#TBT 5

For Throwback Thursday every week we're going to shine our poplight on a stone cold classic.

This week's Throwback Thursday is an absolute corker! It boasts a team roster that includes a superstar producer, a pop-punk princess and a lil' rapper with a big attitude. I'm talking about the Dr Luke remix of Avril Lavigne's 'Girlfriend' featuring Lil' Mama.

The original version of 'Girlfriend' was released as the lead single from Lavigne's 3rd album 'The Best Damn Thing' in 2007 and became a massive hit topping the charts in the States, Canada, Australia, Ireland, Sweden and loads more and has gone on to sell over 5 million copies worldwide. The bratty cheerleader style of the song (with more than a passing resemblance to Toni Basil's 1982 smash 'Mickey') was a departure from the mostly emo-themed second album 'Under My Skin' and firmly pushed her back to a happier and much poppier sound.

Dr Luke, responsible for such pop amazingness as 'Since U Been Gone' by Kelly Clarkson, 'Your Love is My Drug' by Kesha and 'About You Now' by the Sugababes, pulled teen rapper Lil' Mama in for a stomping remix of the number one hit and it is an absolute gem! A beefed up beat with stabs of guitar usher in the interplay between Lil' Mama and Avril and the sparse production really emphasises the rapper's flow.

"Don't get it twisted Lil' Mama got my paper on,

That means I'm a paper chaser I chase my paper on.

And I know we chasing paper that you be chasing on,

I just deliver the lyrics that people focus on."

Lil' Mama is also responsible for the amazing pop goodness of 'Lip Gloss', a rare moment of crossover between genuinely good flow and bloody brilliant pop!

You can follow Avril Lavigne on social media

twitter - @AvrilLavigne

facebook - Avril Lavigne

You can also find Lil' Mama on social media

twitter - @LilMama

facebook - Lil Mama

(this should be more) POPular #5

You know that thing when you hear a song and you can't believe it hasn't been a massive hit? Yeah, that...

For this week's featured under appreciated artist we turn to an artist born in Fargo, Dakota but with more of a big-city attitude and a very distinctive voice. She first came onto my pop radar in 2010 in a collaboration with Mark Ronson & The Business Intl. on the 'Record Collection' album ('Bang Bang Bang'), she was responsible for the   'Je to plumerai la, tete' refrain that lodged itself in my brain for weeks. The vocalist in question is Amanda Warner, or in this case MNDR.

Amanda started he career early this century when she formed the three-piece electropop band Triangle and released 2 albums. After releasing an album under her own name and being the opening act for a range of acts from Massive Attack to Duran Duran she adopted the moniker of MNDR. In 2010 she released her début EP as MNDR, 'E.P.E'. 

2012 heralded the start of the next chapter with the release of the first single from her upcoming début album 'Feed Me Diamonds', the absolutely cracking '#1 in Heaven', written about the high-profile kidnapping of heiress Patty Hearst. 

This was the followed by the equally poptastic single 'Faster Horses', the video is batshit bonkers and I bloody love it!

This then brings us to our featured song this week, the gorgeous, pulsating title track 'Feed Me Diamonds', a master class in fragile, heartbreaking electropop. 

'Lie with me, lie to me,

Dismantle me, do it slowly.

My hands, my feet, my voice, take everything,

Reduce it all to crystal blackness."

A stark intro showcases that amazing bubbling bassline that serves as a perfect counterpoint to MNDR's voice, dripping with fragility. When the beat kicks in at the start of the second verse it adds some drive but we're kept on the edge of euphoria by MNDR's heartbreaking vocal, every quiver or crack drives a dagger through the heart. The feeling on surrender is all-consuming.

The video features RuPaul's Drag Race alumni Raven, showing her transformation from David to Raven and shows her performing the song, a favourite of hers that she often includes in her live shows. 

Absolutely bloody gorgeous!

You can follow MNDR on social media

twitter - @MNDR

facebook - MNDR 

instagram - @mndr_official

Track of the Week #5

It's only the bloody track of the week!

This week's track of the week has come of something of a surprise, a bit of a change of direction for a former talent show graduate. The artist in question is Adam Lambert, and the song is his comeback single 'Ghost Town'.

