Hits 21 - 2009 (10): The RAGE for Christmas Number 1

Episode Date: August 18, 2024

Hello again, everyone, and welcome back to Hits 21, the show that's taking a look back at every UK #1 hit single of the 2000s. Twitter: @Hits21UK Email: [e-mail] Vault: https://open.spotify.com/playlist/5O5MHJUIQIUuf0Jv0Peb3C?si=e4057fb450f648b0 https://metro.co.uk/2024/08/15/00s-pop-icon-confirms-groups-comeback-20-years-eminem-clash-21380505/

It's 21. Hi there everyone and welcome back to Hits21 where me, Rob, me, Andy and me, Lizzy are looking back at every single UK number one of the two thousands. If you want to get in touch with us you can find us over on Twitter we are at Hits21UK that is at Hits21UK and you can email us too. Send it on over to Hits21Podcast at gmail.com. Thank you ever so much for joining us again we are currently looking back at the year 2009 and this week we will be covering the race for Christmas number one in 2009, our last Christmas episode of The Noughties. Last week, the poll winner. It was not close.

Bad Romance by Lady Gaga. Zero votes combined across both polls for the BBC official Children in Need medley and the X Factor finalists. interview with MC Divine of Three of a Kind dropped for Metro. I will leave a link to it in the description. We chatted about Baby Cakes on its 20th anniversary. Can you believe that 20 years ago this week Baby Cakes was at number one in the charts ahead of the Libertines at number two with Can't Stand Me Now and we talk about that, we talk about the fact that he used to see Pete Doherty in a pub years before they were battling each other for number one, we speak about pushing Natasha Benningfield's these words back one week because they were selling so many copies in that opening week, they got the highest selling ringtone of 2004, higher than Eminem and Usher, all sorts of

stuff is covered there. So it is now time to press on with this week's episode, it's just gonna be me doing the news headlines because there aren't as many because Christmas is quite a quiet period for news and then we'll get on with the episode proper. So all the leaders of the UK's major parties agreed to televised debates for the first time in history, with David Cameron's Conservative Party currently 17 points ahead of Labour in the polls. Meanwhile, bad weather hits the country again, bringing travel to a standstill and closing

schools for days on end, and in that bad weather, three climbers in Scotland are killed on Ben Nevis in an avalanche. So the next bit is the album charts. Andy I think you've got a couple of albums left for us this year or one album left? Just the one, just the one. For I think maybe the first time ever we have a new number one album in the week between Christmas and New Year. The first time in the noughties that that's happened at least. I think this one is probably explained by people who've seen this name about, they've decided what to do with their Christmas money and they've thought yeah I'm going to go out and I'm going to get this album and it is Crazy Love by Michael Buble which closes the decade at the top of the UK albums chart which went 10 times platinum

was an absolutely stonking hit bigger even than I dreamed a dream by Susan Boyle last week so yes a huge huge hit there rearing its head for the first time at number one Buay manages to squeak in to the noughties. Well done Booblay. Lizzie, the US year-end review. How are we looking at 2009? Well, I already covered the US Christmas number one single album last week, so I'll just cover off the best performing album and the year-end top ten singles for 2009. First up, the best performing album of 2009 was Fearless by Taylor Swift. The album was actually released in late 2008 but it spent 11 non-consecutive weeks at number one and was eventually certified Diamond in the US. Back here in the UK peaked at number five in March of 2009. So that just leaves the year-end top ten singles. Any guesses at number

one? Uh, Boom Boom Pow, surely. Boom Boom Pow or I Got a Feeling. At number 10 we have Gives You Hell by All American Regents. Oh, I loved that song. Oh god. Yeah. At number nine we have Heartless by Kanye West. At number eight we have Single Ladies, Put a Ring on It by Beyonce. Number seven, I'm Yours, Jason Mraz. Oh. Oh. Ha ha ha ha ha. I used to like that, but then I was an idiot, so, you know.

In at six, it's Right Round by Flo Rida. At number five, it's Love Story by Taylor Swift. Might be making an appearance on Born to Rum and Rup, who knows? Maybe. At number four, I Got a feeling, Black Eyed Peas. Oh! Number three, Just Dance by Lady Gaga featuring Cloddy O'Donnis and Red Wine.

At number two is Poker Face by Lady Gaga. So number one is Boon Boon Pow by the Black Eyed Peas. Well you said it too Rob, yeah, but I think it's broken so many records this year it was almost mathematically impossible for it not to be Boom Boom Pow really, wasn't it? This very much was the year of the Black Eyed Peas in America, so no surprise there. You know Lizzie though, I think you've made a mistake there because I asked you to give me the top selling singles in the US of 2009, but what you've done is you've made a mistake there, because I asked you to give me the top selling singles in the US of 2009, but what you've done is you've given us the top selling single of

3008 there. You've jumped 999 years into the future. You know what it is? I'm always running 2000 and late. It just keeps happening. Thank you ever so much Lizzie, not just for the report on this episode or the previous episodes of 2009 but for every US report you have done since the beginning of the show. The very beginning of the show. Hopefully it won't be last. Andy, the TV of Christmas 2009, I want to hear what's in the radio times.

The Radiosimus. This has all the makings of your lucky day then, because we go out of the decade and into the 2010s with a pretty big bang. I've got quite a bit to talk about here. So in a nice bit of symmetry with the end of the decade, the theme of BBC One's Christmas is kind of the end of an era. A lot of things are ending this time. So the Christmas Day and New Year's Day schedules are each focused on seeing out two beloved shows or eras of shows rather. So firstly, David Tennant's final two part story of Doctor Who called The End of Time anchors the schedule on Christmas Day and New Year's Day, an hour special on both, featuring returns from pretty much everyone

from his era of the show and the debut of some newcomer called Matt Smith as the 11th Doctor. Tennant would of course return to the show, quite extensively, in the future, but for that time it was the end. And later on in the evening, again on both Christmas Day and New Year's Day, following up Doctor Who each time, it's the final two episodes of Gavin and Stacey's third series, intended at the time as the genuine ending of the show, which it wasn't but it was for quite a long time. Gavin and Stacey had moved from BBC3 up to 2, up to 1 and had dramatically increased its viewership throughout its run, earning a prestigious place in the schedule this Christmas. Gavin and Stacey would also return for two Christmas specials,

but much later on, the second of which is this Christmas 2024 and is supposedly the genuine last episode. So we might finally have the end of both David Tennant as the Doctor and Gavin and Stacey as of this Christmas, but you never know, both of them seems perennial at this point. ITV, meanwhile, is slightly less inspired. Some might say they were potentially throwing in the towel against a very strong BBC One schedule this year. Christmas Day's highlight is a two-hour puaro. Yay. Oh. Yeah. On Boxing Day, there's Ant & Dex Christmas Show, Harry Hill's Review of the Year and I Dreamed a Dream, the Susan Boyle story. Suffice it to say, I chose BBC One this year,

apart from one notable exception, which we'll come to later. Over on the soaps, it's another very big one for the main two soaps. First of all on EastEnders, we get the murder of Archie Mitchell, played by the way by Larry Lamb, who was a main cast member of Gavin and Stacey. Gavin and Stacey. So it was a big Christmas for him. So the whodunnit story that sparked of who killed Archie culminated in EastEnders' first live episode in February 2010. It was Stacey by the way, sorry for the spoilers. Over on Coronation Street something really extraordinary happens. So the character Sally Webster sits her family down to tell them that she's been diagnosed with breast cancer in very moving scenes. But what's really moving about this though is the real life aspects.

