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As you can tell, I had amazing seats!
It's not easy being a fan of 80s pop icons with highly publicised drug habits. I spent Wednesday night bathing in Whitney's sweat soaked glamour before doing it all over again on Friday at George Michael's Sydney show. The concerts couldn't have been more different - George was actually lucid and sang in tune - but I enjoyed them both equally. Albeit for very different reasons. Whitney was a hot mess but there was something unusually intimate about her trainwreck of a tour. George, on the other hand, was the epitome of professionalism. Everything from the staging to the setlist was immaculate and he cemented his reputation as a consummate live performer. Having just stumbled home from Mardi Gras, I'm not quite up to writing a proper review but here are some random thoughts on the George Michael experience:
Source URL: http://popmusicrecords.blogspot.com/2010/02/
Move over RuPaul and Dana International - pop music has a new drag icon! Fresh from the 
" is the second official single from American country artist Carrie Underwood's third studio album, Play On
. The single was made available to iTunes on October 20, 2009 before being released to country radio on December 14, 2009. It has so far peaked at #7 on the U.S. Billboard Hot Country Songs, becoming Underwood's 11th top 10 single.Source URL: http://popmusicrecords.blogspot.com/2010/02/
I grew up listening to Whitney Houston. Her debut was the soundtrack to every dinner party my mother held in the mid-80s (along with Sade’s “Diamond Life”) and 1987’s “Whitney” was the first album I bought. My interest waned during the Bobby Brown years but “I Look To You” reignited the flame and I couldn’t wait to see the legendary diva drag her crack ravaged carcass around the stage despite the abysmal reviews. Critics have ridiculed Whitney’s voice, questioned her professionalism and mocked her wardrobe. And it’s hard to disagree. Her rendition of “The Greatest Love Of All” was a travesty, she often appeared 
Unfortunately, the Whitney express was destined for a head on collision. The intermission was her first big mistake. It was great to hear her brother sing and I loved her band’s version of “Queen Of The Night” but the “One Moment In Time” video montage was a potent reminder of the sad decline in Whitney’s voice. She didn’t help her cause by returning to the stage wearing a transparent black top and what at first glance looked like a fluffy car seat cover. Her hair was also sweat soaked and limp, making the entire ensemble less than flattering. The acoustic section that followed was very hit and miss. “Saving All My Love For You” was rough but poignant, while “The Greatest Love Of All” was heartbreakingly bad. Whitney redeemed herself somewhat with a respectable take on “All At Once” before really coming through on “I Learned From The Best”, which was probably her best vocal performance of the night.
Source URL: http://popmusicrecords.blogspot.com/2010/02/
In a market flooded with autotuned club anthems, rent-a-rappers and achingly hip indie pop queens, one English diva stands alone in a bubble of glitter and glamour. Her timeless torch songs and heartfelt ballads buck every perceivable trend in modern music by focusing on old school storytelling and sheer vocal talent. Two qualities that are captured perfectly on "The Stardust EP". As far as debuts go, this is very impressive. As it should be given Elouise's list of collaborators. Kylie's right hand man Steve Anderson produced the EP, while Dannii's former gay husband (before Nathan took over) contributed two tracks. That's not even mentioning the input of Rob from Don't Stop The Pop, who has been involved with Elouise from the very beginning and basically ensured that the whole project was fucking fabulous. Mission accomplished! "The Stardust EP" brilliantly pays tribute to the great torch singers of yesteryear without sounding tired or derivative. This woman really knows how to belt out a tune but her greatest skill lies in her unusual ability to interpret lyrics, bringing every nuance to life. Here are some random comments on Elouise's gorgeous calling card:
So I come home after a hard 
Erika Heynatz has finally released her debut single! The former Australia's Next Top Model host and Farscape actress has been threatening to unleash an album since late 2006. I was played a couple of demos way back in 2008 but assumed EMI had scrapped the project when the stunning triple threat dropped off the radar. After listening to "Kingdom", it's pretty clear Erika spent that time overhauling her sound. The demos I heard were all uptempo numbers, while her debut is a gentle guitar driven pop song. As much as I would have loved another mutton-dressed-as-lamb dance diva to add to my stable of favourites, I really like "Kingdom". The lyrics are surprisingly sweet and the subtle production makes the track something of an oddity given the current trend for overproduced pop. Admittedly, Erika still sounds like she's been sucking on Kylie's helium balloon and the song could easily slot into any album Natalie Imbruglia has released since 1997 but it works. My only gripe is the hideous cover. Can EMI please make sure the diva still has a pulse before her next photoshoot? She looks like an extra from Six Feet Under. Thankfully, the video (below) is a much classier affair. In fact, I think "Kingdom" has higher production values than Erika's last movie! It's simple, suitably moody and vaguely reminds me of Kylie's lovely "Some Kind Of Bliss". Colour me impressed.
