What's more, 50p from the sale of each copy is being donated to this year's Children in Need campaign. The single itself comes with two new cover versions not on the album - namely Don't Go To Strangers, which was originally done by Joni Mitchell and Sony Bono, and Needles and Pins, a track by Jack Nitzche that was made famous by The Searchers.
Order the album l Hear the track

THE POLYPHONIC SPREE - 2000 PLACES: The artistic wonders that are The Polyphonic Spree return with another grand opus of a single, in the form of album highlight, 2,000 Places. The song is packed full of the lush melodies and sprawling choral numbers that the band is renowned for, as well as some more of those ever-so distinctive vocals from former Tripping Daisy frontman, Tim Delaughter. That said, it's no longer as fresh as it once sounded, and is one of only a handful of tracks that truly stand out from the album, Together We're Heavy, which feels like a much more preachy and far too self-congratulatory affair. B-sides include a rendition of Happy Christmas, War Is Over, which is previously unheard by anyone. The band is currently on tour in the USA and have added Marilyn Manson to their plethora of celebrity fans following their incredible performance on the MTV Music Awards.
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THE WHITE STRIPES - JOLENE (LIVE): The White Stripes have often been hailed as one of the best live acts around, so it's little wonder to find them finally releasing a live track to showcase this. What is surprising, however, is that they have chosen a cover of Dolly Parton's Jolene, which was recorded live under Blackpool lights. The ensuing track is something of a masterclass in blues rock brilliance, that slowly builds to a rocky finale. It is testament to the White Stripes' ability to keep things fresh and exciting that they haven't merely contended themselves with releasing an album favourite in life form, but rather mix things up a little with a gutsy makeover of a classic track in its own right. For anyone who caught the show, loves The White Stripes, or is thinking about seeing the tie-in movie, this is essential stuff indeed.

NICK CAVE & THE BAD SEEDS - BREATHLESS/THERE SHE GOES MY BEAUTIFUL WORLD: The second single to emerge from Nick Cave's double album, Abattoir Blues/The Lyre of Orpheus, is a double-A side, featuring two of the better tracks from it. Breathless appears in a slightly new format, produced by Nick Launay, which, if anything, is a little more upbeat that the album version, courtesy of some really great folk guitar and some nice percussion touches. The vocals are as striking as we have come to expect from Cave, complete with a genuinely touching sense of emotion (about a lost love). Strong, too, is a shortened version of There She Goes My Beautiful World, which is darker and more foreboding in tone (and with more than a hint of Doors about it). The gospel choir which accompanies the track is another nice touch, tapping into the current trend for using gospels to great effect. Needless to say, Cave has chosen one track from each of the two albums to provide an insight into the diversity on show.
Album review l Buy the album

