Hits 21 - 2009 (6): Black Eyed Peas, Tinchy Stryder & Amelle, David Guetta & Akon

Episode Date: July 5, 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 21st century - from January 2000, right through to the present day. Twitter: @Hits21UK Email: [e-mail] Vault: https://open.spotify.com/playlist/5O5MHJUIQIUuf0Jv0Peb3C?si=e4057fb450f648b0

It's 21, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, ooo, Hits21 where me, Rob, me, Andy and me, Lizzy are looking back at every single UK number 1 of the 2000s. If you want to get in touch with us you can find us over on Twitter, we are at Hits21UK and you can email us too, send it on over to hits21podcast.gmail.com. Thank you ever so much for joining us again, we are currently looking back at the year 2009 and this week we'll be covering the period between the 2nd of August and the 29th of August, thank you ever so much for bearing with us there for a week, while I dealt with the weirdest, the weirdest cold, I think it was a cold that I've ever had. I did two Covid tests just to be doubly sure because it was so strange and so unique that I had to like double and triple check and apparently everything was negative. So yes, beware of the strange cold that's apparently going around at the moment. Last week's Paul Winner,

well I say last week's, last episode's Paul Winner, bulletproof Leroux, it ran away with it like a bullet. There were some votes in there for Evacuate the Dancefloor and JLS but it wasn't really much of a contest for Cascada and the X Factor boys. So it is time to press on with this week's episode and as always it is time for some current news headlines. time to press on with this week's episode and as always it is time for some current news headlines. The England national men's cricket team reclaims the ashes from Australia with a 2-1 series victory across June, July and August.

Captain Andrew Strauss became just the second England captain in 20 years to lift the urn after Michael Vaughan in 2005. The series was won in the fifth and final test at the Oval in London. Twenty people are injured during riots at West Ham's Berlin Ground Stadium. Supporters of West Ham and Millwall Football Club clashed before, during and after a match played by the two teams in the League Cup. West Ham fans invaded the pitch three times during the game, which West Ham eventually won 3-1. And in America, 29-year-old woman J.C.

Dugard is found by police 18 years after being kidnapped. Her captors, married couple Philip and Nancy Guerrero, were sentenced to life in prison. During her years in captivity, J.C. gave birth to two daughters. Her story was told in a memoir titled A Stolen Life. The films to hit the top of the UK box office during this period were as follows. The Ugly Truth for one week, The Time Traveller's Wife for one week, and Inglourious Basterds for one week, and American filmmaker John Hughes dies of a heart attack aged 59. In Hollywood the Walt Disney Company confirms the purchase of Marvel Entertainment for more than four billion dollars. The deal which allowed

Disney to use Marvel comic book characters for films, TV shows and video games was regarded as a move to win back male audiences that Disney had lost during the 20th century. I think it's fair to say that was a good investment and video games was regarded as a move to win back male audiences that Disney had lost during the 20th century. I think it's fair to say that was a good investment from Disney. And in TV, Channel 4 announces that Big Brother will come to an end in 2010, after its ultimate Big Brother series. By the time the show came to an end, ratings had fallen by almost 3 million viewers from its peak in 2002. The series was revived by Channel 5 in 2011, and then again in ITV in 2023 where it resides to this day.

Andy, how are the UK album charts? I have very little to add this week to what I did last week because despite the fact that we first mentioned this in the news I think three episodes ago now. Unfortunately I'm here still banging on about the death of Michael Jackson because the essential Michael Jackson not only was number one for almost all of the period we covered last week but for almost all of the period we're covering this week as well. It was seven weeks in total, five times platinum and the only other new album at the top of the charts to

tell you about this week which slipped in for one week at the very end of August was Ready for the Weekend by Calvin Harris which I believe is his first number one album it certainly won't be the last but yes that's all we've got this week the eight week run of Michael Jackson is finally ended by Calvin Harris. Lizzie it seems that the US aren't quite into buying all of Michael Jackson's material, so is there a bit more variety on that front this time? Well not in terms of singles, because I got a feeling by the Black Eyed Peas is continuing its 14 week run at the top of the charts.