Mutya gives her verdict on "Sweet 7"
It's a sad day for pop music when the new Sugababes' album is only twice as good as the last Girls Aloud offering. Once upon a time you could bank on The Babes making their rivals look even more tragic than usual. While the racist and her talentless friends churned out the same old shit year after year, Keisha & co continued to mix up their sound and brought some much needed class and dignity to the charts - regardless of the seemingly endless line up changes. The ship really should have sunk with Mutya's departure but the group somehow managed to survive without the realest girl in pop. "Catfights and Spotlights" was disappointing but eventually grew on me and I thought "Get Sexy" was a good omen for their 7th album. The ladies seemed back on track until Keisha was shown the door and it became blindingly obvious that she was the glue keeping the group together all these years. As far as I'm concerned the Sugababes officially died when Jade Ewen signed on. I could deal with horsey Heidi and crazy Amelle as replacements but a floptastic Eurovision failure with the charisma of a burst colostomy bag? Was Mel Blatt too busy?
I'm not going to give the album a proper track by track review because I find it too depressing. However, here is my cheat sheet to "Sweet 7":R.I.P Sugababes - thanks for the memories!
Source URL: http://popmusicrecords.blogspot.com/2010/02/
Today is quite possibly the most important date in the history of popular music. My favourite Japanese diva - the heavenly Ami Suzuki - has just leaked a thirty second preview of her long awaited version of Kylie's "Can't Get You Out Of My Head" AND finally confirmed her first Australian tour (of Queensland nightclubs). I don't know where to start! I'm literally lost for words after hearing Ami's stunning cover, so I guess I'll begin with her tour. First and foremost - why is this living legend confining herself to the Sunshine State? Ami's tens of fans would fill venues right across Australia. I know my local Sushi Train would be packed to the rafters! It's frustrating but I won't let 730 measly kilometres come between me and the pride of Japan. The prospect of hearing the Queen of Avex mime to a bunch of her top 35 smash "hits" is just too tempting. Queensland, here I come! At the moment the diva's Australian tour consists of the following dates:
I'm the first to admit that I'm very wary of "hip" new pop acts. As a general rule, they're overhyped (La Roux) or just plain shit (Little Boots) but occasionally someone actually has the talent to match the praise that's been lavished upon them. Marina & The Diamonds definitely falls into the latter category. The Welsh diva's wit, insight and devastating honesty make for a heady mix - particularly when you throw in her quirky vocals and knack for writing a catchy chorus. You didn't need to be a NME journalist to know Marina was destined for big things and I'm genuinely proud to have interviewed the singer before her recent commercial breakthrough with "Hollywood". I'm so excited Marina now has a top 20 hit to her credit but I'm convinced she'd be celebrating a top 5 smash if the Ground Control remix was released as the official single edit. Her record company probably thought it was too fun and fluffy for a rising indie pop star but I think the song's electro-makeover is a work of poptastic genius. "I Am Not A Robot" will always be my favourite Marina track but this gayed up version of "Hollywood" is now a close second. Expect a review of her soon to be released debut album in the next couple of weeks. In the meantime, enjoy one of 2010's best remixes (below).