LEMAR - IF THERE'S ANY JUSTICE: Lemar returns with another fitting showcase of his vocal prowess with this brooding, Seventies-style track, that features the artist at his most soulful. Packed with the horns and strings of Brian Hey, the track harks back to a different era of songwriting and sounds all the better for it, thereby guaranteeing Lemar another massive hit to follow-up his double platinum album and previous three hit singles. It's probably more suited to the Kiss/Capital crowd than the alternative brigade, but as an example of something a little bit different, that still fits into the mainstream, it makes a refreshing change.
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ELVISS - NOT ENOUGH: More hard-rocking, this time from Elviss, whose brand of skater-boy rock-punk was so appealing to pro-skater, Tony Hawk, that he requested them to play for him. Needless to say, Not Enough, their latest EP, is a fast and furious affair, packed with edgy guitars and shouty lyrics. Produced by Paul Tippler (Ash/Placebo), through Plummet/Karma Lion Records, the track has already been made a single of the week by Radio 1's Jo Wiley, as well as attracting the ears of Xfm (who have had them in for a recording session). Bonus track, Disappointment, is a similarly loud affair, packed with crashing guitars and drums. It's all very post-punk, yet not quite strong enough yet to justify the hype surrounding them. That said, Stone Sour's Corey Taylor has hailed them to be the 'best support band I've ever had'. Bring some ear-plugs.
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THE THRILLS - NOT FOR ALL THE LOVE IN THE WORLD: The Thrills have failed to, well, thrill, since the early brilliance of tracks such as Santa Cruz and Big Sur. Not For All The Love In The World, the second track to be lifted from their sophomore effort, Let's Bottle Bohemia, is no exception, coming across as a dreary ballad that seems content to play rigidly to formula. Heartfelt it may be, but it lacks the West Coast-infused pop melodies that made earlier efforts so memorable and which have helped them to become so popular so fast. On the strength of this effort and Whatever Happened To Corey Haim?, the follow-up album to So Much For The City is a big disappointment. Which is a shame, as I was expecting so much more from this Irish outfit.
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FRANZ FERDINAND – THIS FIRE (DOWNLOAD ONLY): Franz Ferdinand celebrate the end of a phenomenal year with the download-only release of This Fire, re-recorded from scratch in LA with producer, Rich Costey (Muse, Jimmy Eat World), to be their second single in the States. Featuring the same sort of killer hooks and edgy vocals that made their breakthrough hit, Take Me Out, so memorable, This Fire is the sound of Franz Ferdinand doing what they do best and rates among the album’s many highlights. Having conquered both sides of the Atlantic, attracting legions of fans and winning a Mercury Music Prize into the bargain, one wonders what 2005 will bring for the Glaswegian outfit. This Fire is undoubtedly the sound of a band on scorching form, while bonus track, Darts of Pleasure, is another belter.
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GWEN STEFANI - WHAT YOU WAITING FOR?: No Doubt lead singer and fashion guru, Gwen Stefani, delivers her first solo single since teaming up with Eve and Dr Dre, in the form of What You Waiting For, an 80s-inused dancefloor filler that quickly becomes annoying. Kicking off with a mock ballad-style intro, the track then kicks in with a mixture of electronic beats and melodies that hark back to the decade that Americans seem to love, without bringing any of the cheesy fondness with it. Stefani's vocals remain as striking as ever, particularly during the sassy chorus, but this feels like a backward step for the performer, which recalls all that was similarly bland about No Doubt during their early years. The track is taken from Stefani's debut solo album, Love Angel Music Baby, so it remains to be seen whether the rest of the material on that is any better.
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JO-JO - BABY IT'S YOU: Precociously-talented singer-songwriter, or teenage burnout in waiting? It's hard to know what lies ahead for Jo-Jo, the 13-year-old who sounds like someone triple that age. Hot on the heels of Leave, Jo-Jo releases another catchy slice of pop-infused R 'n' B that comfortably gives the likes of Beyonce, Janet and J-Lo a run for their money. The single version, featuring a guest appearance from US rapper, Bow Wow, is a pulsating affair, which features some insightful lyrics that make a mockery of her tender years. As good as the track is, however, you can't help but feeling that for some of the new young crowd, the innocence of youth has been tarnished. Should we really be encouraging our kids to grow up this fast?
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FABOLOUS - BREATHE: More urban smooth grooves in the Nelly/Usher style of things. This has all the urgency of Usher's Yeah, with a nice backbeat, some cool attitude, and some tingling piano, making it a better-than-average entry into the urban genre. And it also rates as one of the best songs on Fabolous' new album, a track which has helped him to earn the reputation of the new prince of New York. However, it's not quite as Fabolous as the artist's name suggests, but certainly something worth checking out for anyone who gets their kicks in this sort of territory.
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MCFLY – ROOM ON THE THIRD FLOOR: You just can’t seem to keep a bad boy band down. Not content with attempting to copy the likes of Sum 41 or Green Day, McFly now attempt to chart ballad-style Oasis territory with the title track of their album, Room on the Third Floor. It also owes much in style to some of the more thoughtful material on the new Green Day album – but just simply isn’t in the same league. McFly just sound too young to carry it off, even if there is some hint that, given time, they might develop into a rock band capable of being taken seriously. The real choker, however, is that this track will probably make a bigger chart impression than many of the acts it is trying to imitate. Is there any justice?
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FRANKIE AND CALVIN – DREAMING: Frankie and Calvin are two of the young stars of CBBC One’s latest musical drama, I Dream, a series of half-hour musical TV dramas which boasts the dubious claim of making dreams come true. The title track, which is a fore-taster of the forthcoming album, is a hopelessly bland affair, with sugar-sweet voices talking of ‘dreaming’ in an overly repetitive, sickly saccharine sort of way. Clearly designed with its eye on the chart, and with its young TV audience in mind, the track is a sickening excuse to cash in on the dubious merits of the TV show. It may be called Dreaming, but listening to it for too long is the stuff of nightmares!