Starting with an acoustic guitar it sounds like a more stripped back version of what we've heard from Adam in the past, dark lyrics painting a picture of desperation and of someone of the verge of giving up.

"Saw all of the saints,

Lock up the gates,

I could not enter.

Walked into the flames,

Called out your name,

But there was no answer."

Then comes the switch, a rumbling deep house bassline kicks in alongside an Ebola-catchy whistle and heralds the arrival of the simple chorus that is built on that hypnotic backing. Totally catchy, dark as midnight but still poppy enough to be mainstream - not an easy task but one that Adam and the genius that is Max Martin (also responsible for arguably the best pop album of the last few years Taylor Swift's '1989') have managed to pull off. Part of me thinks that remixing this will take away the subtlety and the major strength of the track - the juxtaposition of the haunting acoustic verses against the balls-out madness of that chorus. For me, this sits alongside the other big songs from Adam's discography 'For Your Entertainment' and the Pink-penned 'Whataya Want From Me'.

The information that has been released about the single's parent album 'The Original High' is also really encouraging including (following his stint as lead singer of Queen) a collaboration with Brian May and a duet with Swedish pop deity Tove Lo.

There has only been a lyric video released so far, the official video is set to premier in the very near future, but I just had to feature this track ASAP as it is truly, actually bloody brilliant!

Nuff said really...

You can follow Adam Lambert on social media

twitter - @adamlambert

facebook - Adam Lambert

instagram - @adamlambert

Mashed POP-tato #4

It's that time again, it's mashup time with another slice of wonderful spliced pop magic. This week we feature a mashup of two of the biggest female artists of the last 10 years. With combined worldwide album sales of an estimated 70 million and 6 US number ones between them I am of course talking about Adele and Lady Gaga - strange bedfellows indeed!

In particular we're talking a masahup of Adele's megahit 'Rolling in the Deep', number one in a million countries, and 'Judas' by Lady Gaga. This for me is the essence of a great mashup, taking two very distinct artists and combining them to amazing effect - I echo what I've said before, it shouldn't work but it really does!

This mashup uses the vocal from one of Adele's more upbeat moments, isolating her soulful vocal and the gospel-style backing and combining it with the industrial thumps and synths of Gaga's biblical-themed epic. The combination is pure pop bliss, the stuttering beats fit perfectly with Adele's fiery delivery and the slight drop before the chorus allows the instrumental sledgehammer to follow have even more power. So, pin back your lug-holes and prepare to be aurally assaulted by the actual genius of mashup!

Bet you never thought you'd hear Adele like that!

TBT #4

For Throwback Thursday every week we're going to shine our poplight on a stone cold classic.

This week's Throwback Thursday harks back to a time where a plucky band of miscreants blended the slightly disparate genres of technopop and punk (to varying degrees of success) and produced a diamond of a pop tune in the process. I am talking about Republica, and the track in question is 'Drop Dead Gorgeous'.

Released in 1997 the track was a genre-busting pop explosion, announcing it's arrival in a swirl of looped synths before the pop/punk guitars crash in with an instantly memorable riff. Then we get the unmistakeable snarl of Saffron's vocals followed by a guitar-led pre-chorus breakdown before the immense chorus.

"I know my ex boyfriend lies,

Oh he does it every time.

It's just his permanent disguise,

Yeah, yeah but he's drop dead gorgeous."

Simple yet effective lyrics are lifted by the infectious enthusiasm and charisma of Saffron's delivery, her final 'Drop dead' dripping with distain. 

Following the lengthy release of the bands début single 'Ready to Go' (also a golden pop nugget) this little gem went to number 7 in the UK charts (as well as charting in Germany, New Zealand and the US) and represented a real high point for the band. In 1998 they returned with their second album 'Speed Ballads' led by the single 'From Rush Hour with Love', not as immediate as the material from the first album but catchy nonetheless. The single charted at number 20 in the UK and following the take over of their label they eventually disbanded. 

They performed a comeback gig in 2010 at O2 Islington Academy and released an updated version of their first single cunningly titled 'Ready to Go 2010', and followed that up with a new EP 'Cristiana Obey' in 2013. Unfortunately none of this has so far returned them to the charts, however they will always be responsible for this little ray of pop sunshine. Enjoy!