Don't know if you do know this. So Sally Webster's actress, Sally Dinover, was researching the storyline, learning about the symptoms and went for a breast screening where she was diagnosed completely unexpectedly with breast cancer. And she later said that her cancer would not have been caught at that stage

if she hadn't been learning about the subject. And she has since credited the storyline with saving her life. What an amazing story that is. Just wow. Yeah. So yes, moving on from the soaps we've got the films. This year's Christmas films showdown BBC One versus ITV so we've got BBC One has The Incredibles and ITV has Happy Feet which is the winner do we think? The Incredibles, easy. Yeah, easy for The Incredibles. YeahV has Happy Feet, which is the winner, do we think? The Incredibles, easy. Yeah, easy for the Incredibles. Queen Elizabeth II used most of her Christmas speech to pay tribute to the armed forces

serving in Afghanistan, and this year's alternative Christmas message on Channel 4 is delivered by Katie Piper, who's now a bit of a household name, but probably not in those days. Katie, for those who don't remember, she suffered an acid attack and her long healing process was the subject of quite a few documentaries and other coverage which received a lot of praise. So Katie Piper used her message to reflect on the beauty of life in all of its forms, which I'm sure we can all agree with. But there's one thing I haven't mentioned that was on this Christmas, which I feel Lizzie will want to dig into more than me because she brings it up a lot.

I'd rather pretend it doesn't exist, but I feel like Lizzie's a bit of an expert on the subject. So why don't you tell us about ITV's All-Star Impressions show? Yeah, I've been dying to talk about this on the podcast while we've been doing up not only our 2009 run our entire run for me. This is what the podcast has been building to not rage against the machine this This was broadcast on primetime ITV on Boxing day 2009 and I still maintain that it is the worst thing I've ever seen on one of the main four channels because nobody counts channel five so this was a sort

of celebrity variety show hosted by Stephen Mulhern Oh you already lost me already well he hosts a good 90% of ITV stuff, so if you're watching something on ITV, there's a good chance he's hosting it. This was filmed in front of a live audience. For all I know, they probably filmed this in like June, but anyway, the main crux of it was celebrities doing impressions of other celebrities, but it also featured impressionists like Les Dennis, Bobby Davro and some guy called Stevie Ricks who kept coming back and he was worse and worse every single time. Some of the highlights of the show include

Eamonn Holmes dressed as Elvis singing lonely this Christmas which famously wasn't sung by Elvis. You then had Ian Lee and Mackenzie Crook doing their own version of Steptoe and Son with Ian Lee saying dirty old man over and over again just in case you didn't realize what they were doing an impression of because it's 2009 and this is on Boxing Day in 2009 kids are watching. They don't know what step two is but anyway We also had Sally Lindsay as Danny Manogue doing a weirdly nasty parody of if I were a boy where Danny sings about how she wishes she was Kylie instead. I think she's got her own thing going on, but okay instead I think she's got her own thing going on but okay you've got Joe Pasquale coming out dressed as Lady Gaga and looking like he would rather be

anywhere else in the world while sporting a mean tuck you've got Jerry Paul trying her best to do an impersonation of Katie Price but not being able to overcome her Texas accent got Bobby Dabrow and Les Dennis as Chris Tarrant and Gary Barlow doing an episode of Who Wants to Be a Millionaire in a bathtub for some reason. And our old friend JLS show up to perform Everybody in Love in full. Not doing an impression, presumably just to pad out the runtime. You could argue they were doing an impression of Boys to Men, but that's neither here nor there. But the pièce de résistance of the show comes towards the very end. They'd built to this big surprise

guest at the end of the show and for the finale Mulhern introduces Les Dennis, Stevie Ricks, Tim Healy and Sally Lindsay all dressed up as Tom Jones. They all do a line each of the first bar of It's Not Unusual and then some pyro goes off at the back of the stage and a door opens. Now I know what you're thinking, this must be the part where the real Tom Jones shows up, gives these impersonators a funny look, does the rest of It's Not Unusual himself and then sends the audience home happy. Instead, pyro goes off. Stephen Mulhern points to the door at the back of the stage and out steps David Guest of David's dead fame. He famously didn't die

in the Big Brother house. Oh my god. The camera cuts to Mulhern, who helpfully tells us, it's David Guest. Before David Guest honks his way through another bar of It's Not Unusual, sounding like he's in genuine physical pain by the end of it. He's like catawalling, like, whoa! Ah! And that's how the show ends. physical pain by the end of it. He's like catawalling like WHAAAA! AAAAAAA!

And that's how the show ends and JLS come out from the back door as well and they do a little dance to David Guest singing It's Not Unusual That's how it ends Yeah, I would very strongly recommend checking this show out if like me you are I would very strongly recommend checking this show out if like me you are oddly fascinated by this kind of hardcore British rubbish. I did watch it live at the time. So did I. And I remember being relatively excited for it because I quite like impressions.

I know it's like really base comedy, but I quite like doing them. Quite like hearing other people do them. But then I remember being struck by how awful the show was and my dad I remember commenting like genuinely irritated by how bad this was especially the one that really sticks out for me is the step-toe and son thing with Ian Lee and Mackenzie Crook first of all I know yeah again like you say really deep cuts for 2009 and also I don't know anything about Step, Toe and Son but even I know that that's a really easy impression and it's just an

appallingly bad Step, Toe and Son. It's like it sounds like they're deliberately trying not to do Step, Toe and Son, it's that bad. I also remember Mulhern himself as Jeremy Kyle in which he did no impression at all. He literally just like was himself. And um. That's it. And it was Jeremy Kyle and it was the Gallagher brothers because again it's 2009. The Gallagher impressions were terrible as well. I remember at the time just being astonished by like how did this get to air at Christmas

because like. Exactly. It's usually bad. You don't see stuff that bad on the TV. Usually there's quality control that cuts that stuff off. I can only think maybe so many people were involved in it that it had to go to air. Jerry Hall won't have been cheap. I'm pretty sure the most baffling thing of all

is that the production company that ran this was owned by like Bob Mortimer. Maybe he did the whole thing just for a joke. It's a very Bob Mortimer thing to do. And the Tom Jones thing, it's like something fell through. So like David Guest was in reception. It's like, hey, do you want to be on our show? Yeah, just put this suit on. There you go. So that's your TV Christmas. Thanks Lizzie. Cheers.