GIRLS ALOUD - STAND BY YOU: Girls Aloud have been winning quite a bit of praise for their heartfelt cover of The Pretenders' classic, which has been re-imagined for Children in Need, and which makes me reluctant to criticise it too much. Vocally, Sarah, Cheryl, Nicola, Kimberley and Nadine can't really hold a candle to Chrissie Hynde's mesmerising style, but as cover versions by girl bands go, it aint bad, and it's for a good cause. Enough said, really. Given who it's marketed at, it shouldn't fail to make a big impression on the charts, while raising money for a worthwhile cause. Hailing Girls Aloud as 'one of the best girl bands of all time' in the PR does, however, stretch credibility somewhat, and don't expect us to be quite so kind when they release their next song sometime in the future.
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MONDAY, NOVEMBER 8

SINGLE OF THE WEEK - U2 - VERTIGO: Irish rockers, U2, return with another gem of a single, underlining their position as one of the world's most consistently enjoyable and evolving bands. Vertigo, taken from the forthcoming long-player, How To Dismantle An Atomic Bomb, is one of the band's biggest anthems in recent years, arriving with the same sort of intensity as Hold Me, Thrill Me, Kiss Me, Kill Me, from the Batman soundtrack. Vertigo is the sort of track that is instantly accessible and downright essential, boasting several terrific guitar riffs from The Edge, as well as a typically strong set of vocals from lead singer, Bono. It expertly blends the best of the old, with some nice touches for the future. Roll on the new album...
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NAS - BRIDGING THE GAP: Hip-hop/r'n'b collides with old-school, Mississippi-based blues in spectacular fashion, thanks to Nas' brilliant crossover single, Bridging the Gap. A firm favourite on Radio 1, especially with Zane Lowe, and released due to overwhelming public demand, Bridging the Gap is a truly epic affair, a feel-good slice of Nas at his tip-top best, which also features a vocal from Olu Dara, his father. It marks the first track to be taken from the highly-anticipated album, Streets Disciple, which could well become the artist's most successful effort to date.
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GRAND NATIONAL - DRINKING TO MOVE ON: Grand National effortlessly capture the spirit of New Order in their latest single, the brilliant Drinking to Move On. With its ringing guitars, laidback vocal style and electronic loops, Drinking To Move On is also one of the finest records on the band's debut album, Kicking The National Habit, which was released earlier this year to largely good reviews. It's the type of track that hooks you in from its opening moments and then continues to delight, courtesy of its easy-going style, and memorable melodies. Intelligent and richly rewarding, it deserves to catapult Grand National into the mainstream spotlight, as well as bringing some extra interest to the long-player. Bonus track, Strange Magnificent Noise, while edgier and darker in tone, is just as good, proving that the Grand National duo of Rupert Lyddon and Lawrence 'La' Rudd could well be a band with a very bright and big future ahead of them. Fingers crossed they can continue delivering material of this quality.
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TWISTA - SO SEXY: More smooth-groove collaborations, this time featuring Twista and R Kelly, who serves as both producer and guest vocalist. It's as slickly produced as we've come to expect from this sort of R'n'B offering, and perfect for a late-night smooch (or dance) among the smooth-groove, Kiss FM crowd. The video features even more of Twista's friends hanging out together, including Da Brat, Swizz Beatz, Selina Johnson and Freeway. It's directed by Marcus Raboy (Mary J Blige, Ice Cube), and is as sexed up as the title of the track suggests. Formulaic, but courtesy of a neat guitar riff and some slinky beats, it doesn't offend as much as it might, and has to rate among the better collaborations for this sort of thing. The decision to slow it down, for Chapter II, doesn't work quite so well. It's better with the urgency.
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MASE - WELCOME BACK/BREATHE STRETCH SHAKE: It's been five years since 26-year-old Mason 'Mase' Betha gracefully bowed off the hip-hop stage to pursue a higher calling, but now that he's returned, he's back with a bang. Enlisting the support of P Diddy, the rapper unleashes this double-A side, which epitomises his desire to have fun within the medium. Hence, Welcome Back, which features a sample and hook over the theme from Welcome Back Cotter, is all about being playful, while Breathe, Stretch, Shake is a club-banging anthem that recalls the attitude of 50 Cent's In Da Club, albeit with a faster groove. Both tracks should serve to ensure the album attracts a large following for Mase, whose absence has only made the heart grow fonder.
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STERIOGRAM - WALKIE TALKIE MAN: Fast earning a big name among Xfm listeners, particularly on the evening shows, New Zealand five-piece, Steriogram, deliver another bout of their trademark rock, which might just help them to the place in the spotlight that their talent would seem to deserve. Fast and furious, yet strangely addictive to boot, Walkie Talkie Man is also currently being used in the iPod adverts - a surefire route to success for any band that needs a break at the moment. The track could do for Steriogram what David Beckham's commercials did for Jet - and that's no bad thing!
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JAMIE CULLUM - EVERLASTING LOVE: Precociously talented young jazz sensation, Jamie Cullum, has quickly become one of the UK's brightest new talents. But while his decision to appear on an album like Handsome Boy Modeling School's White People, alongside John Oates, is to be applauded, his dreary version of Everlasting Love, for the Bridget Jones: Edge of Reason soundtrack, is not. The song fails to make the right sort of impression when you first hear it on film, and in record form, is equally forgettable. Appearing on such a high-profile soundtrack will undoubtedly win Cullum more fans, but it's a lazy way of gaining interest and fails to do any justice to his talent. Avoid - much like the movie!!!
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V - YOU STOOD UP: Another week, another boy band, another drippy ballad, and another waste of time. Lord save us from generic bands such as this. V's latest, You Stood Up, has been produced by Mark Taylor, the man responsible for hits by Kylie, Britney and Enrique, and smacks of all the soul-squashing qualities of ballads from those artists. It follows exactly the same formula of pairing young, dreamy-looking boys longing for lost loves in equally turgid videos, that no doubt sweep love-struck young girls off their feet. Think Take That, Boyzone, Blue, etc, and you're probably in the right neighbourhood. The track may be called You Stood Up - the sentiment is, they should grow up.