WHAT.A.TUNE!

You can follow Republica on social media

twitter - @SaffRepublica

facebook - Republica

(this should be more) POPular #4

You know that thing when you hear a song and you can't believe it hasn't been a massive hit? Yeah, that...

I'm still at a little bit of a loss as to why this wasn't a #1 single all over the place, it is bloody brilliant. In honour of her upcoming gig in London on Wednesday (Hoxton Square Bar & Kitchen), we're going to be featuring a little ditty by a Swedish singer called Tove Styrke (she's the other Tove).

As seems to be the norm now Tove started her career on a talent show, (Swedish) Idol in 2009, and finished 3rd as the highest placed female. After the show she retreated and recorded her debut album, the imaginatively titled, 'Tove Styrke', which contains 'White Light Moment' which is dripping in 80's glamour and went on to be nominated for 'Song of the Year' at the Swedish Grammys in 2012. She also featured on the wonderfully on point single by her fellow countrymen Caotico 'Brains Out', which is also really rather good. Her debut album was also home to the song we're featuring today, but we'll get there - hold on!

Tove then disappeared for a while and resurfaced in 2014 with a new EP and a new sound, the first song released from said EP ('Borderline') was the bratty brilliance of 'Even if I'm Loud it Doesn't Mean I'm Talking to You'. This material showed a spikier side to Tove, less pop but no less catchy.

However, for our featured song we're going to step back to 2011 and the single 'Call My Name'.

Starting with rumbling synths it is harder sounding than the other high points of the album and gets extra points the lyrical content pushing a more rebellious main character.

"I was a rebel even as a little girl,

I've been a loner ever since I can remember."

The electronica of the verses pinballs around your head, dizzily infectious and totally addicted, we then get the drop before the chorus with that amazing bassline, then we get a massive, electrifying pop explosion, the sense of euphoria in the chorus is undeniable.

"Oh, when you call my name,

I'll be two steps over the water, baby,

Oh, when you call my name."

So, sit back, fasten your safety belts and prepared to have your mind blown by the pop brilliance of Tove Styrke's 'Call My Name'.

I'll just give you a moment to recover.

You can follow Tove on social media

twitter - @tovestyrke

facebook - Tove Styrke

instagram - @tovestyrke

Track of the Week #4

It's only the bloody track of the week!

This week's track of the week brings together two total legends, one the godfather of electronic dance music (see 'I Feel Love' by Donna Summer and 'Together in Electric Dreams' by Giorgio and Phil Oakey for proof of how he ruled the late 70's/early 80's), the other the songwriter responsible for some of the biggest hits and most endearing pop tunes of the last 10 years including 'Diamonds' by Rihanna, David Guetta's 'Titanium' and 'Let Me Love You (Until You Learn to Love Yourself)' by NeYo. We are of course talking about the incomparable Giorgio Moroder and Sia, truly a marriage made in heaven.

Apparently Giorgio's interest in producing a new album came from working with Daft Punk on the global smash album 'Random Access Memories', and Sia was a name that was at the top of his list. The new album, recently titled 'Deja Vu', is due out in the UK in June and has already produced old school Moroder thumper '74 is the new 24' (yes he really is 74 years old!) and 'Right Here, Right Now' featuring Kylie. The album also features such unknowns as Britney Spears and Charlie XCX, and he has recently announced work with Kelis and Lana Del Rey although not which projects these collaborations are linked to.

So this bring us to our featured track this week, the title track from the new album 'Deja Vu'.

Can we just have a moment for the amazing artwork, the perfect cover art for a collaboration between 2 artists with such strong visual identities. The track in question, written by the lady herself of course, is a fizzing explosion of retro sounds with an epic soulful performance from Sia. Infectious disco strings and guitar riffs wonderfully compliment the summery beats, and that vocal - wow! There are definite echoes of 'Groovejet (If This Ain't Love)' by Spiller featuring Dame Sophie of Ellis-Bextor, which is never a bad thing. The breakdown before the chorus perfectly showcases Sia at the height of her powers:

"Oh my heart aches but I know fate,

Will send you my way.

And when you came my heart was saved,

I've known you for lifetimes baby."

