Monday, December 31, 2007

1001 Greatest Pop Songs Of All Time - #34 - Something Spooky by Atomic Kitten

Alyson: When we did this list, or at least, came up with the idea behind it, there were only 5 (now 6) artists we banned outright. We accepted at some point we were going to be promoting songs by Artists we didn't really like overall. Just wait until Claire has to deal with ABBA. It was important that this list just didn't end up being "Alyson and Claire's favourite songs" - if a song was great, and deserved to be on this list, it should be on here, regardless of a) artist or b) our own prejudices. Yes, ABBA will be here at some point, probably Umbrella, and we can accept that. It's the 1001 Greatest Pop songs of all time, and songs that are important to a pop year will be included, not just songs we like, it's important to make that really clear. We don't take this responsibility lightly.

Ricki Lee, obviously though, is banned.

Anyway - Atomic Kitten. Not one of my favourite bands, and the people within the band don't do a lot for me, as people. Probably unfair in some ways to say not one of my favourite bands, since my exposure to them is pretty much restricted to "Whole Again", "The Tide Is High" and the worst song I heard in many years "Ladies Night" (slappers unite!). More a band I don't think about a lot. Towards the end of their run, they approached 100% perfection simply by uniting rock AND pop critics against them. By and large, they started off OK, the first album isn't too bad, and then kind of went downhill from there. This is a positive list though, so I will admit a certain fondness for debut single "Right Now", if only for a) the kitten logo they were trying to get up (like the Napster logo without a face) and b) the demented frenetic energy of the film clip, bobbling around awkwardly on mad camera angles with no budget spent on stylists. Maybe that's the problem, stylists turning them into a band for slappers. I digress.

However, tucked away on the B side to Right Now, you'll be possibly surprised to know, is a slice of almost 1960s bubblegum heaven. In fact, change the vocalists and drop the modern production a touch, and it could slip easily onto the debut albums of The Banana Splits or Josie and the Pussycats. It sounds wonderfully like something that play over the antics of Josie or Shaggy running around a haunted house chasing a ghost and then going through a door and realising the ghost is chasing them. Entitled "Something Spooky" (and the theme song to something called Belfry Witches, some kids show or another), it's brilliantly addictive pop. I mean, it starts with 10 chants (not sung, chants, it's important) of the word "hey". How bubblegum is that? And wonderfully, it's lyrically about absolutely nothing meaningful, being about witches out on the prowl, "burning up their broomsticks til the morning sun" and speaking spells. The hooked and looped chants make the song, and the wonderfully silly spoken word bit "Oh no! Look out! Ahhhhh!" could come straight from the best work of Kasenetz and Katz. And believe me, if you can't see the line "hubble bubble double trouble" as fantastically bubblegum, I can't explain it to. The whole song bubbles and fizzes with so much good natured tuneful silliness without ever slipping into cynical parody, it's magical, it's wonderfully pop and it's a shame Atomic Kitten didn't continue down this particular musical path.

Is it cool or hip? Absolutely not. It is screamingly good bubblegum pop? Oh god yes. Now, about your wardrobe...

1001 Greatest Pop Songs Of All Time - #33 - Sweet Temptation by Lillix

Claire: One thing we haven't neccesarily talked about in these entries is what makes a great popstar, rather than what makes a great pop song. The singer of the song is vitally important. In lesser hands, great songs don't sound so mighty. Looks are obviously important, but Lulu was a great popstar while rocking a dodgy mid 60s Glaswegian housewifer perm, and ultimately, it's the attitude that maketh the true pop star,. The best pop songs in the post Avril era seem to involve a snarling defiance and a distinct lack of simpering. It's important that even on this list, we recognise many a song can be enhanced by a guitar or a drumbeat, but we're talking in a different way. There can be no solo frettery wanking solos in pop, the guitars can, if you wish, be loud and crunchy, but they must embed into the song, rather than be the be all and end all. And perhaps most of all, the chorus has to soar. In pop, most things come down to the chorus, that's where the producer and the band will earn their money. A pop song with a limp chorus can barely qualify as a Pop song. A producer will mess around with the chorus at risk to their own risk.

All this and the mysterious X Factor will decide the fate of the great pop song.