MONDAY, NOVEMBER 1

THE STROKES - THE END HAS NO END: It's been a while since we've had any new material from New York's finrst punk-rockers, The Strokes, so it comes as a teeny bit of a shame to find them resorting to their last album for material. That said, The End Has No End is only the third track to be taken from the excellent Room On Fire LP and, given the quality of the album, it would be a shame if it only spawned two singles. And The End Has No End, with its memorable guitar hook and typically edgy vocals, does rate among the finer moments on it. It serves as a good way to end the year for The Strokes, who continue to set the standard for this sort of thing.
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EMINEM - JUST LOSE IT: The motormouth rapper is back with a brand new single and the controversy, needless to say, remains intact. This one has courted the attention of Michael Jackson, who campaigned for the video to be banned, but it will probably only help the record to become bigger than it arguably deserves. Just Lose It, while catchy, is the sort of track you just feel won't age well and is an easy way of easing Eminem's fans into his new long-player, Encore, which marks his fourth studio effort. It's generally about losing the plot and features some memorable hooks and lyrics (as ever!) but it doesn't feel too much of a stretch for the artist and probably has to rate among his most commercial works yet. That won't stop it being huge, however.
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YEAH, YEAH, YEAHS - Y CONTROL: Released to coincide with the emergence of the first full-length Yeah Yeah Yeahs DVD, Tell Me What Rockers To Swallow, Y Control is an effortlessly sleek indie offering from the alt-rockers that recalls all that is captivatingly brilliant about listening to the band. Similar to Maps in many of its guitar riffs but a little more rockier to boot, Y Control not only serves to place the DVD firmly in the spotlight, but also as a timely reminder of the brilliance contained throughout the band's last album, Fever To Tell, which was released last year.If you've not heard it yet, then it's well worth investigating.
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USHER - CONFESSIONS PART TWO: The R'n'B/urban artist of the moment gears up for the festive run-in with another heartfelt, ballad-style effort from his ultra-successful long-player, Confessions Part 2. The song is another cautionary tale of love and broken promises which seems to be a recurrent theme in much of the album. It's sung with all the conviction and intensity we have come to expect from the artist, yet feels way too familiar into the bargain, leaving you pining for the sort of guilty pleasure that Yeah provided. The second part of this single features a duet between Usher and Alicia Keys, called My Boo, which was written specifically for the 8701 release and was originally recorded with Beyonce. Given that it features another high-profile collaboration between R'n'B artists, the success of the track is all but guaranteed - although with Eminem out on the same day, it should be interesting to see who charts higher.
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DESTINY'S CHILD - LOSE MY BREATH: Having already cast a glance over new releases from Eminem and Usher, it comes as some relief to report that the brand new offering from Destiny's Child is the week's biggest pleasure from the R'n'B/hip-hop fraternity. Lose My Breath, which was produced by legendary urban music producer, Rodney 'Darkchild' Jenkins and Beyonce Knowles, is a genuinely catchy anthem, featuring a heavy military-style beat, and a really driving bassline. The vocals of Beyonce, Kelly and Michelle are typically sassy and should help to ensure that the track becomes one of the biggest dancefloor fillers of the upcoming party season. In solo form, this Texan girl trio are massive in each of their own rights, so just imagine what they can do together. Destiny's Child are back with a bang and the vibe is all good on this one.
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TOM VEK - IF YOU WANT: A quirky favourite among the Xfm fraternity, Tom Vek is described as an artist who provides angular punk-funk in a laidback, laconic style. Featuring plenty of acerbic wit, and a driving bassline that Level 42 would be proud of, the track is enjoyable in spite of its limitations, and should help Vek to justify his emerging reputation as one of London's hottest new artists. The lyrics, especially, possess an underlying sense of sarcasm that makes them all the more notable, while Vek's style is fast becoming unique as well. It remains to be seen whether the potential displayed in this single, and the critically-acclaimed debut album, manifests itself into a greater experience in 2005 - for Vek is only just beginning to generate the sort of attention that many of his reviews suggest he should be getting.