On another note it is so nice to hear Sia on something uplifting and poppy after the amazing but brooding darkness of '1000 Forms of Fear' ('Chandelier' is still a total tune). If there's any justice in the world, this should be the soundtrack to the summer worldwide, and I for one can't wait to hear the remixes.

Unfortunately there are only pitched versions of the track on YouTube at the moment, so if you can stand to listen to it here it is:

However, the official studio version is available on Spotify and has been added to our weekly playlist, w/c 19042015 - check it out.

You can follow Sia on social media

twitter - @Sia

facebook - Sia

You can also follow Giorgio Moroder

twitter - @giorgiomoroder

facebook - Giorgio Moroder

instagram - @giorgiomoroder

Mashed POP-tato #3

It's time for another brilliant mash-up for 'Mashed POP-tato', and as in the UK we need to make the most of the glorious weather (as I'm sure it will be gone before we know it!). For this week's featured track we are sharing a track by the legendary 2 Many DJ's from their truly amazing 2002 album 'As Heard on Radio Soulwax Pt 2' which many rate as the pinnacle of mash-uppery (I know it's not a real word but I'm hoping to make it happen).

This track shows the timeless power of brilliant pop music by combining two tracks separated by decades, 1978's 'Dreadlock Holiday' by 10cc and 'Independent Women (Part 1)' a 2000 hit single for Destiny's Child. 

The glorious reggae backing of 'Dreadlock Holiday' adds a beautiful summery sheen to the flawless vocals of Destiny's Child, Beyonce is on fantastic form with her licks and runs being spot on throughout.

So, pour yourself a Margarita (or whatever is your weapon of choice) and catch some rays while you listen to this week's 'Mashed POP-tato'! 

#TBT 3

For Throwback Thursday every week we're going to shine our poplight on a stone cold classic.

This week for 'Throwback Thursday' we are featuring a total and utter, no messing around, pop explosion of a song. The group in question is Goldfrapp and we're putting our glittery spotlight on the 3 minutes 41 one seconds of absolute perfection that is 'Strict Machine'.

'Strict Machine' and it's parent album 'Black Cherry' were, mostly, a big step away from the lush, ambient sounds of their debut 'Felt Mountain' (if you're not familiar with the icy gorgeousness of 'Utopia' then familiarise yourself forthwith!). Following the sexy, dark, driving synths of the album's first single 'Train' Goldfrapp pushed the pop button for their next release, to amazing effect.

For the first rumble of that unmistakable bassline you know you're in for an epic ride. Alison's coquettish, playful vocal skips across the pulsating and glam backing wonderfully offering a really interesting mix of light and dark - she might sound like a good girl but if you listen closely she's anything but:

"When you send me a pulse,

Feel a wave of new love through me.

I'm dressed in white noise,

You know just what I want so please."

The vocal soars as the electronica builds towards the end of the verse then crashes down into a burst of buzzing synths before the simple but effective pop chorus smashes through, it has a really interesting call and respond structure between the vocal and crunchy synthesizers - just gorgeous.

The video is also worthy of note, using psychedelic, kaleidoscopic graphics intercut with a particularly sexy looking Alison to perfectly showcase this holy fusion of glam rock and electronica. Will Gregory's synths give a perfect backing to her electro-stomp as she's flanked by animal-headed dancers (in keeping with the album's look). As a point of interest the video was directed by Swede Jonas Odell who's unmistakable graphic style was also used by Franz Ferdinand for their 'Take Me Out' video and also 'I Like You So Much Better When You're Naked' by Ida Maria - both total tunes.

So, without further ado, ladies and gents be upstanding for the absolute cocking pop brilliance of 'Strict Machine' by Goldfrapp!

You can follow Goldfrapp on social media

twitter - @goldfrapp

facebook - Goldfrapp
instagram - @goldfrapp

(this should be more) POPular #3

You know that thing when you hear a song and you can't believe it hasn't been a massive hit? Yeah, that...

This week we're highlighting a gorgeous slice of 80's-influenced synthpop from our very own shores, the UK. This week's song features the dulcet tones of Rod Thomas, AKA Bright Light Bright Light.