Well, we're going to stay with Lizzie and ask about the toys and games of 2009. With the toys, again, we're getting further and further away from the point where I feel like we realistically remember any of these. Yeah. But let's give it a try. Well, with me we're getting closer and closer because we're one year away from when I worked in a toy shop. So if we had carried straight on into 2010, I would have nailed this.

I promise I will nail it when we eventually get there. Yeah. Okay. Well, first up, we have the creative toy of 2009, which is Benderoo's Mega Pack. Okay. I remember the name Benderoo. I remember the name. I don't know what it was. Yeah. No, no idea. I'm afraid. The active toy of the year is a smart trike Mm-hmm some kind of trike. Yeah

The feature plush toy of the year is fluffy go walkies Yeah, it flipped over it was deeply bothersome. Yeah Some relatively easy ones up next the preschool license range of the year goes to Peppa Pig mm-hmm construction range of the year goes to Lego yeah game of the year goes to Monopoly City I vaguely remember playing this no no on Christmas it's one of one of many monopoly updates that they do. They have like card machines and stuff, you know.

The preschool toy of the year, Kiddy Zoom. No, I don't. Again, slightly more familiar. The girls toy of the year is Sylvania Family Car and Caravan. They just won't stop buying Sylvania Families. Wow. No, they never went away really. Yeah.

Boys toy of the year is Ben 10. The TRA Special Recognition Award goes to Schleich. I don't know. I'm guessing this is not a toy. It's probably a brand thing. Okay. There's new awards every year in this. I swear we never used to have a special recognition.

I mean there's also supplier of the year so I'm gonna skip that because I don't think it really registers but I'll go for the toy of the year 2009 which was Go Go Hamsters. No, no idea. Is there anyone listening to us who's like 16 who may know about this stuff? Please let us know. Go Go Hamsters. know go go hamsters yeah please do very fun hamsters are boring no offense to anyone who's got a hamster but they're boring all right well that segment was a dud but we have the games next so believe it or not the best-selling video game of 2009 was not fifa oh so any guesses at what might be number one in its place? I think it's definitely gotta be Pop Idol for PS2. I think it's time is finally here. Yeah it's been six years it's time. I don't know

maybe something for the Wii because the Wii is Wii is at its peak presence in people's households. Yeah. I don't know. Mario Kart Wii? It's not going to be there. It's not going to be there. But yeah, let's hear it. Okay.

Well, at number 10 we have last year's number 1, which is FIFA 09. At number 9, last year's number 6, Call of Duty World at War. At number 8 is Mario and Sonic at the Olympic Winter Games. Okay. I was just reading this week actually that they didn't make one for the 2024 games because they've lost the license. Yeah. Oh, that's a shame.

Anyway, number 7 in 2009, last year's number 2, Mario Kart Wii. Oh, well done Andy. Top 10 at least. Yeah, yeah. Yeah, you got on the list. That's not the last of the Wii games though, but anyway at number six, Assassin's Creed 2. At number five, Wii Fit Plus.

Plus? Oh god, Wii Fit Plus, yeah. At number four, last year's number five, Wii Fit. Oh, the OG. At number three, Wii Sports Resort. Oh that was solid. That was good that. Okay yeah.

So as you can probably guess, number two, FIFA 10. Okay. Which means, number one is, well done Rob, Call of Duty Modern Warfare 2. Get in there. Well done. Well done. Never played a minute of it. But everybody else at my school did.

Game of the year. Well done. Wow. Well, thank you very much, Lizzie. And now we're going to move away from TV and games and toys and it's on to music. Music. And it's the Born to Runner Up for 2009. So Andy, take it away.

Take it away take it away this year we didn't have that many songs we only had 13 songs that peaked at number two and never went to number one so the three that are unlucky enough I will just quickly mention that didn't get into the top ten we're happy by the owner Lewis just can't get enough by the Saturdays and man in the mirror by Michael Jackson Into our top 10 for the year. In 10th place it's Supernova by Mr Hudson. In 9th place it's Broken Strings by James Morrison and Nelly Kitado which I once sang at a gig with my friend Charlotte. We didn't do it justice. Better than I remember that one. In 8th place it's Day and Night by Kid Pudi vs. Crookers.

Yeah not too bad that one. That's a nice remix I think. In seventh place is Forever Is Over by The Saturdays. Okay. Which I have heard performed live by James Bourne from Busted who wrote it. Oh. Yeah. In sixth place it's Bodies by Robbie Williams. That's the song for me. You know when Sideshow Bob steps on the rake that noise? So into our top five for this year. In fifth place it's Russian Roulette by Rihanna. Alright. I really like that one in fourth place. It's in for the kill by LaRue Okay, okay good top three then yeah is a good top three and it's pretty close So in third place, it's love story by Taylor Swift. Oh Yeah, well, that's be a bit higher, but never mind. I know you did wrong I could see the scores

So our top two and it's very close between the two, just one point between them. In second place it is Empire State of Mind by Jay-Z featuring Alicia Keys. Possibly a surprising winner there, but I'm quite happy. I will say that. Oh! Our Board to Run Her Up winner for 2009 is Don't Upset the Rhythm by The Noisettes. Yes, okay, I'm pleased with that, that they get a bit of a shout out on the show. Yeah, love that song. Again, it's a little bit of a quirk of the match, we all have different favourites,

so it's a little bit of a consensus winner, but it's the winner nonetheless, so well done to the Noisettes. So the other things that I wanted to talk to you about were at the start of the show, before we kind of started thinking about Borgs the Runner Up, these just passed us by, the first time we did it was 2003, and we've gone back and decided to quickly nominate a winner for each of the first three years of the noughties For reasons that I will reveal in a moment. So without further ado Finally after the years they've waited let's award those trophies. So in 2000 the winner was one more time by Daft Punk

Yeah, probably surprising no one there It beat out The Timers Now by Maloko in second place and Flowers by Sweet Female Attitude in third place. God, what a top three. Yeah. In 2001, now this was a result. This was a surprise. So, actually no, I'm gonna go from third place first because it's been a surprise.