So moving straight onto albums, first up is Here We Go Again by Demi Lovato. That's been one week at number one, only got to number 199 in the UK, barely squeezed in. But, at least it's actually charted, because next up we have Loso's Way by Fabulous. One week failed to Chart in the UK. Then we have Live on the Inside by Sugarland, One Week, Also Failed to Chart in the UK. And finally we have Twang by George Strait, One Week, Also Failed to Chart in the UK. Thank you both very much for those reports

and we're gonna come back over the Atlantic and look at the first of our three songs this week. And the first up is this. I got a feeling that tonight's gonna be a good night That tonight's gonna be a good night That tonight's gonna be a good, good night I got a feeling that tonight's gonna be a good night It's a nice, that night, let's live it up I got my money, let's spin it up Go out and smash it Like oh my god, jump out that sofa

Let's kick it, oh! I know that we'll have a ball If we get down and go out and just lose it all I feel stressed out, I wanna let it go Let's go way out, face down and losing all control Ch-ch-ch-ch-ch Fill up my cup, Marsup top Alright, this is I Got A Feeling by Black Eyed Peas. Released as the second single from the group's fifth studio album titled The END, The Energy Never Dies, I Got A Feeling is Black Eyed Peas' 13th single, overall to be released in the

UK and their third to reach number one. And it isn't the last time that we'll be coming to Black Eyed Peas on this podcast. I Got A Feeling first entered the UK charts at number 70, reaching number 1 during its 8th week on the chart, knocking JLS off top spot. It stayed at number 1 for 1 week. In its first week atop the charts, it sold 61,000 copies in a week where there were no other new entries or climbers in the top 10. When it was knocked off the top of the charts, I Got a Feeling dropped 1 place to number

2, but it is not the end of our coverage of I Got a Feeling on this podcast. So Lizzy, Black Eyed Peas, I Got a feeling. Is it less confounding to you than Boom Boom Pow? I mean yes, because Boom Boom Pow was Will.i.am's attempt at proving himself as a sort of futurist auteur, whereas this is just a straight-up party anthem. And they're no stranger to party anthems. They've had Let's Get It Started, they've had Pump It, I'm sure I could name a few others but they were in the mid 2000s, they were the party anthem band. Like if you had a bit on a TV show where you had a house party and you needed some generic pop music play on it, it would be The Black Eyed Peas. So this is kind of more familiar territory

I think for them. In terms of other relation to Boom Boom Pow I'd say there aren't as many outright bad parts as in that but that's not to say there are no outright bad parts. Like that auto-tuned Lahayam is a particularly horrible example. And in terms of the song itself, so I think that's not good enough for it to just not be as bad as the other song. I think one of the big problems here is that Will.i.am himself does not sound particularly enthusiastic about the party he's at. You compare this to something like Let's Get It Started where he has quite an energetic flow to match the

vibe this is just you listen to I guess it'd be the verses where he just goes duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh duh and it's not fun. And like the actual backing track itself I think is rubbish as well, particularly in the chorus, I guess you would call it, where you've got the loud guitar slaps which is what everybody sort of remembers but if you sort of listen, if you try and listen past that, if you hear the backing track under it, it sounds like old music. It's really weird. It's just this kind of like horrible syrupy like synth strings that don't match at all and yeah the chord structure is kind of generic it just goes round and round in circles whatever it's just I tried to think of like a way to describe it, it's like a centrist party anthem. Yeah.

It doesn't want to threaten you or confound you in any way, it doesn't want to commit to any particular vibe. Like what are we doing on this good night? Where are we going? Are we going to a club? Are we going to mini golf? Are we going to someone's house? Are we going to your shed?

Like what are we doing? You compare this to something like Boogie Tonight by Booty Love where for me it's easy to picture from my mind the sort of place that they've found where they can boogie. You imagine like quite a colourful sort of disco sort of vibe club and that helps you sort of place it in your imagination whereas this is just there is going to be a party and that's the soul that can really tell you about it and it's not enough it's kind of for such a big party anthem it's weirdly flat like it doesn't commit to its own vibe. For me with this although it is to a significantly lesser degree than Boom Boom Pow, I still find this to be somewhat difficult to approach and talk about, even if it is way less interesting

than Boom Boom Pow. That doesn't necessarily mean it's worse, it's just less confounding, it's less confusing, Its success is more understandable. But this is still like a lot of Will.i.am stuff from around this time where the whole thing is so unashamedly basic and straightforward that trying to analyze it critically isn't really possible. Like it's a good way of kind of forcing me to meet it entirely on its own terms.