Bright Light Bright Light is a topclass purveyor of catchy electropop of the highest order who over the last 5 or so years has bubbled away on the fringes of mainstream success. After releasing material under his real name he soon rebranded as Bright Light Bright Light and released his first album, the magnificent 'Make Me Believe in Hope', in 2012. This album contained some moments of actual pop genius including 'Love Part II' and our featured song this week (but more about that later).

2013 found Bright Light x2 putting a totally different spin on his own electro-centric material with the release of 'Make Me Believe in Hope: The Blueprints Version' which showcased acoustic versions of the songs on the debut album.

Last year saw Bright Light Bright Light released his sophomore album in the shape of 'Life is Easy', yet another glorious example of his understanding of the power of catchy melodies teamed with heartbreaking lyrics. One song in particular, 'I Wish We Were Leaving' has such a sense of yearning your face may fall off just listening to it. This track also has the added bonus of featuring a little-known singer by the name of Elton John, never heard of him.

So, this brings us to our (this should be more) POPular for this week, 'Disco Moment'. 

For starters, what a bloody title! Starting with a slide of synths it soon switches gear with a gorgeous Moroder-esque bassline that is infectious in the extreme and just continues to build from there. The plaintive vocal makes a wonderful contrast to the shimmering synth topline and the lyrics show a relationship that is on the brink of collapse with the two parties equally holding on for dear life and constantly pushing each other away:

"And I'm as patient as the next man I'd like to think,

But not when answers can't be found.

I am open, I am open, but I might just close if..."

The simple but perfect chorus totally capture the heartbreak of a relationship in tatters while the strobe lights make the crowds dance in slow motion. This track has the power to be both uplifting and totally heartbreaking within 4 minutes. The closing twist on the chorus strikes like a stake through the heart - so sad.

So grab a hankie and prepare for an absolute corker from Bright Light Bright Light, 'Disco Moment'.

Told you didn't I?

You can follow Bright Light Bright Light on social media:

twitter - @brightlightx2

facebook - Bright Light Bright Light

instagram - @brightlightx2

And excitingly Bright Light Bright Light is one of the supporting acts for Kylie at the British Summer Time gig in London's Hyde Park on June 21st!

Track of the Week #3

It's only the bloody track of the week!

In the UK this week it has felt like we've totally bypassed spring and summer is well and truly here (I know I will live to regret that last sentence)! So in honour of a nation-wide outbreak of dehydration and sunburn this week's track of the week has a distinctly summery flavour.

The song in question is 'No Words' by the lovely Erik Hassle. 

Erik made his breakthrough in his homeland of Sweden in 2008 with the lovely pop one-two of 'Hurtful' and 'Don't Bring Flowers' (which has a gorgeous burst of 80's synths in the chorus). They're both pretty brilliant examples of why Sweden does some of the best pop music in the world and led to some moderate success across Scandinavia. For me a real high point for Erik was his 2012 heartbreak ballad 'Stay', soaring around a slightly Coldplay-esque piano it showcases his emotive vocals to their full potential - check it out and prepare to have your heart broken.

Now Erik has reemerged from his pop cocoon as a very different animal. The pop content has definitely been upped, sounding funkier with a very definite late 90's/early 00's vibe it has a massively infectious disco guitar that really drives the tune along. If you can last the 3 minute 34 seconds without nodding your head you are quite obviously dead. The lyrics are simple but perfectly encapsulate that fizzy feeling you get in your stomach when you love someone, the way they make you forget everything you want to say to them and yet somehow it doesn't even matter.

"Walkin' home,

I pass a funeral.

There was a woman there,

She was cryin',

Cursing at the Gods.

And it made me wanna,

Run home to you."

Welcome back Erik, this bodes really well for new material. So please take a listen to this week's track of the week 'No Words' it's no bother, no (Erik) hassle. (I'm not even sorry)

Unfortunately there's currently no video for the track, but the massive tune more than makes up for it!

You can follow Erik on social media:

twitter - @erikhassle

facebook - Erik Hassle

instagram - @erikhassle

#TBT 2

For Throwback Thursday every week we're going to shine our poplight on a stone cold classic.