So our third place for 2001 was Miss Jackson by Outkast. Oh what? Yeah. Didn't even make second which was surprised by it. Our second place for 2001 was Teenage Dirtbag by Wheatus. Oh wow, okay. And our winner of Born to Run Her Up for 2001, Better Late Than Never, finally getting number one at something it's Murder on the Dance Floor by Sophie Ellis Bexter okay yeah fair enough number two twice it is the first song I believe of the 21st century to reach Born to Runner Up in two different years to reach number two but not number one in two different years that'll be in Born to Runner Up of 2023 I want to say. Yeah. And in 2002 it was so obvious that we didn't even have a

proper vote on it. I will just say It's Love at First Sight by Kylie Minogue is the winner for 2002. So the reason we've gone back and done those is because we have a very extra special contest to complete for next year's last episode, er, next year, for next week's last episode of the decade, we're gonna rank all 10. We're gonna have a Champion of Champions for Born to Run or Up, and pleasantly enough I've noticed that Born to Run or Up Champion of Champions you can abbreviate to Beetaroo Cock in the style of Betledge, which I love. So we will be voting on it in the week in between these two episodes, but we would love to hear from you because it is bloody hard to rank all of these. Let me tell you, I've had a go and it's hard.

So, this is what's up for the Born to Runaway Champion of Champions next week. We will have One More Time by Daft Punk, Murder on the Dance Floor by Sophie Ellis Bexter, Love at First Sight by Kylie Minogue Cry Me a River by Justin Timberlake Love Machine by Girls Aloud Feel Good Inc by Gorillaz When You Were Young by The Killers

Brian Storm by Octid Monkeys Black and Gold by Sam Sparrow Slash One for the Radio by McFly And Don't Upset the Rhythm by The Noisettes That is quite the list so next week one of them will be crowned the best number two single of the decade. I wonder what it will be. I genuinely don't know. I'm really excited for that. That is stiff competition. Yeah. Really is. Wow. Jesus. But in the meantime, well done to the Noisettes, yes. Big well done for getting into the Champion of Champions final there, Noisettes.

Andy, thank you very much for giving us Bourne's a Runner-Up throughout the noughties, and we'll find out the Champion of Champions in the next episode. Oh, and now it is time for the Christmas Day Top 10 of 2009, and at the end of it the number one for Christmas 2009 will be revealed and I'll do it Scott Mills style how he did it on that fateful day 15 years ago so in we go. At 10 it's a former number one down six places from the black eyed peas They're asking you to meet me halfway At nine, it's a massive re-entry for journey. They're up

41 places with don't stop believing in at number eight It's down five from three Rihanna is in the Christmas 2009 Top 10 with Russian Roulette. At 7, up 7, it's Cheryl's second single as a solo artist since Leaving Girls Aloud, it's 3 words alongside Will.i.am. It's a huge leap in at number 6, but it's not enough for Robbie Williams and You Know Me, up 9 places this week. Into the top 5, it's a brand new entry from MySpaceAct 303, they're teaming up with Katy Perry for Star Struck. At 4, it's another former 2 week number 1, it's Peter Kay's

animated all-star band with the official BBC Children in Need medley. And into the Christmas Top 3. It's another former number one, it's been in the chart for 8 weeks and it's only just off the top. It is Bad Romance by Lady Gaga. Now over the past few weeks in 2009 there has been an almighty battle between two songs, in particular, we all know what they are, Rage Against the Machine, Killing in the Name, and The Climb, by Joe McElderry, the X Factor winner, four consecutive Christmas number ones for the X Factor. Will it be this year? At number two, it's Joe. A

massive new entry for the X Factor winner with the climb, but it is not enough. The Christmas number one for 2009 and the last number one of the 2000s that we are going to cover on this show is this. So Some of those that work forces are the same that bark crosses. Some of those that work forces are the same that bark crosses. Some of those that work forces are the same that bark crosses. Some of those that work forces Draw the same that part crosses Killin' in the name of Killin' in the name of Now you do what they told ya Now you do what they told you. Now you do what they told you. Now you do what they told you.

Now you do what they told you. Now you do what they told you. Now you do what they told you. Now you do what they told you. Now you do what they told you. Now you do what they told you. Now you do what they told you. Now you do what they told you.

Now you do what they told you. Now you do what they told you. Now you do what they told you Those who died are justified for wearing the badge in your chosen white You're justified, those who died for wearing the badge in your chosen white Some of those that work forces are the same that bar crosses Some of those that work forces are the same that bar crosses Some of those that work forces are the same that burnt crosses some of those that weren't forces are the same that burnt crosses some of those that weren't forces

are the same that burnt crosses killing in the name of killing in the name of Killing in the name of And now you do what they told you And now you do what they told you And now you do what they told you And now you do what they told you And now you do what they told you

Now you're under control And now you do what they told you Now you do what they told you And now you do what they told you You justify, but we're in a band, they get drones and white. You justify, drones and dimes, but we're in a band, they get drones and white. Don't you die, I'm justified, but we're in a band, they get drones and white. You justify, drones and dimes, but we're in a band, they get drones and white. Come on! Fuck you, I'm gonna do what you tell me Fuck you, I'm gonna do what you tell me Fuck you, I'm gonna do what you tell me Fuck you, I'm gonna do what you tell me Fuck you, I'm gonna do what you tell me

Fuck you, I'm gonna do what you tell me Fuck you, I'm gonna do what you tell me Fuck you, I'm gonna do what you tell me Fuck you, I'm gonna do what you tell me Fuck you, I'm gonna do what you tell me Fuck you, I'm gonna do what you tell me Fuck you, I'm gonna do what you tell me Fuck you, I'm gonna do what you tell me Fuck you, I'm't do what you tell me

Fuck you, I won't do what you tell me Fuck you, I won't do what you tell me Fuck you, I won't do what you tell me Fuck you, I won't do what you tell me Fuck you, I won't do what you tell me Fuck you, I won't do what you tell me Fuck you, I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me

Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me Fuck you I won't do what you tell me

Fuck you I won't do what you tell me! Fuck you, I won't do what you tell me! Motherfucker! Okay, this is Killing in the Name by Rage Against the Machine. Re-released as a standalone single, Killing in the Name is Rage Against the Machine. Re-released as a standalone single, Killing in the Name is Rage Against the Machine's 11th single to be released in the UK and their first to reach number one. As of 2024 though, it is their last. The song was originally released as the lead single from their debut studio album titled Rage Against the Machine in 1992 and it reached number 25 that year.