To all of my dear readers in healthy, loving relationships - happy Valentine's Day. Now, fuck off because this post is dedicated to all the single ladies out there! I was originally going to make an anti-Valentine's Day playlist and spent hours listening to lesbian singer-songwriters moan about broken hearts and their impending spinsterhood but it all got a bit depressing. I thought I'd lighten the mood by blasting some Eurotrash and stumbled across a song so accurate in its depiction of modern day romance that I just had to post it. Elin Lanto's "Love Made Me Stupid" speaks the truth. Like for realz. It perfectly captures love's ability to chew you up and spit you out, while still keeping things light and fluffy thanks to its Hi-NRG production and catchy, if devastating, chorus. The Swedish diva has been on my radar since 2008's poptastic "Speak N Spell" and I'm yet to be disappointed. I'd love to get my hands on her debut album ("One") but that fucker is harder to find than Heidi Montag's dignity. Anyway, check out these lyrics:
This review took me about six weeks to write. At this rate, I'll be commenting on "Sweet 7" some time in December. The reason for the delay is actually quite simple. Basically, I can't decide whether I should build a shrine to Ke$ha in my bedroom or view her exploding popularity as a sure sign that the Apocalypse is nigh. I initially thought of her as a canny Lady GaGa wannabe but I couldn't have been more wrong. I wouldn't be surprised if the fame monster begins each recording session by pouring over Italian Vogue before masturbating to the latest Lars Von Trier film in a John Galliano gown to get in the mood, while Ke$ha just rolls out of the gutter and sings about her hangover and overworked vagina. The thing is - I really want to be on team Ke$ha. She's a dirty skank who just wants to fuck and party, which makes her indistinguishable from 90% of my friends. The problem is that she's a one trick pony. "Animal" is by no means a bad album - in fact, parts of it compare favourably to "The Fame" - it's just incredibly limited in its scope. I like songs about getting drunk, fucking and fame whoring as much as the next gay but by the 15th ode to excess, I just wanted to gulp down a litre of carrot juice and scrub my genitals with industrial strength disinfectant. I'm not hating on Ke$ha because I genuinely admire her idiosyncratic lyrics, catchy hooks and fuck you attitude. I just hope she follows Lady GaGa's lead and takes things to the next level on her sophomore album. In the meantime, I'll give her the benefit of the doubt. Here is my track by track review:
Kiss N Tell
I actually imported this shit from Italy!
Backstabber
"Backstabber" is a total grower. I hated it at first but now the song reminds me of the electro-rock experiments on Ashlee Simpson's criminally under-appreciated "Bittersweet World" album. That said, Ke$ha isn't quite in the same league as Ashlee when it comes to musical genius but everyone can identify with these lyrics. In fact, I could dedicate this anthem to quite a few people and probably will when I get my drunk text on! Not exactly single material but accomplished filler nonetheless.
Blind
Copy and paste everything I said about "Hungover". Ballads are clearly not Ke$ha's forte but the guitar driven chorus at least helps "Blind" stand out from the rest of the album.
Dinosaur
If nothing else, "Dinosaur" proves that even Max Martin still has a few new tricks up his sleeve. I can't think of anything in his canon of hits that even sounds remotely similar to this. The production rips off pays homage to that classic Was Not Was jam "Walk The Dinosaur" (fuck, I'm old!) and the lyrics are hilarious - "not long till you're a senior citizen and you can strut around with a sexy tank of oxygen"! It's about time someone wrote a song about dirty old men and I suggest this be played on a weekly basis at The Midnight Shift.
Dancing With Tears In My Eyes
This is a surprisingly insightful dance anthem about regret. After half a dozen mediocre tracks about partying, it's a relief to hear something with a bit of heart. Lyrics like "on the floor I'm just a zombie, who I am is not who I want to be" and "I've wasted the love of my life" are surprisingly self aware by Ke$ha's standards and the Dr Luke/Benny Blanco production is admirably restrained. Fans of Lady GaGa's "So Happy I Could Die" should enjoy this. A definite step in the right direction.
Boys & Boots
Of the 40 or so Ke$ha demos floating around the internet prior to the album's release, Tom Neville's "Boys & Boots" is one of the few to make the final cut. I would have gone with "Friday Night Bitch Fight" for pure comedy value or the surprisingly lovely "CUNxTuesday" (don't be put off by the fabulous title!) but this slinky little pop tune is catchy and cute. It also shows off the diva's versatility. She's not all quirky one liners and autotune.
Animal
I love Greg Kurstin. Anyone who can contribute gems to talents as diverse as Kylie, Sia and Ladyhawke is clearly a genius and he doesn't disappoint here. The album's title track is a shiny pop gem with a genuine hands in the air chorus that doesn't rely on studio trickery or filthy lyrics to be memorable. Ke$ha clearly has a lot of potential, songs like "Animal" stand up to anything on "The Fame". I just wish she'd stop trying to be America's answer to Lily Allen and put a lid on the bratty lyrics.