For this week's Throwback Thursday we go back to 1999 to a song by a boyband at the height of their powers. They've sold over 130 millions albums worldwide and are credited as the biggest selling boyband in history, they are also the only boyband in history to have their first 9 albums reach the top 10 in the US. This single's parent album 'Millenium' sold 11 million copies in the US alone, was nominated for 5 Grammys and produced sold gold pop songs like "I Want it That Way", "Show Me the Meaning of Being Lonely" and our Throwback Thursday track this week. I am of course talking about the Backstreet Boys and their stone cold classic "Larger Than Life".

The song is a call out to all their fans, letting them know how much their love and support drives the band and keeps them going.

"All you people can't ya see, can't ya see,

How your love's affecting our reality.

Every time we're down,

You can make it right.

That makes you larger than life."

The song begins with an earworm of a bouncy synth and soon goes all out into that quintessential late 90's/early 00's sound that was also popularized by N*SYNC and Britney Spears. The sci-fi influenced video also deserves a mention purely for highlighting the excesses of pop promos at the time. Costing over $2 million dollars it was directed by Joseph Kahn (who was also responsible for the Backstreet Boys "Everybody (Backstreet's Back) video as well as other classics like Britney Spears' "Toxic" and Destiny's Child's "Jumpin' Jumpin'"). 

  

The song was a massive hit worldwide, #5 in the UK, #3 in Australia and #2 in Finland, and although it may not sound particularly fresh in today's pop landscape there is no denying that this is a standout pop song from the era.

Mashed POP-tato #2

'Mashed POP-tato' is where we highlight the best in mash ups on the net, a genre that can be absolute genius or completely bloody awful.

The next featured mash up is one that sounds terrible on paper and really shouldn't work at all. It marries a massive 2002 single from the first lady of hip-hop and a 1982 rock soundtrack song from a Sylvester Stallone film. The mash up in question combines "Work It" by Missy Elliott and "Eye of the Tiger" by Survivor to amazing affect.

This is a perfect example of a mash up being absolute genius, taking two completely different songs and molding them into 3 minutes of pop perfection. Combining the instantly recognizable guitar riff from "Eye of the Tiger" with Missy's unmistakable  flow and quirky lyrics coupled with the production touches from Timbaland means this is one of the most unusual but catchy mash ups I've ever heard.

Enjoy another serving of 'Mashed Pop-tato'.

(this should be more) POPular #2

You know that thing when you hear a song and you can't believe it hasn't been a massive hit? Yeah, that...

The next song in our series of 'how he feck was this not a #1 single??' we come back to the UK. The artist in question is VV Brown, she first came onto the pop scene in 2009 with the rockabilly/retro influenced album 'Travelling Like the Light' and its rather danceable singles 'Crying Blood', 'Leave!', 'Game Over' and the UK top 40 single 'Shark in the Water' (video below).

The summery, catchy 'Shark in the Water' was the only single from the album to chart in the UK, although it did make some waves internationally (#13 in France, #67 US Billboard Hot 100, and #11 US Hot Dance Club Songs), and the parent album went gold in France and charted in the UK and the USA.

Brown went back to the drawing board and recorded a song with Chiddy Bang, 'Children', which was due to be the lead single from her second album 'Lollipops and Politics' and had a nursery rhyme simplicity to it. The chorus firmly lodges itself in your head and will not budge - be warned!

However, numerous delays led to the album eventually being cancelled and replaced by the album that is home to our featured song.

VV Brown released her sophomore album 'Samson & Delilah' in September 2014. A concept album based on the biblical story of the same name. The album showcased a drastic change of musical direction for VV, see the other singles 'Samson' and 'Faith' featuring Kele Okereke of Bloc Party.

The song we're featuring this time was the second single from the album released in August 2014 and was a change of gear in her new sound driving up the BPM. The song is 'The Apple' and was written by Brown and Pascal Gabriel (he's also responsible for LadyHawke's 'My Delerium' which is still a tune!) who also produced it. It's a fizzy, squelchy pop masterpiece that concerns much darker material than the out and out pop of the earlier singles.

"Keep me down,

take my heart.

Hold me captive,

tear me apart."

The song, and it's accompanying video perfectly marry this darker lyrical content with a much stronger visual identity. Enjoy the next '(this should be more) POPular', 'The Apple' by VV Brown.

Due to her ongoing popularity in France VV also recorded a version en francais (that's French for 'in French'), which you can listen to right here.