Killing in the Name first re-entered the chart at number 80, reaching number 1 during its second week on the chart. In its first and only week atop the charts, it sold 503,000 copies, beating competition from the songs you just heard about, but most importantly, The Climb by Joe McElderry. When it was knocked off the top of the charts, Killing in the Name dropped one place to number two. By the time it was done on the charts, it had been inside the top 100 for a total of nine weeks across its two spells. The song is currently officially certified two times platinum. It is double platinum in the UK. As of 2024, what a race. It had a winner. Andy, what do you think of it? I'll talk about the song briefly,

but really the whole thing we have to talk about is this whole phenomenon that happened with this and the climb and that battle to number one. Would we say, would we all agree that this is the last great battle for number one? That this is the last real, everybody wants to know what's getting number one this week? Probably. As in headline maker, front page, what's gonna get number one? It's particularly for Christmas number one this week. Probably. As in headline maker, front page, what's going to get number

one. Particularly for Christmas number one. I think it's certainly the last great Christmas number one race. Yeah, of course. And with good reason because we have two, not just two different types of music, not just two different genres coming to a head here. We have two different ideologies really. This is a culture war that's playing out in real time, a musical culture war at least, because we have on the one hand we have Joe McHeldry, product of the X-Factor, he is a typical, you know, sort of nice young man who's won the X-Factor with a particularly generic entry this year. We won't get to talk about the climb, so I will just say with that,

I can see why this is the year that this campaign struck because the climb was a particularly lazy one, even more lazy than Leon, I think, with when you believe. Like it's a really, really dull choice to give him the climb. On the other hand, you've got this kind of call to arms against the man, against the establishment that is full of expletives,

that is full of every kind of anti-authoritarian trope that you can throw at it. Heavy on guitars, has a completely different audience coming from Rage Against the Machine. Because of that, it became about more than the songs. It became about who are you with? You know, are you with the man or are you with the rebels, basically? I'm ashamed to say I was with the man

because I fancied Joe McElroy a lot so I bought the song and also I just kind of... I was naive to quite how much the X Factor was ruining the industry at this time because I do think this is a totally worthwhile project. I think this is something that I would certainly be getting behind these days because the X Factor, as we've seen in the charts this year, you know, even from just looking at the number ones, the X Factor's presence has been out of control. We had that one week a few weeks ago where like four out of five of the songs we covered were in some way X Factor adjacent and that's just the number ones. We've had so much beneath the surface as well. This year, this series of the X Factor,

where we've had Joe McElroy, we've had Olly Murs, we've had Jedward, we've had Stacey Solomon, it's been by far the biggest headline making X Factor that we've ever had. So it's been in the zeitgeist more than ever as well. And now we've got this unexpected postscript where it's like, actually we need to behead this beast, basically, because it's become really, really prominent to the point at which Christmas number one is sort of dead as a concept at this point. And really becoming a big British pop star is almost dead as a concept

if you've not been on the X factor, it's that prominent. And looking back now, it does kind of sicken me, it's horrible. And I don't think we've ever really recovered from it to be honest. But at the time I was a little bit clueless to that and I also had a bad taste in my mouth, which I still do, I must say, I still have a bad taste in my mouth from the perspective of that both songs had the same parent label. Both of them were from I think subsidiaries of Sony BMG which is almost unavoidable. I will say that you know that that's always going to happen because like three or four people run the music industry basically it's almost unavoidable but it

did mean that Simon Cowell's parent company was directly profiting from the sales of Killing in the Name. Also not to mention that Simon Cowell himself was directly profiting from the sales of Killing in the Name. Also not to mention that Simon Cowell himself was directly profiting from the massively increased sales of The Climb that came as a result of this. It wasn't really a winner versus losers situation that happened here. Everybody won, everyone, except perhaps Joe McElderry, because he wouldn't have benefited financially at all from the extra sales of the song. And he sort of got the rough,

but not the smooth because of that really, that he was the poster boy for this is the thing we want to destroy. He was blameless, it's not his fault at all. And I will just say that, you know, I felt quite sorry for Joe McEldre being pulled into all this when he's just won the show. As for the song, they chose it, like I say, because it's anarchic,

because it's rebellious, because it's it's got that kind of punk spirit to it without being a punk song. It's got that smash the system spirit to it, which is, you know, grateful what it is. And I think it's a very well put together song, particularly like everything they do with the rhythm and everything they do in terms of changing the cadences of the song. Very, very impressive there. I think it's way too kind of hormonal, like in a teenage sense for my tastes, to be honest. It kind of feels like

someone slamming the door and saying, oh, fuck you, dad. You know, it kind of feels like that in a song, which I can't quite get past. Like it just feels a little bit juvenile to be honest which I should say is not a criticism like there's totally a place for that in music and it's not a bad thing at all it's just kind of not really to my taste to be honest I'm never really gonna get into this that much there is also a little part of me that I'm gonna make sure I make my meaning here clear that I my problem with this I don't really like the fact that this got to Christmas number one, not because it's like distasteful or like, you know,

I'm prudish about something full of swear words getting to number one, because that's not a problem at all. I just kind of think that if you're trying to restore the idea of Christmas number one as something that, you know, really excites people that kids can get invested in, you know, I think this is almost worse than the X factor for that really. But I get that that's the point,

that you want to make a big statement with this. You want to make everyone sit and listen to what you're doing here. Other than that, other than those few criticisms, I don't have any problem with this really. I think, like I say, that what they do with the rhythms is really, really impressive. It's anthemic, it's got a huge, huge memorability quality to it with the, fuck you, won't do what you tell me, which like literally everybody remembers from this song,

who's ever heard it. I think it's served its purposeiantly. And this is a number one battle that we all remember. And the biggest compliment I can give the song is that it's not just because of all that media hype, it's because this song actually was the perfect choice for that and really made a statement as well. It's not personally to my taste, but this was the right song at the right time. And this is a fascinating event that I think we'll be talking about for decades to come. So with this, there's a lot to say about the race itself and I definitely will get into that but I

kind of just want to I want to try and divorce the song of as much context as possible just for like the next sort of five minutes because just on its own I think that this is I really think this is like fantastic I don't think it's my favorite Rage song, or the one that they probably should be best known for, but it's great that we have an urgently and unfortunately timeless political number one, a song raging against police brutality that's gnarly and rough and has a really funked up rhythm section like

Rage Always did. And how often do you get big hits that bring to light the fact that American police forces and the KKK have a bit of an overlap of members? More than you'd originally thought? Not very often is the answer to that. I think this song is full of all the necessary fury for something that's, you know, like a didactic, you know, is the righteous anger. And it's needed, I think, when you've got five minutes to make a point.