KAISER CHIEFS – I PREDICT A RIOT: Leeds-based rockers, Kaiser Chiefs, follow-up the success of their debut single, Oh My God, with another slice of punk-infused art-pop that looks set to have people talking about them in the same breath as Razorlight and Franz Ferdinand. Championed by Xfm’s Claire Sturgess, the track is a fiery, edgy blend of feel-good verses, and punk-rock choruses, which become more and more catchy each time you listen to it. Produced by Blur’s Stephen Street, this has some fairly heavyweight backing and looks set to place Kaiser Chiefs among the hot tips for bigger success in 2005.

SchwaB - NO BALLS: After two years of live shows, including headlining at the Rough Trade Saturday sessions, and touring with Scott 4 and opening for Zodiac Mindwarp, SchwaB now feel the time is right to go it alone - and this energetic third single, which was apparently inspired by a bar room sparring match between lead singer, PJ Austin, and a famously aged 70s rocker on the relevance of contemporary rock and roll, strongly suggests a bright future. The band describes their particular brand of rock 'n' roll as swamptronic - a pounding electric soup of big rock party music. And the vibe is a good one. No Balls contains the 80s-tinged swagger of a lot of punk-rock bands, including New York's StellaStarr*, albeit with a funkier vibe, while bonus track, Burning Skull, hints at beat-driven John Spencer Blues Explosion, thanks to its jagged, Seventies-style riffs and bluesy vocals. Contrary to the name of the track, it would seem that SchwaB have plenty of balls and aren't afraid to flaunt them. Listeners have every reason to feel excited.