Like, you know, literally everything it is happens to be right there on the surface and requires no further investigation. This is the ultimate, or it's trying to be the ultimate getting ready for a party song, a pre-drinks anthem, a Friday tune as opposed to a Saturday tune, because what you've said there, Lizzie, about the lack of specificity with regards to the kind of night they're going to have, I do think that that's kind of like a deliberate thing to make it as broad as it possibly is, because then it means it can be played like before a sports game or anywhere on a Friday. Whenever anybody is in any position where they sort of look at a piece of time in front of them, like a small period

of time in front of them that might be a positive thing and think oh I've got a feeling etc etc. It's successful at being that sort of thing. I think that you know the numbers kind of speak for themselves. I will say the one thing that is interested about the song is its structure. It's not written through, but it's close. You know, that the whole idea just seems to be about piling one hook on top of another. Like Will.i.am told them all, like the other three of the P's, to go away and just listen to the intro and then try and just sing something over it. And then he's brought them all back in and instead of chopping and changing the bits that have been given to them,

he's just piled them in front of each other. And he realizes that he's got like 90 to 100 seconds of material here, which is, I imagine, where David Guetta comes in, because he has a credit on this, where he gives it that kind of late noughties pep, you know, he's basically everywhere for the next few years doing very similar stuff to this. And slightly before, actually actually I would recommend listening to David Guetta's Love Don't Let Me Go Walking Away and Love Is Gone from 2006 and 2007 because you can draw a straight line from those songs to this one. And I think it all kind of comes together and

mostly just about works even the stuff where I think it goes a bit over the top with the mazel tov, like those kinds of sections, I think it is deliberately and kind of mechanically but kind of cleverly executed, you know, the way that it builds and builds and builds and builds and builds and it rarely looks back, you know, the whole song is about looking forward to the night ahead and I guess that that's why it's almost linear With them at least where the vocals are concerned the problem though is over the years I've never felt particularly strongly about this either way I just it's always left a bit of a sour taste because this feels quite cynical

Like I can feel the kind of you know The machine like kind of I'm making sort of like a puppet motion with my hands right now, where it just feels a bit like it's a bit too calculated and it's a bit too broad and it just feels a bit like, oh, let's just make sure that everybody can relate to this and then no one will ask any questions and there's no doubt or speculation or worry or concern. The world that this song exists within is a world where nothing else exists outside of it you know there's no context to this beyond just like having a party or about to have a party and it feels

deliberately mass appeal in a way that I've always found to be a bit emotionally cold it's definitely an easier listen than Boom Boom pow and it makes more sense as a number one single But I feel like it's trying a bit too hard to be relatable and it stops feeling genuine And I do struggle to see past that and on an album that is mostly awful, but does at least attempt to look forward This is happily complacent. I think with itself and its subject matter and its delivery All I feel with this is a slight sense of anticipation but never excitement. I just think it's kind of meh. You know, I never feel negatively towards it necessarily overall but I think that there's

more interesting stuff on that album which is worse and less of an enjoyable experience but is at least an attempt whereas this doesn't really feel like an attempt at much. Andy, how are you? Well, to kind of have a bit of a Goldilocks and the Three Bears about all this, who's been looking at my notes? Because I agree entirely and precisely with what you've said Rob. I would maybe you know phrase it slightly different terms in some points but yeah I basically would start from the point of all the issues that I had with Boom Boom Pow and the problems and you know genuine challenges in trying to pick that apart are all present here. The vibes that I had an issue with are still entirely present here just to a lesser extent and

it's now and again you get a song on this show that is so big and you remember it being so big and was such an event that you kind of don't really know what angle to come at it from that it's just this kind of totem in your path you know it's like if we were on a movie podcast and we had to sort of quickly stop for 15 minutes to talk about Titanic or to talk about Star Wars or Gone with the