BONUS TRACKS
V.I.P.
Another song that has been floating around the internet for the best part of a year. It's not particularly good and makes you wonder who culled Ke$sha's impressive stash of demos.
Dirty Picture (featuring Taio Cruz)
Now, this is a fun. I love Taio Cruz and his voice combines surprisingly well with Ke$ha's. The song sounds like a reject from David Guetta's "One Love" album but that's not a bad thing. At all. I like the electro beats and can imagine a decent DJ turning this into something wonderful. Definitely worth hunting down for dance fans.
RATING: 7/10
Source URL: http://popmusicrecords.blogspot.com/2010/02/
I could turn you loose, baby what's the use?
One of the best things about writing this blog is occasionally stumbling across a truly brilliant unreleased pop track. I still remember the first time I heard Isabel Guzman's "Love Song". There was just something incredibly special about it and I'm convinced it would have been huge if Isabel hadn't turned into the Swedish Kate Bush and gone into self-imposed exile. Chris Sorbello's "So Lonely" is another gem that immediately comes to mind. With a sexy video in the can and a major label now behind her, you can expect to hear a lot more of that stunning anthem over the next few months. The latest addition to my list of future hits is Tania Foster's fabulous "Supawoman" (below). The British diva is probably best known for providing back-up vocals for Tinchy Stryder but if her demos are any indication, it's only a matter of time before she hits the big time herself. I'm a huge fan of the current urban dance explosion (think Taio Cruz, Jason DeRulo and Iyaz) and "Supawoman" is striking example of someone putting their own spin on the genre by introducing electronic elements and a pure pop chorus. Imagine Keri Hilson crossed with Sugababes circa "Sweet 7" and you get the general idea of Tania's sound. The production needs a bit of a polish and the rap interlude is slightly unnecessary but "Supawoman" is an incredible calling card for a major talent. This has radio hit written all over it.Check out Tania's Myspace for more info on this amazing diva
Source URL: http://popmusicrecords.blogspot.com/2010/02/
In my own little universe Mini Viva's "I Wish", or more specifically the gorgeous Cahill radio edit (below), is a multi-platinum #1 smash hit. I love everything about the poptastic duo's second single. There's an unusual softness to the wistful lyrics, which are perfectly cradled by a lush symphony of synths before exploding into the kind of joyous chorus not heard since the disco era. Just when you thought Xenomania's creative well had run drier than Susan Boyle's ladybits, the producers serve up their best song since Kylie's "Made Of Glass" - only to see it stall at a floptastic #73 on the UK charts. What the fuck? The track is infinitely superior to "Left My Heart In Tokyo" and that landed safely in the top 10. I know "I Wish" was released during the hectic Christmas period but did everyone with taste flee Great Britain in its week of release? If nothing else, Mini Viva's stunning flop makes me less apprehensive about Kylie's rumoured collaboration with Xenomania on her next album. Something along the lines of "I Wish" would suit her perfectly - even if it is chart poison! Hopefully, the girls bounce back with single number three. They put The Saturdays and Girls Aloud to shame.
Mercan is officially my new favourite diva. Not only does she have a name that sounds suspiciously like a pubic wig, the hot mess has just unveiled a stunning cover of Dannii's 2002 international smash hit "Put The Needle On It" - in Turkish! Despite minutes of painstaking research, Mercan remains a total mystery to me. I have no idea if she's a superstar or complete nobody in her homeland but if "Sana Değil Kardeşine" is any indication, the platinum blonde goddess deserves to be bigger than Beyoncé. Her version is as slinky and slutty as the original, while her ability to dress like an even less feminine Lady GaGa is quite an achievement. You just know Dannii got her vibe on when she saw Mercan dolled up in that feathered monstrosity! Watching this masterpiece makes me miss the "Neon Nights" era even more than usual. How could the Queen of clubs go from making decade defining hits like "Put The Needle On It" to churning out butchered club instrumentals that would Kelly Llorenna hang her head in shame? I guess that's a question for another day but hopefully this Turkish tribute inspires Dannii to reach for new heights when she finally returns to the studio. A big thanks to Diva Incarnate for bringing Mercan to my attention!