I've always been a huge fan of how tight Rage's rhythm section is as well. Like I said, how they lean into the funk in their sound. I remember the rapper LP, who is one half of Run the Jewels, they, Zach De La Ruscha, the lead vocalist of Rage Against the Machine, he did a song with them, him and LP and Killer Mike has run the Jules in 2014, and LP was talking about Zach, and he said that he could have easily made it as a rapper and that rock is lucky that it got Zach De La Russia instead of hip hop. Although these days, with the barriers between scenes kinda breaking down I think he could have easily pivoted between both if he was around now

you know Denzel Curry's amazing cover of Balls on Parade I think it's pretty good proof of that and the fact that people like Lil Uzi Vert and Young Blood are getting involved with that is like bringing the horizon anyway bit of a tangent there but it's kind of hard to go into full detail about why I love this song as much as I do like I just do like it it's kind of just always been in my music library since I was like old enough to pick my own songs and get into my own stuff I love the way that it builds tension though across the verses by repeating these like mantra like lines the way that Tom Morello kind of treats his guitar less like a guitar and more like a record on a deck the way

that he scratches and wipes and bends it you know just to use this as well as a and yeah so I've always like you know Rage have always kind of had a massive hip-hop rap edge to them and I think that the way that Tom Morello treats his guitar as something to kind of manipulate and scratch and do the And things like that like you would if you were you know DJ one hand on the ear keeping the headphones on That sort of thing. It's very very similar and their sound is always reminiscent of sampling and and things like that But just to kind of use this quickly as a rage retrospective I think they were wise to basically blow themselves up in less than a decade, because I don't think the level of hunger and fury and anger could be sustained for much longer, and I

don't think it could become any more successful without the image and the product starting to dilute itself ever so slightly. You know, there's always this thing with Rage Against the Machine where it's like you rage against the machine, but like you're owned by a label. Like and it's this constant contradiction between like bands with punk ideals kind of selling out or signing a contract or whatever. And so I think that they dipped just before that became a big issue. They did that covers album Renegades, which is fine.

And then the remaining members formed Audio Slave and, you know, Zach left. And, you know, Audio Slave's first album is a lot better than people give it credit for. I think if like, if you want to imagine what would Rage Against the Machine sound like with a singer, Chris Cornell, as opposed to rapper in Zach Dela Rocha, how would they sound? And you get a pretty decent idea. But I think that if I was just writing this as a song on its own this would easily be a 10 but rating it as a number one in this particular point for this particular cause I think it's a 9.5 because as exciting as it all was and as I

definitely got caught up in it at the time which I'll go into, I don't think this is the most ideal or appropriate selection. Looking back I think bullet in the head is the one more lyrically appropriate I think because that's literally about like being brainwashed by things like the X Factor or politicians or Whatever, you know that load the clip in omni-color pack the nine and fire it at prime time That the whole thing is like this image of American families sitting in front of the idiot box and you know having having their minds wiped and all these things,

believing all their lies that they're telling you, buying all the products that they're selling you. And that felt more appropriate looking back to challenge the X factor. But this did the job. The aim was to get a song that wasn't an X factor winner to number one, and killing in the name was just like the easiest like okay that's probably their best known it's their catchiest let's do that one and I think the Facebook campaign at least made this race worth being excited

about again I think this is the first time since 2003 where I think people went into the day of the Christmas chart genuinely not knowing what was going to come out on top it's nothing against Joe McElroy specifically. I think it was just the right time because we've had four years of this and it's just the point where people are like, they tried last year with Jeff Buckley but there wasn't quite enough momentum behind it and so I think this was just the right time. I feel a bit sorry for Joe that he just happened to be the person that like had this taken from him. There's nothing against him personally, I think it was just what he was part of. I mentioned last week that the X Factor was kind of at a weird crossroads here,

or at least the public were at a weird crossroads with it, where you definitely had your pro X Factor people and your anti X Factor people and those of us on the anti side we managed to get organized and land a blow and you know we were happy for a few days until the climb just went to number one anyway the following week and but I still remember listening to the chart countdown while sitting on MSM with a friend of mine and I was typing in all caps going yes yes rage has done it yes like that and then her just messaging back going rock Rob, who cares? Like, who really cares about this stuff? And I was like, me!

And 500,000 other people, I'll have you know. Like, as someone who really paid attention to the charts as a kid, and then slowly kind of became disillusioned with pop, I think this was the first time in over a year that I'd actually really cared about what was number one, and I felt happy about it. It was, you know, and it was also the last time I think I really cared about what was number one and I felt happy about it. It was, you know, and it was also the last time I think I really cared about what was

number one until about 2013 where just for all time's sake I wanted Counting Stars to get to number one, which it did, but that gap of four years like, and then since I haven't cared about what's number one until we've started doing the show again and I've started sort of paying attention to the charts. The build up was great, it was like people treating the pop charts like a religion or a sporting event again. BBC Five Live getting rage on that morning and having them perform the song live in that infamous broadcast and then everyone knows about it and you know Simon Cowell adds to the soap opera element calling us all stupid. And then Scott Mills does an absolutely masterful bit of radio where we go silent for a full

five seconds after the two link that leads into Joe McElderry. Just a really brilliant couple of weeks for the British charts I think. The first big pop incident in the UK that we've covered on this podcast for ages where, as you've said Andy Andy it still feels like people talk about it and ask where you were when it happened because I think since then or sort of around now I don't know there's not much where you're like well where were you when this happened but I agree with you though Andy that it also gets a little tiny half mark off because it comes with the caveat that Killing in the Name was released on Epic Records which is the subsidiary of the larger Sony label which also owns Psycho. It's not clear

whether Simon Cowell directly benefited from it financially but his parent company did plus as you were saying Joe's record sales probably were boosted by about 50,000 because this came along and people felt sorry for him that he was the target of the rage campaign. But I think it makes this the ideal way to end the 2000s for this show, because ultimately this was a decade defined more than any other by the talent show. And Simon Cowell ultimately kind of shaping the future of British pop and British TV as well, you know, despite any attempts to destabilize it, Simon had so many fingers in so many pies that anything happening at the top of the charts was kind of connected to him anyway by a few degrees

of separation. So like a fantastic song and a fantastic moment called Ebba so slightly by the kind of business reality of it, if you know what I mean. But I think that what a way to look back at the 2000s by like people sort of going we're sick of talent shows but like the talent shows sort of win anyway. Lizzie, how about you? Yeah I almost don't know how to approach it because there's so many angles to this. I don't know how long you both have but because I don't know if you were planning a discussion around like how it affects the X factor, how it affects the charts in general, where it stands in like a social history of Britain. Like there's so many different

angles I feel like you could tackle this from and I dare say I was thinking about this before and I thought if not for this I might not have done this podcast. Wow. Okay, I might have, because I probably would have seen that it's pretty good up to about 2007, and then it gets to a certain point and there's just like a chasm of nothing. And we were looking ahead to the 2010s