Wind you know it's just like this because I remember this being of all the songs we've ever covered on the show this is right up there with like it felt like one of the biggest songs of all that we've ever covered in terms of how completely penetrative it was at the time you could not get away from this song and I would say for a good six to twelve months afterwards you could not get away from this song obviously even more so in America where that's just absurd those 14 weeks it out at the top. But I kind of felt the same way both then and now about this as I did about Sex on Fire, which is I was like all right it's not like actively bad really but I don't get it and I

think the fact that Boom Boom Pow set this tone for being very kind of futurist and being a little bit odd and a little bit hard to get your head around, I think created this sort of Emperor's New Clothes quality around Black Eyed Peas. Not in a pretentious way like, oh their songs are so deep, you know, you've got to find hidden meanings, because that was obviously never the case. But I do think it created an Emperor's New Clothes quality and like people just lap up what they're offering and love it and I don't think there's any man behind the curtain here, there isn't really any meat on the bones and I happened to be in my life at that time you know right at the peak of my questioning critical teenager phase which meant that I was quite sort of snobby but I think this song was a good target for it I was like what am I not getting about this like it's fine it's like I can see why I would get

number one like it's decent it's a fun pop song but is this anywhere near as good as like almost any of Black Eyed Peas or the singles? No. Is this anywhere near as good as something like Bulletproof? No. And is this anywhere near as good as stuff that will start and close the year from Lady Gaga? No. Never in a million years. And this was bigger than any of them. Really, like a million times bigger than any of them. And I really, really didn't get it and I still don't get it really. And I think, I think it's kind of, this sounds like a really critical thing to say and it is somewhat critical but you know, you can sometimes talk about things that are too good to fail.

We've had songs at number one before that we've said, oh, they've got number one purely on the basis of quality. Like they are so good that they had to get number one. I think this is a weird kind of inversion of that, that this is too generic to fail. It's too normal to fail. Like, there is no way that this can annoy you, really. No way that it can dissatisfy you. It's like it's been made by AI.

It's really, really straight down the line. And Will.i.am, especially just the way he, some of the lyrics and the way he delivers them, I completely agree with what you said, Rob. it is a little bit like he's an alien. That's like, you know, I'm here to impart a good What you call party for five of your earth minutes, you know, it's just like it has this weird cold quality to it That is a big issue for black eyed peas going forward Like that's one of the biggest problems about the stuff they will do after this on that horrendous, The Beginning album.

But I look back and I just think they used to be really interesting. They were never the best band in the world, but you look back at something like Where Is The Love, which I kind of championed at the time. I do think that's interesting at least. It's got creativity to it. You've got those strings that permeate through it.

You've got that Justin Timberlake chorus. You've got like quite a lot of passing around of the vocals. And you've got stuff over the years like shut up and don't funk with my heart that is genuinely really good and really entertaining I think. And this is just like, where's the soul? Where's the heart to any of this? It's just, the thing I always come back to is good. That Will.i.am has this

thing about the word good. It's going to be a good, good night. You know that bit in The Simpsons where there's that awkward moment in Lisa's wedding where her fiance says, it's going to be a big day tomorrow, a big, long day. And it just feels a bit like, where's your proper adjectives? And that's what it's like in this, like you'd think a big party bop would be like, it's gonna be an amazing night, it's gonna be an incredible night. And he just says in the completely milquetoast voice, gonna be a good, good night.

Like hanging around on the same kind of notes all the time in this almost drone-like rhythm of the bam, bam, bam bam bam in the background. And it feels like a deliberate thing to almost strip the song of any kind of pathos at all and just have it be pure beats and pure vibes. And maybe people really got into that and thought oh I just kind of like the feel of this song I just want to dance to it turn your brain off that's totally fine I don't judge anyone for it at all, but that is the antithesis of everything I go for in pop music. I don't think it's like bad at all, I think it is cripplingly normal and generic and I don't think it stands out

from the crowd at all, but I wouldn't give it like less than a 5 out of 10 because I don't really have any acts of criticisms of it except that this is just so so not where I think music should be going at this time and I just shake my head at Will.i.am's whole attitude to music really so I've really gone in on it and I want to emphasise that it's not that bad I think like there are some good ideas here and I think some of the execution is quite good I just think it's the most boring party bop ever and that's it really I just keep it's it's the most boring party bomb ever. It is. And yeah, that's that's it Really, just keep it simple as that So I'm gonna say a name here and a name that may mean something to some people listening and maybe to you two as well