Canadian girlband Lillix, of course, had so many of these qualities - looks, attitudes, fuck off choruses, attitude, instruments that didn't get in the way of the tunes - that it's immensely frustrating that a rotating line up (from the Sweet Temptation release in 2006, already they have turned over 4 members in the struggle to keep the band going) and god awful label distribution on Maverick Records (in it's dying days) that saw the album "Inside The Hollow" fail to see the light of day anywhere other than Japan and bits of Canada. They emphatically muscled up their sound (in a good way) from their still excellent debut album "Falling Uphill", which was more teen pop. They should have ruled the world, but it was not to be. People though bought James Blunt, HE didn't have label problems...sigh...

Sweet Temptation is the greatest single you never heard. Above all else, it has the greatest chorus of it's year, a swelling, chanting be yourself and stuff the world chorus, magificently bouncing off the more gently building verses. The guitars and drums in the song enhance the song, rather than overwhelm it. It's brilliantly post Avril pop, loud and proud, with a heart stopping bit where the song stops and re-builds to the finish (complete with counting bits, one of the best things a pop song can have). It tips it's hat to the Go Go-s and The Bangles, and it's perfect radio pop, tuneful enough to get on a playlist, but lyrically subversive enough to stand out as a piece of brilliance amid the fluff and "meaning" of modern pop. This is absolute genius of the highest order, and it gets better the louder you play it. Which is ALWAYS a good sign.

It should have been #1 all over the world, but that's pop for you. No justice....

Alyson: It's only quite recently I've got into this song, I don't know why I missed it at the time, I liked it, but it's only recently crossed onto a full blown "must play". It was certainly loud enough for me to enjoy. Maybe the problem was that I was a bit disappointed they changed the original chorus of "fuck no" to "follow", and held it against them. More fool me. It still sounds a lot like "fuck no", so you can just pretend...

I must admit, I find the track used to best effect on a loud and packed dancefloor, if we can ever get it played. It's sheer volume alone could knock over a field of cows if it gets played properly. And they scream attitude, pouting and glaring their way through the simple but effective video clip. This is, as we have said, perfect Avril generation pop. Maybe Ms Lavigne, if she is struggling for inspiration next album....

1001 Greatest Pop Songs Of All Time - #32 - Cruel Summer by Bananarama

Alyson: Claire is right, we probably need to cut the explanations and the crusading down a bit, if for no other reason that we hope you know and realise how silly and snobby "rock" journalism is. In the desire to trip over themselves to annoint some scruffy indie herberts as the saviours of music, they will make themselves look like the knowledge by baiting the pop bands of the day. Then, later, they'll out themselves as having a "guilty pleasure" - the idea seems ridiculous, why is it guilty to find liking heart stoppingly brilliant pop as something to be ashamed of? (Although tragically, they got to Siobhan, now 18 years into a tragic solo career of attempting goth keeping it real, but I digress.) I'll stop before I bring up that martian analogy again...

Bananarama (the conjunction of The Banana Splits and the Roxy Music track "Pyjamarama, how bubblegum is that partnership?) for instance got the usual tedious slagging throughout the 80s for having the temerity to be happy and make great pop, while rock journalists were sobbing into their Smiths CDs. Pop puppets they sneered. Laughable, we sneered back from the pop side of the fence. After all, Bananarama were brought up through punk rock fandom, jumping on stage at random moments of punk gigs to dance and steal the microphone, all the while living above the rehearsal space of a couple of Sex Pistols (who weren't contrived of course, oh nooooo). And on the set of the Cruel Summer video, when the cameraman was focusing too much on Siobhan, they ominously sorted it out "Bananarama style" - ie. they beat the crap out of him. And girl power? Few girl bands have had as genuine a right to the phrase. They practically in this era invented the term, using their videos to teach wayward men a lesson. Even in prime era SAW, when they dropped down a gear on the mardy meter circa WOW, they were still the ones in control, turning into lovers not fighters.

The idea that Siobhan, Keren and Sara were anyone puppets is ludicrous.

Cruel Summer, from 1983, is immense. It swaggers with Thatcherite era cynicism, girls out there partying with one eye open, waiting for the inevitable betrayal from bastard men. It's empowered, a song for the broken hearted who refuse to cry into their shandies, who still get up the next day and fight (literally in the case of the Nanas) on. It's wonderfully sarcastic in a typical British way (and in a way Ace Of Base never quite got on their cover) - it might be bouncy, but there's a darkness behind the cheer, the kind of minds that think about tomorrows hangover while drinking today. It's anything but innocent, despite the sweetest of bubblegum new wave pop tunes. It's both a song for the party, and the party comedown. All in the space of 3 epic minutes. Absolutely perfect.