and thinking, Jesus Christ, look at all this shit we've got coming up. And yeah, at least with 2008, 2009, there've been rough years, but I've had to remind myself, at least we've got this to talk about. Because this is the last time, for me anyway, that it felt like something happened in the charts

that was an aberration, like an interruption of daily life, like a rip in the fabric of reality. I think it is the closest thing for our generation to like Ghost Town getting to number one. Just like a holy fuck, we can actually do that if we just put our minds to it and all get together on one thing. And what we've got in 2009 is a long Tory government staring us in the face, 14 years and counting of austerity and division that have all culminated in recent events and it's... look at where it's left us. We've just... we're more divided than ever. And this is a reminder of something where we got together for once and we actually enacted some kind of change even though it didn't change anything in the long run it at least you know stuck a knife in an existing system and said look we're you know we are still here

it doesn't just have to be this way forever. We don't just have to keep the cycle turning. We can break one of the spokes off the wheel anytime we want. So yeah, I should probably talk about the song, I guess, because it is very weird that, like you say, this is a song about police brutality and racism that just happens to be at Christmas number one because I'm sure that if someone could if someone like bought the rights to the song or something they would just put out the last minute and a half on a loop like thought that out it's like there you go there's your single but no it's got all the stuff around it again like those those lines which are repeated over and over again just to drum it into your head.

Like some of them that burn, some of them that work forces are the same that burn crosses. Now you do what they told you and those who died are justified for wearing the badge. They're the chosen whites. This is an uncomfortable song. I think people possibly forget that when it comes on in a club and they're just waiting for the last bit like like come on Eileen or something they're just waiting for the bit where it gets really fast. And ultimately the outro is why it was number one you know the fuck you I won't do what you tell me that is the message that the public look to send to Simon Cowell and

the pop machine if you will. But I think it's what kind of is my least favourite bit of the song long term just because I think it I think it's influenced a lot of crap in the years that came after it. You look at new metal that came sort of four, five, six years after this shit like Papa Roach, Puddle of Mud, they were all trying to do this and also I think it sort of takes away from the the main crux of the song which is about like say police brutality and racism it just makes it too broad and what's happened is it kind of gets taken up by like the Trumps and the the Yaxley Lenons of the world who think, yeah, I won't do what the man tells me either. Like you just miss the point. You've not listened to the rest of the song. You've just zeroed in on this bit, which,

you've just zeroed in on this bit which, like you say Andy, is very angsty and just open to misinterpretation. So that's where I have to take Marx away from this. But I do think it was, in a way, the perfect choice. It's the one that everybody converged on and agreed, yes, this is the choice. This is the one that has to go up against it because it is so unlike the opposition. And it is still a thrilling, exciting record, like nothing else that we've really encountered on the podcast. You fast forward to 2010 and like,

this sort of disparate camps in terms of let's get this to number one it's just like some old rock song or Surfing Bird Surfing Bird because it was in Family Guy I don't really want to and by the time you get to 2011 they've just kind of cut out the middleman and like someone has realized why don't we just put out a charity single and you can't really put out a protest single against a charity single unless you're a fucking weirdo so then you get like Lad Baby down the line and you get like Rishi Sunak sells Avon by Cunt and the Gang or whatever

like who cares who's buying this was the moment, this was where everything came together, like the growth of Facebook, the availability of download-only singles, which this is the biggest download-only single to date, and just a sort of the peak of the X Factor I suppose, it all came together in this one perfect moment and it gave us this and yeah I think I don't think we'll ever get anything like it in the charts again so as much as killing in the name isn't a perfect single I do really cherish this as a moment and I don't think I will ever forget where I was that day sitting on the sofa staring at that little grid screen that Radio 1 used to have on Freeview and like you

say that count in from 2 it's Joe. Yeah. That's a perfect moment in charts I will never forget it as long as I live. Yeah where were you Andy? I was just sat in my front room of my house at my desk on my laptop Chatting to friends and going mad and then having them going. Oh great. Yeah, I don't give a shit. What about you? Me and my sister put Radio 1 on the TV. We flicked the TV over to her And it was just me and my sister, my mum and dad were out But we listened to like the whole the whole chart show because we were just like hoping for clues

We've been following like, you know, very early Twitter kind of commentary and live pop bars and stuff like that. We were both really, really invested. We both had a feeling it was gonna be Rage Against the Machine, but we listened to the whole show on the TV, weirdly enough, yeah.

Well, that's, we didn't know. Like for all we knew, it could have been at like number 14 like what if the campaign was just a dud like it didn't actually point to anything. Yeah no one knew for sure. We didn't know. Yeah it was very much a similar kind of feeling to when they do like political polls now and then you go into an election and it's like well the data we do have suggests it'll win but like we don't really know. It was that because this day and age like all the data was there you've got Spotify

top 50 you've still got Life Pop bars you've got everything where it's like if there was ever a battle like this you'd know who's got number one really or you'd at least know for sure that they were the top two. In those days it was definitely more of a well less of an exact science in those days there was some still still some mystery to it in those days, it was definitely more of a, well, less of an exact science in those days. There was still some mystery to it in those days, yeah. Even in the last decade, when we do have all the polls, like you say, in politics, they can often be wrong. Yeah, or just wrong enough

to change the result dramatically. Exactly, yeah. And it was more so in those days, yeah. So it is weird to think about an alternate history where if this just bombed and it hadn't done it at all Like how people would have digested that but I think we all knew that wasn't gonna happen, you know I think it was always quite clear that this was gonna have a very good chance of doing it at least and on the day I remember thinking yeah, it's gonna do it. I believed on the day Yeah, and I I made my peace with it because I didn't want it to happen

Yeah, I wanted to ask like cuz me and Lizzie were both on the side where it's like we wanted Rage to do it obviously at the time you would have preferred Joe to do it so what's the reaction in your living room? I wasn't upset about it because like I liked Joe and didn't like this song at the time but that was about the extent of it really I did actually support the idea of it, like to some extent at least, and my main concern was definitely a case of like I had grown up listening to Christmas number one being excited for what it was going to be and I had a thing in the back of my head, not about the swear words, not that it's uncomfortable for them to listen to or anything like that. I had a thought in the back of my head of like kids won't understand this,

they won't know why something as angry as this has got a number one. And it might kind of freak them out. And that never really left me to be honest. That was a concern of why I didn't want it to get number one, because I thought it was worse for the, well not worse for the charts, but worse as a number one than Joe was. I was very naive about that, to be honest. But yeah, I wasn't like gutted that Joe didn't win. I was more enjoying the drama of it all to be honest. I just liked the hysteria that it was causing and either way I thought well this has been a very exciting thing. I almost didn't really mind who won in the end to be honest. Yeah. Ah well then we have had an amazing time

discussing Rage Against the Machine, the rage for Christmas number one, if you will, as opposed to the race. Now that 2009 is done in terms of looking forwards, we're going to look back at the year that was. And Andy, could you please tell everybody the five songs this year that we have rated and ranked the absolute lowest below all the others? Yeah, fuck these we won't listen to them again. Yes, so our bottom five of the year.