But if it doesn't initially then we will explain but um does it does the name Brian Pringle Mean anything to anyone in relation to I got a Feeling. It does not. It does not. No. So Brian Pringle was a DJ and songwriter in the 1990s and he sued the Black Eyed Peas and David Guetta for copyright infringement, asserting that their I Got a Feeling song copied elements of his song called Take a Dive, which he copyrighted in 1998. So this information comes from the Milord Law Group, or My Lord Law Group, this is the information. So Pringle claimed that this, I got a feeling, had basically sampled Take a Dive without, you know, without payment, and he claimed for copyright infringement. But he ended up losing the lawsuit.

So if you listen to Take A Dive, you'll think to yourself, how on earth has he lost this lawsuit? Because you listen to it and it is literally just the instrumental for I Got A Feelin'. The issue, so here we go, Pringle claimed that he created the dance version with the 8-bar guitar twang sequence in 1999. He then claimed that the music equipment and hard drives he used to create the dance version were stolen in the year 2000. Before the lawsuit was filed, Defence Council sent detailed correspondence to Pringle's council expressing concern about his alleged creation dates of two CDs with the two versions of his song and communicated Pringle's duty to preserve all evidence, including his computer records to allow investigation of altered dates of creation. His council agreed and advised that he was preserving evidence. The issue was is that he failed to preserve the evidence. He deleted the

files that would have proved that he was that the black IPs were guilty of this copyright infringement and so now people believe that he had a dance track with the same chord sequence, sampled the guitar twang himself, added it onto his track from the 90s and then claimed that he had done it in the 90s. And that's why the lawsuit was thrown out, so keep your evidence, guy. Oh, well, but he apparently willfully deleted the evidence. It just... Silly sausage. But it's worth reading up on Brian Pringle and the lawsuit that failed.

It'd be bloody bitter, wouldn't you? That's a lot of lost money. A lot, yeah. And to make matters worse, the Black Eyed Peas then sued him for equivalents of defamation and whatnot, to running their name through the mud. So, wow, spectacular own goal there from Mr Pringle. We will move on to our second song this week, which is this. I'm still loving you, like it was the first time I'm still loving you, like it was the first time That's the very first time

Ayo I've been there, right here running both streets Late nights tryna rap, momma saying go sleep with King here Music roll under my own feet Dealing with the mainstream Thank the Lord daily, I'm sincere And I've been from the star arcs Still arcs warm and I've had it in my heart So I drug this Cause everything's changed

Reminiscing them days Trying to turn the page cause I've been around the world I've seen so many places Living the life of work So hard to make it Trading the world for money, stars and power Living my life at a hundred miles an hour

I'm loving you like it was the first time I'm still loving you like it was the first time Okay, this is Never Leave You by Tinty Strider and Amel. Released as the 4th single from his 2nd studio album titled Catch 22, Never Leave You is Tinty Strider's 4th single to be released in the UK and his 2nd to reach number 1, however as of 2024 it is his last. Never Leave You went straight in at number 1 as a brand new entry knocking the Black Eyed Peas off the top of the charts. It stayed at number 1 for 1 week. In its first and only week atop the charts It sold 71,000 copies beating competition from Get Shaky by the Ian Carey project which climbed to number 10

When it was knocked off the top of the charts Never Leave You dropped one place to number two By the time it was done on the charts it had been inside the top 104 for 14 show. And that has happened before, it's not a unique occurrence, but it hasn't happened for a very long time and I thought we were long past the days where that would happen because in 2009, yes as I said earlier I was a little bit of a snob, but I knew what was going on in music, I wasn't any kind of taste maker but I had my ear to the ground, like knew what was big this passed me by entirely so when this came up I was like oh a new one something I don't know at all like interested I hope it's good Tinchy Strider is you know okay we've got one of the sugar babes

well one of the kind of you know honorary shall we say sugar babes on this and so I listened to it I was like I didn't really get much from that I must have got distracted let's put that on again same again put it on again I was like oh right gonna have to think about what to say about this one cuz I'm not getting much from this and that just kept going and going and going and then I remember I messaged you all of you earlier today saying, help I've got nothing to say about this song. I really tried, I really have and there's a lot of songs that we've covered in the past,