But hey, they were really pop puppets, honest...bring on the martians....

Claire: This is my favourite Bananarama song, and one of my favourite ever songs, and it changed my life, it's my first musical memory, the be-fringed trio swaggering round the streets of New York making life miserable for the bumbling Dukes Of Hazzard duo in the squad car trying to make them go back to work at the petrol station. I would consider myself almost the worlds biggest Siobhan Fahey fan, right up until that band I won't mention broke the spell. Still, they couldn't break the wonderment I still feel for Cruel Summer.

Bananarama don't ever get the credit they deserve. They had three distinct spells - the initial punkpop of the early years, the mid 80s strident period where they dominated everything with their wonderful bubblegum phrasing, and the SAW years where they were wise enough to drop down a level and simply become wonderfully pop. And in 2005, Sara and Keren made the hypnotically wonderful Drama, of which more later, refusing to simply fade away and become a cover act and putting thought and care into their music. And yet, you never see the Nanas on so called "great songs" list. Scruffy indie herberts, you pack as much darkness and beauty into your song as Cruel Summer has, and we'll talk about your music, K?

1001 Greatest Pop Songs Of All Time - #31 - You Only Live Twice by Nancy Sinatra

Claire: We're conscious of repeating ourselves in this list, but to me, doing this list seems quite bizarre. The luscious nature of pop and it's power to heal, lift and empower should surely on any rational planet be celebrated, but instead, the power of the critical list seems to belong to the latest bunch of scruffy indie misfits babbling on, just because they can strum the F chord on a guitar. It's a strange and contrary world that thinks because a song has a joyous coda to it, it's cheap and meaningless. However, pop is very easy to get wrong, and people under-estimate the difficulty to be convincing at interpreting a pop song, as though anyone could do it. Believe us, not everyone can. That we need to point out the strength of these songs to the Toby Cresswells of this world feels like I'm turning into a rallying girl, who is saying the obvious.

Nancy Sinatra, it's fair to say, is a massive personal hero of mine. I think of her as the single most under-appreciated artist of the 1960s. She shone with star quality, and was an emphatically superb interpreter of a song, particularly once Lee Hazlewood instructed her to get nasty and "bite the words". To quote the old Smash Hits, her best of CD contains no duff tracks at all. However, because she was sublimely beautiful and, gasp, didn't write her own songs, history doesn't afford her the respect she deserves, and all she is remembered for is her is her duet with her Dad and the kitschy "These Boots...", rather than the 43 other singles she released on Reprise, which cover all the entire gamut of human emotions. And believe me, if you don't appreciate Nancy as a magical singer, have a listen to someone attempting covering her songs. Awful isn't it? I never forgave Coldplay...

You Only Live Twice (the Bond theme from the film of the same name, when having a Bond theme meant something) incidentally, is almost a mash up, since the words and vocals are pretty much cobbled together from a tape from a shambolic session where Nancy struggled to get her performance in order. However, the vulnerability and nerves on the vocal add to the lush, romantic theme of the song. Less aggressive than previous Bond themes, You Only Live Twice, tinged with a film appropriate Oriental feel, is laid back perfect pop, luscious and seductive. And of course, it's incumbent to mention THOSE John Barry strings, without which the songs romantic feeling wouldn't build anywhere near as well. This is heart stoppingly wonderful stuff, and even 40 years on, not a single second is wasted on the whole track.

It's perfect, absolutely perfect, but I suspect you knew that. However, if you prefer wordy indie poetry...

Saturday, December 29, 2007

1001 Greatest Pop Songs Of All Time - #30 - Riding The Rocket (少年ナイフ) by Shonen Knife

Alyson: It's fair to say when I think of word pop, the first word that comes to mind is always "bubblegum", so most of my entries tend to first and foremost think of those songs recorded in a production line in the 1960s and 70s, sung by cartoon bands who's real singers were pressed for time session vocalists, but whose songs were lovingly crafted to infect your brain with a fantastic glittery sugary hook. Tiresomely, these songs get overlooked in favour of the pressings of Bob sodding Dylan when the 60s are reviewed, but they were frothy, fun and in some cases, far less disposable and a lot more immediate than the so called chroniclers of the times like "The Band". Surely The Banana Splits album has more urgency and vitality than anything The Band ever did? If you told aliens that people bought albums by The Band and Tra La La peaked at 93 in the charts, they'd blow up the planet instantly.