You can follow VV Brown on social media:

twitter - @VVbrown

Facebook - VV Brown

instagram - @vvbrownofficial

Track of the Week #2

It's only the bloody track of the week!

This week for 'Track of the Week' we travel to sunnier climbs. To be more specific the pure and virginal surroundings of Las Vegas, Nevada, for that is the place that gave us Shamir.

Shamir first came onto pop's radar in June last year when he released his debut EP Northtown, named after the suburb of Las Vegas he grew up in. He arrived in a buzzing haze of disco-inflected dance on the infectious 'Sometimes a Man', playing up to the androgyny of his blistering countertenor voice he delivered effortless cool and flawless pop hooks. Other tracks of note on the EP include 'If it Wasn't True', a break-up song built around a dreamy piano house riff before buzzy synths crash in mid-way, and the more plaintive 'I Know it's a Good Thing' which has a driving, slightly 'Rolling in the Deep'-like piano.

Later in 2014 Shamir secured a major record deal and signed with XL Recordings and this was where he really started to make waves. He got mainstream attention with the release of the pop monster single 'On the Regular'

Starting with possible the catchiest cowbell ever heard this is 3 minutes of perfect pop, irresistible synths,wickedly cutting lyrics and a charismatic delivery from the man himself. It was becoming more and more obvious that Shamir was one to watch.

So that brings us to our 'Track of the Week', In March 2015 Shamir released his next single, 'Call it Off'. Sounding more polished and catchy than ever the song is constructed around an erratic bassline with flourishes of cowbell it lodges itself in your brain and sets up camp there from the first listen, and that's before you even get to the the simple yet effective Sylvester-like chorus complete with Chic-style backing vocals. The sassy rap breakdown shows Shamir protecting you from making a mistake with the skank that has caught your eye:

"Just can't make a thot a wife,

No more basic, ratchet guys.

Listen up, I'm saving you,

From all the hell that you'll go through."

The video is a mindfuck of the best kind, Sesame Street takes over Dorothy Perkins to a shiny pop soundtrack. Ladies, gents and anyone else who is still reading, I give you 'Track of the Week'. 'Call it Off' by Shamir!

Both 'Call it Off' and 'On the Regular' will appear on Shamir's debut album 'Ratchet, due May 18th. You can pre-order on iTunes right now! 

You can follow Shamir on social media:

twitter - @ShamirBailey

Facebook - Shamir Bailey

instagram - @shamir326

#TBT

For Throwback Thursday every week we're going to shine our poplight on a stone cold classic.

For our first throwback Thursday we're going to feature one of the lesser known singles by a group who have received accolades like 'the UK's best selling girl group of the 21st century' and 'most successful reality group of all time'. Yes, we're talking about the five pop goddesses collectively known as Girls Aloud, and the song in question is 'Wake Me Up'!

Released as the final single from the group's double platinum second album 'What Will the Neighbours Say?' in February 2005 (seriously, how is this 10 years old already??) 'Wake Me Up' was a #4 hit in the UK. Built around crunchy pop guitars and a frenetic dance beat this further developed and enhanced the trademark sound of the group. 

Follow us on Spotify

You can now follow Pop is Not the Enemy on Spotify where all the songs talked about on our twitter feed @PopEnemy will be uploaded in handy weekly playlists!

Check out this week's playlist right here!

Mashed POP-tato

'Mashed POP-tato' is where we highlight the best in mash ups on the net, a genre that can be absolute genius or completely bloody awful.

Our first 'Mashed POP-tato' is a marriage between two pop juggernauts, artists that have excelled in very different genres but who have both furthered the cause of pop massively.

Ladies, gents and inbetweens I am talking about Robyn and Whitney Houston, and the mash up uses the pop masterpieces of 'Dancing on My Own' and 'How Will I Know'.

This mash up falls most definitely in the genius side of the equation coupling the bubbling, Moroder-esque production of Patrik Berger (also responsible for masterpieces such as Icona Pop's 'I Love It' and 'We Got the Power' by Loreen) and Whitney possibly at the top of her game with an absolutely flawless vocal (the isolated vocal track is crazy good).

So, press play and enjoy one of the finest pop marriages since Jessica Simpson met Nick Lachey, 'Dancing in Houston'.