I'm a bit of a, well you're quite well for this, for saying quite a lot of the time so I think this is one of the most average songs we've ever covered. No no this is the one, this is the one. This is I think the most bang average, none of us will ever talk about it ever again. Nothing to criticise, nothing to praise. The most standard average song that we've ever covered on the show. It's like completely by the numbers, it definitely got hints of where the tens is going, Like there's a lot of songs written in the stars, stands out to me, sounds quite a lot like this. Lots of stuff that Professor Green will do, sounds like this, but that's it, really.

And we've finally done it after the 200, 300 songs that we've covered on the show. We finally found one that I literally have nothing at all to say about, so well done, TinchyMML. It's fine, and I am now gonna give up the floor have nothing at all to say about, so well done Tint GML. It's fine and I am now gonna give up the floor because people are listening to this podcast for our opinions and I'm selling them short here. So someone else help give me something

to think about with this song. Someone else, someone else. Lizzie someone else. Lizzie, could you expand on what Andy has said? No. Okay, no I can add one thing actually. This is where we part ways with the Sugar Babes officially. This is the last number one by any Sugar... yeah by any Sugar Babe. This is the last number one by any Sugar Babe. This is the end. I agree Andy,

it's the blandest song we've ever covered. It's the most 5 out of 10 thing I've ever heard. It sounds like the sort of music they put under like promo videos on Kickstarter, But someone's put lyrics on it. Like it does, it's so plain. It sounds like a demo. Yeah. It doesn't sound finished. I said to you, it sounds like the sort of music you hear in Poundland where it's clearly music, but you think, I've never heard this song.

I've never heard this artist. It's clearly trying, but you think I've never heard this song, I've never heard this artist. It's clearly trying to sound like something, but it doesn't sound good enough to be among any of those other chart hits. So yeah, like you Andy, I don't think I had heard this before, but maybe I have done, and it's just been so unmemorable that it's like instantly exited my mind the second I've heard it. That's totally possible. I'm thinking the same, yeah, because I don't... I've forgotten this already. I'm struggling to remember how this goes. It's so plain. There's nothing to it. And yeah, maybe to your point, Andy, as in the previous song, maybe it's so generic that it can't fail.

Well, yes, could be that, yeah. Because I did wonder how this got number one because it's like Buzak really, rather than music. It's just like, like you said, it's like a demo track. Very odd to picture people actively buying this. I was surprised to hear this was Tinchy Strider's last hit. I know I confuse him with Tiny Temper quite often. But yeah, disappointed to see that his collaboration

with the Chuckle Brothers only got to number 92. No way. Yeah, I remember that. To me to you, bro. Yes, I remember that one. Why didn't that get number one? Oh, I know. I don't have stuff to talk about there.

What was that called again? I forget what that was called. To Me To You, Brov. To Me To You, Brov, that was it. Yeah, to me to you, brov. Yeah, got to number 92. Oh, yeah. He got to number 10 as part of Young Soul Rebels later this year, 2009. Gets to number 24 with Teardrop as part of the collective and

And he gets a number nine hit with Wiley and angel lights on in 2013 But that's in terms of his sort of you know big big hits Always got did you say number five with Dappy Spaceship? Dappy Spaceship, yeah. Bright Lights with Pixie Lot. Yeah, he has a couple of things. Nothing of this size though. Spaceship goes silver, but that's basically it. I am, I think, considerably more positive on this than both of you. I briefly mentioned in last week's episode

that I got a feeling and Supernova were on the radio basically all the time during this holiday I spent on the lower west coast of Scotland in August 2009 which is also where I saw the Half-Blood Prince in that little seaside two-screen cinema in Greenock. All the driving we did, we were based in Weems Bay but we did a lot of driving to Greenock and Largs and Ayr and Troon and all those like little seaside towns on that sort of like bulbous part on the sort of lower west bit of Scotland and never leave