Having recently got into "J-Pop" (Japanese pop reduced to short hand) through the soon to be inducted Puffy and Wink, the sheer vitality of the best pressings (and believe me, I do love J Pop, I'm not Jane Gazzo in a Banana Chips T-shirt flirting with me no rikey racism by mocking the funny vocals) is akin to peak era Bubblegum pop, as though no traces of wordiness or sodding Dylan have managed to sneak through. Mind, it is a task to precisely untangle the complexities of exactly what is J-Pop and what isn't. Sometimes Puffy associate themselves and sometimes they don't. To casually lump it all together is a dis-service. All that anyone need know is at heart, the best Japanese pop could come straight from a Banana Splits album.

Prime Japanese band Shonen Knife, for instance, you could write entire paragraphs debating whether they were punk or pop (they write songs with nursery rhyme chants, but have at least some punk following), credible or incredulous, clever or nonsensical. Truthfully, they deserve at least one induction on account of the fact they are fantastic fun. "Riding The Rocket" from the 1992 album Pretty Little Baka Guy, notionally about a trip to space, but with an infectious bubblegum groove and a tremendous energy, is to me to very epitome of joy, from a year when everyone else was cutting their musical wrists. The Knife and Girlfriend kept me sane in a tough year. The girls have a tremendous grasp of fun, and who couldn't love a song dedicated to a space walk dance party? And in the best traditions of bubblegum, lyrically it's absolutely meaningless. Did you know they eat aspargus in space? You will if you listen to this song! There's an intuitive grasp of pop throbbing through this song, regardless of what labels you try and put on it.

It's the sweetest of sugary treats, it's not for everyone, it'd drive you nuts on repeat play, but it has a magical centre to it that surely can melt the most cynical heart. Just like they used to make in the good old days...

1001 Greatest Pop Songs Of All Time - #29 - All The Things She Said by TATU

Claire: It's fair to say that the world, like Pop, needs controversy. Without it, all bands would be like Westlife, Il Divo, or worse, Boyzone. Tedious, safe and pre planned and market researched down to the nth degree, even to the second they got off the stool and everyone would buy "Motown cover" albums and sound like Jane Gazzo. It's not a world for me, and it's not a world for you either.

TATU's world was always morally dubious and a world away from such boring concerns - lesbianism for profit and faux lesbian at that and all that stuff that kept the Daily Telegraph letters page churning on, but it was fascinating and interesting, the kind of things you can't imagine Western Culture will produce in the current boring climate (how do people make it through High School Musical? Surely that boys neutered?). If nothing else, TATU's brief and emphatic period as the most talked about band on the planet was something different, it was sleazy and it was grimy, but it was also an important nod to pops never ending history of svengalis and masterminds seeking to stir up controversy for a fast buck.

Actually, it wasn't anything to do with the controversy (after all, All About Us had a bloody murder, and no one remembers that video) as to why All The Things She Said was a massive hit (it helped, but it's not why it topped the charts, and the outrage seemed weary at first, more justified later at some of the stunts from the dying days). It was to do with the fact this is one of the best songs, never mind debut singles, of all time. It's a nervous breakdown on record, insane and urgent, confused and erratic, chaotic melodrama packed into 3 and a half minutes, Trevor Horns kitchen sink production and background countdown ticking clock meeting the girls panicked, wailing and imperfectly translated vocals (although it's impact was still great on the original Russian track, translated as "I've Lost My Mind"). It could have been about two girls running away from summer camp and it would have been a great song, but it works in context of the lesbian gimmick, infusing it with a desperation and believability. The video clip was designed to court controversy and nothing more, but without the great song, it would have slumped through the cracks.

Of course, it couldn't last, that's the trouble with the gimmick running out of steam and later sleazy stunts, but this song is still a perfect song for anyone in love and driven insane by it. Whether with boy, girl or band-mate...


Alyson: It eventually got really tacky in the TATU world, once the e-mails started to come out advertising that they wanted 14 year old girls in underpants to line up on a bridge. But that was more to do with Ivan than TATU, once he got mixed up as to what the success of TATU was about. The controversy was always, arguably, secondary to song quality once All The Things She Said was dropped on the public. And for the questions of moral bankruptcy, they weren't any worse on that charge than The Pussycat Dolls, the most morally bankrupt band of this decade.