DEATH FROM ABOVE 1979 - ROMANTIC RIGHTS: The scuzzed-up, no-nonsense noise of Death From Above 1979 (formerly Death From Above) returns with the first single proper, Romantic Rights. Just like the limited edition picture disc single, Blood On Our Hands, Romantic Rights takes no prisoners, getting under your skin in a completely unflinching manner and refusing to let go. Featuring typically edgy rock 'n' roll vocals, and all the drum and bass you could wish for, Romantic Rights is an unapologetically loud statement of intent from a Toronto two-piece who have officially declared war on tedium. It's speaker-bursting, intense and designed to be played loud - but as accomplished as it may be, there is something strangely cold and unsatsifying about it. Expect some similarly loud content from the forthcoming long-player, You're A Woman, I'm A Machine, which is on its way soon.
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RASMUS - FIRST DAY OF MY LIFE: Finland-based Goth rockers, The Rasmus, release the opening track of their successful album, Dead Letters, which has already spawned the singles In The Shadows and Guilty. And what can we say except that you should expect more of the same. First Day of My Life is anthemic, chest-pounding, yet distinctly European-flavoured, sounding like a contemporary equivalent of previous Euro-rockers such as Europe. And while the guitar work is good, the vocals somehow fail to measure up to the hardness contained in the music. The Capital FM crowd will probably warm to it, especially given the success of the previous singles, but it's a fairly mainstream rock experience and one which fails to reach the epic quality it so clearly is striving to achieve.
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BRITNEY SPEARS - MY PEROGATIVE: Cover versions are always mixed blessings. It takes a good band to make them work, and put a different spin on them. Britney Spears, however, attempts to reinvigorate Bobby Brown's smash hit, My Perogative, simply by putting her trademark sexy vocals over the top of them and appearing in her video in various forms of undress. Now that's ok for the FHM brigade, but you can't really take the track seriously, especially since it's supposed to be a commentary on the press intrusions into her life, and how she should be allowed to get on with things herself. Nice underwear, nice bed shots, shame about the music. It's just the latest soft-porn romp in the ongoing Britney catalogue which also serves to herald the arrival of the imminent greatest hits compilation (has she had that many already?).
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MISSY ELLIOTT AND CHRISTINA AGUILERA - CAR WASH: The second collaboration between pop princess, Christina Aguilera, and hip-hop girl of the moment, Missy Elliott (following the chart success of Lady Marmalade) is a funky re-working of the Rose Royce disco classic, which is taken from the soundtrack to the film, Shark Tale. Yet, like the film, it feels a little too slick, a little too polished and a little too trendy to be really worthy of praise. The record producers probably knew a good thing when they saw it, as nothing is going to stop this from becoming another splash hit, but there is also something lazy in pairing two divas and giving them nothing more than covers to perform. Strictly for the kids, or anyone who wants something to remember from the movie.
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ELTON JOHN - ALL THAT I'M ALLOWED (I'M THANKFUL): Elton John reunites with long-time collaborator, Bernie Taupin, for another piano-driven ballad that has become his trademark and it's fair to say, this is the single your mother will want come Christmas. Taken from the forthcoming album, Peach Tree Road, the track is undeniably Elton in style, even though it's supposed to have been heavily influenced by the sounds of the American Deep South, which I couldn't quite see. That said, it lacks the verve of his early years, rendering it a somewhat hum-drum affair that isn't really likely to bring any new fans to his material. But then when the formula has worked as well as it has for so many years, why change it, I suppose? I'm, personally, just thankful the record is mercifully short.
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MICHAEL GRAY - WEEKEND: You have to wonder how increasingly desperate the state of modern dance music - and a lot of mainstream music in general - is becoming in its bid to sell records to the undemanding masses. Take former number one, Eric Prydz's turgid dance makeover of Call On Me, which featured a gym full of busty women in its video to get the male testosterone flowing. There's nothing remotely original in the track, itself, which feels like a blatant attempt to cash-in quickly. Now step forward Michael Gray, with Weekend, another soulless dance anthem that boasts a semi-clad office worker gyrating around a chest of drawers in its video. The woman is hot, as are the friends who join her for some more striptease action late on, but it fails to mask the total lack of quality in the track, which is geared towards the Ibiza crowd only. Come on people, don't be shallow or conned. Watch the video, if you must, but let's not encourage this sort of thing - it only makes it harder for bands of genuine worth to get a look in.
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WET WET WET - ALL I WANT: The approach to Christmas can be a depressing time for a music journalist. The album chart is populated by best of albums, or collections of tracks from a number of particular genres, while the singles domain is rife with easy listening nausea-inducers, which all have their eye on the number one. There is the odd tropicana in this desert of mediocrity (step forward U2), but for the most part, it's downright depressing. Step forward, then, Wet Wet Wet, the self-confessed 'housewives' favourites' who have reformed for.... well, I don't know really. All I Want is a typically drippy ballad, during which you can practically envisage Marti Pellow's smiling face as he gazes longingly at the microphone (or the housewife). It's the sort of music that's made for a Working Title romantic comedy - you know, the sort of montage bit, where the young lovers fall in love and frolic around the capital's sun-drenched locations. If you like the sound of that, then you shouldn't really be reading this.
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Heard a great single, but yet to buy it? Well, we may have reviewed it. Previous month's reviews:

2004
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2003
December
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Round-up of Singles - 2002

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