you was on the radio all the time. Like, all the time. I spent that whole holiday, it feels like, sitting in the back of the car, both silently and loudly complaining about how much it seemed to be on. Like, I'm sure I drove my parents insane with how much I was complaining, and yet never asking for Radio 1 to be turned off. Because I was in that weird place where, like, I was still hoping that Radio 1 had something for me, being like a slightly snobbish, emo-y 15-year-old, you know, by this stage, you know, hoping that I want to stay in touch with the charts, and I hope something, I hope one of my bands gets on on the radio, like why aren't Mayday Parade and A Day to Remember getting on the radio and complaining about that and then just kind of hate listening basically and I used to

dread it coming back because I just remember Tinchy himself not really bringing much to this and as time has gone by yeah he doesn't, like he has a strange flow in this where it feels like he's coming at it at the wrong angle. Like, he doesn't quite understand the assignment. It's just this... He's not too bad. And his lyrics seem to make the song less of a traditional man-to-woman love song, and more of a love song to the industry that he's part of, and the scene that he's come up through, which is... nice.

But it's just the way that he seems to slur everything that he says, like, Dibbim-dibbim, it's a thing-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim-sibbim- I think that Amel outshines him quite considerably and she gets given more to do than your average sort of feature artist She gets the intro the pre-chorus a good hook a nice little post chorus Like to the point where I think it should be her song and Tinti Strider's the guest guy You know, I think that the intervening 15 years though have shown me that this has got more going for it than I gave it credit for in in Weems Bay Those all those years ago. I think once it gets through its first and second choruses there's not much variation

but there are enough separate sections here to sustain it for long periods. There's a little bit of drama, like happy drama in the strings, you know the kind of staccato like the... Like how a song's written in the stars and oh Jesus when we eventually come to that song I think I might just walk off the podcast but Hall of Fame by the script and that's where I am as well that's that may be a song I just flat out refuse to speak about because it makes me feel so ill but I listen to it now, Never Leave You, and I am back in my parents' Fiat Brava, driving from the caravan site we were staying on all around the towns and villages on that coast.

You know, whenever I remember my last couple of years of high school, it's almost never sunny. I just remember it being grey a lot and wet and kind of humid. Kind of like it is now actually in 2024. You know, I only really remember the rain and in winter times, you know, the snow. But whenever I think of this holiday, I do actually remember it being sunny basically all week. And, you know, like it was a happy holiday for a few reasons. And now even like the bad part of it, which used to this song. It turns out it's not so bad after all.

I do think that Emel's parts are quite nice, you know, that you think, you know, it gets the big like, Whoa, what is it? Been around the world, I've seen so many- and you think like, you know, yeah, good sort of decent chorus there and the I'm still loving you like and it could easily slip back into the verse there but at least we get an additional like added value chorus with the whoa whoa and now we're never and it's yeah pretty it does veer ever so ever so slightly into that kind of uncanny valley territory that a lot of stock pop music has but i think that compositionally there is enough to this I do think there is just enough, just about enough to it for this to get a

fairly favorable pass from me and it's kind of short as well and Tinty Strider Doesn't, he isn't at his best, but whatever, what he does give, he gives all of it I won't say that much Even when I'm listening to that those verses where he's like, it doesn't even sound like he's rapping, it sounds like he's trying to catch up with himself. Constantly, it's so so odd, but it's kind of charming, this, and it is my favourite song this week. It's not up against the best competition, I won't be vaulting this, it isn't really coming close to anything like that but hey you know it's I can't believe how much I've like forgiven Tintchie Strider now considering how much I used to hate him when I was 15 like oh number one and

Never Leave You were just like the scourge of just oh I remember hearing that lyric that I've seen the whole map and I'll be back by the evening I'm just sort of thinking to myself like when I I was 15, like, what does that even mean? That means nothing. That's a nonsense lyric. I hate it. And I think I may have even let my mum put Radio 2 on at that stage. But I'm much more comfortable with it now. But anyway. Okay, so we would ordinarily be coming to our third song this week, but we have to make a brief stop first. And that is because I got a Feeling by Black Eyed Peas went back to number 1 for a second week in total on top of the charts. It stayed at number 1 for one more week.