After all, commercial radio, not the most open minded forum, found a place for this song on heavy rotation. It is only arguable though, since it owed a lot to old fashioned publicity stunts, tabloid stirring and a deliberately provocative video clip. That they got away with it is down to the heart stopping brilliance of the song, particularly the time clock ticking down, and it's hard not to love the sheer brass neck of everyone involved. And yes, it was a much, much better time than now, when people are buying High School Musical...

Friday, December 28, 2007

1001 Greatest Pop Songs Of All Time - #28 - Loves Loves To Love Love by Lulu

Alyson: Whoever invented the nostalgia industry in music (whether it was Bob sodding Dylan or the sodding Beatles, it's always one of those two) unwittingly did a lot of artists a great dis-service. Just as The Kinks (a band you won't be seeing on this list) had a back catalogue ground down by Damon Albarn to Waterloo Sunset only, so several quite important and wonderful pop artists have their catalogue ground down that single what charted quite well, and that one what didn't, when their back catalogue with a little patience can be revealed as stunning, inventive and magical. There's a fascinating world of lost pop classics out there from the 60s and 70s that lie somewhere between "I'm a nerdy record collector" or "I'm a Bob Dylan fan, here's his vinyl". A lot of amazing songs that got to 20-30 in the charts are out there, waiting for a home, a lot of artists that could do with a severe re-assessment.

Take Lulu for instance. In our little musical world, we like to give everyone a fair chance, and after "To Sir With Love" was on I-dull a few years ago, I went and bought "The Best Of Lulu" for about a buck, and it was a revelation. Her back catalogue before Boom Bang A Bang, her German singles, her stunning interpretation of various cover songs (Mr Bojangles is stunning), her work with Take That, her magical phrasing and melisma on "To Sir With Love" (still one of the best love songs of all time), a 4 decade career of wonderful songs, and people still want "Shout" and remember her as the funny cameoer in Ab Fab. It's a shame, maybe she's happy that way, you never know. Let this post, at least slightly, redress the balance.

The 1967 single "Love Loves To Love Love" didn't make the top 30, in spite of being a prime glam rock stomper before it's time. It clocks in at roughly two minutes long, the lyrics are fantastically tongue twisting (just try saying Love Loves To Love Love 8 times in a minute never mind singing it live) and sung by one of the most under-rated vocalists of her time, and it has a beating glittery heart of pure wonderment and magic. Perhaps the best thing about it is every time it's on the IPOD, you can hear a new magical element to it, whether it's the fantastic throbbing backing guitar, or a new part of the lyrical conceit (blue is hung up on red? Brilliant) or the full magic of the bongo breakdown in the middle. And then, it's over, like a cool guest a party who comes only for a flying visit and steals your heart.

I consider this one of the best singles of the 1960s, and an absolutely essential part of any pop IPOD. But still, Boom Bang A Bang is available from your local DJ...


Claire: I really wasn't sure about this one, it's Alysons baby this entry, since I prefer and might one day post about "Can't Hear You No More", one of my favourite songs of the 60s, which is almost Lulu goes Gospel in it's breathtaking strutting wonderful chorus, but I certainly support any appreciation for the under-rated works of Lulu that are much better than "Shout" and "Boom Bang A Bang". Above all she's endlessly fascinating, not just musically, but with the life she's lead. Sometimes she's cool, sometimes she isn't, but it's always interesting, and you can't say that about "the new Lulu", er, Sheena Easton.

Above all else, Lulu is massive fun to listen to, her songs are unabashed, noisy and vigorous, especially in her late 60s pomp. Love Loves To Love Love is about my third favourite Lulu song, it's probably a little more technically clever than "Can't Hear You No More" (which has a great doomsday reference), so I knock it down a bit, but it is fantastic fun and wonderfully daft (in a good way) like a lot of great, don't worry about the beats get the tune in late 60s songs were. And really, get her Greatest Hits. You'll be surprised. Honest.

