All Saints’ pitch to be the classier girl group option rested on several things: their fashion sense, their songwriting, their metropolitan sophistication. But also their comfort with R&B – British cool, not for the first time, was being unde[…]

“You can interpret the lyrics,” huffed a Nazi goon caught nicking this song for the BNP’s website, “any way you want.” The specific double meaning of “if I can shoot rabbits, then I can shoot fascists” eludes me, but it’s true enough […]

“No Matter What” has an elevated position in Boyzone’s catalogue. It’s their big crossover hit, the one by songwriters of real mass-appeal pedigree – Andrew Lloyd Webber and Jim Steinman – and the only one to have done well in the USA. Yo[…]

A single overtaken by events, “Viva Forever” found its modest theme – the embers of holiday romance – completely sidelined when it turned out to be the Final Spice Girls Single, meaning the last single by the founding quintet. Suddenly the pr[…]

Another early 90s press darling scores another late 90s number one – except the reaction isn’t “Wow” this time but “what kept you?”. Within a year or two of turning up, Jamiroquai had moved from The Face’s anointed to a bona fide UK bes[…]

It’s no “Boom Boom Boom”, but “Freak Me” is the frankest boyband track on Popular so far – a cover of Silk’s 1993 R&B hit, which gives Dane Bowers and company the opportunity to sound (and look) intensely earnest and moody while pit[…]

Pop Between Realities, Home In Time For TOTP
I’ve talked about El Sandifer’s TARDIS Eruditorum blog before on Tumblr, but I’ve held off mentioning it here until this post, for hopefully obvious reasons. TARDIS Eruditorum is a critical Doctor Wh[…]

The opening of “Three Lions ‘98” is a spot of justified bragging – the hopeful murmurs of the original replaced by a stadium in full cry: “It’s coming home, it’s coming home…”. In musical terms, Baddiel, Skinner and Broudie really h[…]

B*Witched have reformed, like most bands, and gave an interview last year where they “revealed” that “C’Est La Vie” was “about sex”. “I’ll show you mine if you show me yours” is, apparently, some kind of secret sexual code. Shocke[…]

An Italian chop-shop job, lashing together riffs and a bassline from The Jacksons’ bombastic “Can You Feel It?”, verses from an obscure club track (“Drop A House” by Urban Discharge), bludgeoning 4/4 beats, and even a bit of crude speed gar[…]