May I announce our fifth worst song of the year not with words but with a sound. Everybody in love unfortunately is our fifth worst song of the year but wasn't pie-holed by any of us which the same can't be said for our fourth worst song of the year which was Mamadou brackets uh-oh uh-oh by Pixie Lott. I should say by the way that everybody in love have an average score of 4.5. This one had an average score of 4.2 and was pie-holed by Rob and by Lizzie but not by me. Our third worst song of the year, also with a score of 4.2, was the BBC Children In Need

medley by Peter Kay's animated all-star band. Oh, no That's where song of the year, I really don't think it was that bad. That's all right. Yeah Sorry Pat. Sorry Zippy anyway In second place our second worst song of the year pie hold by all three of us with an average score of 2.2 It was you are not alone by the X song of the year pie holds by all three of us with an average score of 2.2 it was you are not alone by the expected but it's not quite as bad as our worst song of the year which had an impressively low average score of 1.5 and was pie hold by

all three of us the worst number one of 2009 we have decided is Sexy Chick by Akon and David Guetta. Yeah. Garbage. Yeah. Yeah. Fuck it. Hate it. Yeah. Yeah. God, lower than the X factor David and Akon. I hope you're proud of yourselves. Jesus Christ. Lower than something I graded a zero. Like, yeah.

Fully beaten by like those weirdos from in the night garden. Like, come on, you know, you do better than that. So to happy at times and to finish the year on a positive note, Andy, the top 10 songs of 2009 according to Hits21, what are they? Yeah, so we come in with a fairly low average score of 6.7. We're a bit top heavy this year and some stuff sneaks into the top 10 which you might be surprised by. So not vaulted by any of us but with an average score of 6.7, I'm Not Alone by Calvin Harris gets number 10 for you.

In 9th place, vaulted by Rob, but not by me or Lizzie, with an average score of 7.3, it is Run This Town by Jay-Z, Rihanna and Kanye West. Should have been New York. Yeah, it should have been Empire State Lines, definitely. Yeah. In 8th place, vaulted by Me, but only me, with an average score of 7.7. It's My Life Would Suck Without You by Kelly Clarkson. Oh wow, we're going back a long way. Yes we are. Going back to the same episode, vaulted by all three of us, and given an 8 by all three of us. It's Just Dance by Lady Gaga and Kobe Adonis. And Red Wine. And Red Wine. In sixth place, also

vaulted by all... oh actually this is a joint six and seventh place I should say sorry, because also vaulted by all three of us with an eight from all three of us It's bonkers by dizzy rascal and almond van helden Okay into our top five and in fifth place fuck you I won't tell you what it is. It is killing in the name by rage against the machine with an average score of 8.5 Vaulted I'm gonna reveal by Robin Lizzie, but not by me I will say... Those who vault are justified. If I liked it as much as you two it would have been in like top two So I'm really sorry Into our top four which was vaulted by myself and Rob with an average score of 8.5 It is bulletproof by LaRue. Oh wow god bulletproof getting above rage cool

Okay, it only just squeaked it in there. My kind of dividing line is by LaRue. Oh wow, God, bulletproof getting above Rage, cool, okay. It only just squeaked it in there, my kind of dividing line is the highest low score, so I gave a 7 to Killing in the Name, whereas Lizzy gave a 7.5 to Bulletproof, so that just squeaks it. Into our top 3, in 3rd place, it's Pokerface by Lady Gaga with an average score of 9, vaulted by all three of us. So Lady Gaga, as you can see, has had a good year. She's appeared at number 7 and at number 3, but will she make number 1? In second place, vaulted by all three of us with an average score of 9.3, number 2 is... It's Lily.

Yes, it's Lily Allen with the fear. God, that really does work however, whatever you're revealing, doesn't it? Like, it really does create such tension. Like, I could nominate two things that have happened to my team and be like, in number two, it's pizza. It's Chinese. number two. It's pizza. It's Chinese. Which means bringing on first of all as our Masters of Ceremony, he's bringing on Girls Aloud to hand over their shared tiara between all five of them to hand over to this year's winner. Girls Aloud of course won with The Promise last year but this year with an average score of 9.7 vaulted by all three of us it is Bad Romance by Lady Gaga which wins our record of the year 2009 well

done Lady Gaga three in the top ten that is extraordinary well done big well done to Lady G there I'm a little bit disappointed that the fear didn't win though. I do like Bad Romance a lot but oh well. Very very close. I'm just trying to add it up in my head and yeah there's one point, one point in it that me and Lizzie both gave it slightly less and that was it. That was all that was in it unfortunately. So well done Lily Allen, he came very close, yeah. One other thing to say on this is that, just like the Bournes of Rune Rope Champion of Champions,

we will also be doing a Champion of Champions for our Records of the Year for every year next week. I won't go through all of them yet, we can remind you what they all are as we go through next week, but we will determine an ultimate winner next week as well. Yeah so next week we are gonna do a full Noughties review show which will contain all sorts of trophies and awards. So this makes it, this makes this week the last episode of 2009. We've had a lot of them,

there have been a couple of pauses in between But we got there. We got to the end of 2009 and we have now discussed Every single new number one of the noughties Every single one of them this time 10 years ago. I have a dream by Westlife was at number one Yeah, and now it's Rage Against the Machine. Wow. Wow. Can you imagine if Westlife covered that? I need to hear that. Oh someone do that in AI. Love to hear that. Did someone manage to work in a key change for the fuck you I don't I won't do what you tell me. How would you get the firework rain in there? Yeah. There must be

some kind of ironic cover out there of like a Fuck you I won't do what you tell me There must be some kind of thing on YouTube there Opera singer doing Rage Against the Machine or something I reckon probably Richard Cheese has done it in like a lounge style Yeah, like a bossa nova like a do do do do do Fuck you I won't do what you tell me Maybe we'd better do it the other way round Maybe if we had Rage Against the Machine

Do a cover of Seasons in the Sun. Fighting with our wings! Fighting with our wings! Yeah. Oh dear. So, that is it for the two... well that's it for 2009. It's almost it for the 2000s. And we'll see you next time. Thank you for listening and bye bye. See ya. Bye bye.