1001 Greatest Pop Songs Of All Time - #27 - Freak Like Me by The Sugababes

Claire: The mash up era, the idea that it was commercially viable to make singles and albums by sticking the tune of one song over the words of another, ended up being about as meaningful and long lasting as the new wave of the new wave or electroclash, any other label the NME staff wanted to throw together during their lunch break. In truth, it was nothing new, but it was briefly incredibly hip, coming out of the nightclub and into the charts once "A Stroke Of Genieous" allowed indie dolts to play a Christina Aguilera song guilt free. Even commercial radio DJs in Australia, rusted onto their playlist, were given leeway to bolt the latest Nirvana music over Eminem rapping MP3 downloaded from the hip technology of Napster. Imagine how outrageous they must have felt.

It's probably strange then that the most viable and well constructed song of the era only got to #44 in the charts in Australia, despite a long standing reputation surrounding the track as the hottest mashup in UK nightclubs. A mash up titled "We Don't Give a Damn About Our Friends" (the vocals belonging to Adina Howard and her 1995 single "Freak Like Me" and the music most notably from Gary Numan, with some Bootsy Collins (who further complicating the issue, had one of his songs, "I'd Rather Be With You", lyrically interpreted by Howard for the chorus ), Sly and The Family Stone and Frogger sound effects thrown in), created by producer Richard X under the alias Girls On Top had circulated around the hip spots of London for a while, but when it came to the commercial release, Howard, having being ripped off financially before in her music career, turned down the release of her original vocals.

So it fell to the Sugababes, with the song renamed "Freak Like Me", and with new member Heidi Range, to do the commercial honors. The song essentially sounds cool, fuzzy, grimy and industrial. Above all else, it still sounds edgy, dangerous and most importantly, it came at the end of an era of essentially fine, but carefully constructed and ultimately risk free pop. Freak Like Me leaves the working on show, and blasts out of the speakers. Vocally, the Sugababes interpret sublimely, where as in lesser hands, the glass would fall to the floor (as with the "band" chosen to release A Stroke Of Genieous as a single) and the result would be a mess.
For what little "credibility" matters on this list, this has the best kind of cred. And best of all, it sounds truckloads, a rare example of intelligent pop getting it's proper reward, and it repositioned the Sugababes ans the coolest band around, in the best possible way - without trying. Effortlessly, utterly vital, even now.

Alyson: So as much as anything, I really did think about what I wanted to say about this track, patently, it had nothing to do with the Sugababes. It's sample tastic, made in a lab, the lyrics come from one song, the music from several different sources. As much as we're not that concerned with cred on this list, I did take a pause before not just writing 20 paragraphs about Richard X, rather than anything about the Sugababes.

However something Pete Waterman said about The Reynolds Girls sticks in my mind, in that once they went out in public and sang, no one felt the slightest conviction or had any belief in them. For a relatively young group to go out in public and interpret a sleazy, grimy song and deliver when they were best known for soulful songwriting credibility, and had lost a member was a massive challenge. And they delivered more than they could have hoped for, barging through the door and becoming impressively vital.

So it has nothing to do with them, but somehow everything to do with them. It's the conversion of a band from out the shadows and into the light. They've probably never been as good since. A modern day classic.

It's back!

The project that got stalled by intransigence is back! Mostly because we got sick of Pop retrospectives with Beyonce (booo) and the stupid book that inspired this book by Toby Cresswell (1001 songs for sad snobs) got a reprint! Booo! So we're back to keep the list of 1001 greatest pop songs going, this is the list so far!

Betty Boo - Doin' The Doo
Blondie - Rapture
Britney Spears - ...Baby One More Time
Britney Spears - (You Drive Me) Crazy
Dannii Minogue - All I Wanna Do
Deborah Gibson - M.Y.O.B
Girlfriend - Girls Life
Girls Aloud - Biology
Girls Aloud - Sound Of The Underground
Hanson - I Will Come To You
Holly Valance - Ricochets
Kim Wilde - Kids In America
Kylie Minogue - I Should Be So Lucky
Lisa "Left-Eye" Lopes - The Block Party
Liz Phair - Why Can't I
Madonna - Into The Groove
Melissa - Read My Lips
Mint Royale featuring Lauren Laverne - Don't Falter
Rachel Stevens - Some Girls
Republica - Ready To Go
Spice Girls - Wannabe
Take That - Never Forget
The Banana Splits/Liz Phair - The Tra La La Song
The Twins - All Mixed Up
The Veronicas - 4Ever
Vanilla Ninja - Club Kung Fu

More to come!