In its second total week atop the charts, it sold 61,000 copies, beating competition from Ready For The Weekend by Calvin Harris, which got to number 3, Behind Closed Doors by Peter Andre, which got to number 4, and Remedy by Little Boots, which climbed to number 10. When it was knocked off the top of the charts, I got a feeling dropped one place to number 2. By the time it was done on the charts, it had been inside the top 100 for 109 weeks. The song is currently officially certified 4 times platinum, so quadruple platinum in

the UK as of 2024. for 109 weeks. So we will move on to our third and final song this week, which is this. Yes, I can see ya, cause every girl here wanna be ya Oh she's a diva, I feel the same and I wanna meet her They say she low down, it's just a woman, I don't believe her They say she needs to slow down The baddest thing around town She's nothing like a girl you've ever seen before Nothing you can't compare to your neighborhood I'm trying to find the words to describe this girl

Without being disrespectful The way that booty moving I can't take no more I just got what I'm doing so I can pull a clip I'm trying to find the words to describe this girl without being disrespectful Damn girl Okay, this is Sexy Chick by David Guetta and Akon. Released as the second single from his fourth studio album titled One Love, Sexy Chick is David Guetta's 12th single overall to be released in the UK and his second to reach number one.

However, this is not the last time we'll be coming to Mr. Guetta on this podcast, but it is the last time that we'll be coming to Akon on this podcast. Sexy Chick first entered the UK chart at number 21, reaching number one during its second week on the chart, knocking Black Eyed Peas off the top spot. It stayed at number one for one week. In its first and only week atop the charts it sold 55,000 copies beating competition from Outta Here by Esme Denters, which got to number 7.

When it was knocked off the top of the charts, Sexy Chick dropped 1 place to number 2. By the time it was done on the charts it had been inside the top 100 for 40 weeks. The song is currently officially certified 3 times platinum, so triple platinum in the UK as of 2024. Lizzy, David Guetta and Akon, how do we feel? I think this is bloody awful. I don't wanna talk about it too much even, just cause it's like, even the thought of it. You know like when you don't like a certain food,

either because of like a bad childhood memory, or just you don't like the texture, or the smell, or the color of it. And the thought of it just kind of makes, sort of brings up some queasy feelings. I just, I got that sort of feeling with this song. I don't particularly know why, because I don't think it's so offensive or anything. I'm not like, I'm not like, oh my God, I'm so offended by the lyrics.

The lyrics make this seem like Akon has never seen a woman before. Like, like he's just come down to earth and he's like, wow, look at the curves, what's going on here? Jesus. Everything just combines to make this really horrible as a listening experience. I think the sound of it is sort of pulsating and throbbing in a really ugly like surgical way which I don't like. The lyrics are like I say horrible and gawping. The overall tone of it, it sounds like sort of like tainted love but someone's packed your ears full of gauze. like it's just not a pleasant listening experience. it's one of the few where you know usually when i don't like a song on the podcast i'm pretty good at

explaining why i think it's bad whereas with this one it's just a combination of factors that just give me the ick. like i don't i it as a sound. Yeah, I want shuss of this straight away. Yeah, I completely agree. Like usually when I'm putting my notes together for Hits 21 I like to write about the songs in order. But when I looked at the songs we'd be covering this week I had to get my thoughts down on this one first because there is a special place reserved in hell For this for both of them actually David Guetta and Econ just for this song alone This is a a really gross creepy

Unfunny mess around between two guys who seem to think that the joke they're laughing at is really hilarious when it's anything but It's just a despicable Really despicable piece of pop that seems to posit itself with some kind of wink at the misogynistic and sexist nature of this kind of stuff But clearly enjoys reveling in that joke so much to the extent that there's no joke left. It's just straight up revolting It's an example of what happens when nobody says no. Just anyone who hears this, just sort of like, anyone could say no at any point, and everybody thinks it's so funny. It seems to think the drop is the punchline because I'm trying to find the words to

describe this girl without being dis- that is followed by the most gross thing they could say and I- oh how funny, how funny is that? But the clean version is sexy chick which kind of muffles the punchline. You know, the dirty version when they call her a sexy bitch. Like, the joke works there because, yeah, they're trying to not be disrespectful and they say the most disrespectful thing that they could say. Oh, it's just like the comedic minds of Akon and David Guetta, everybody. But because of the clean version, it just, the punchline doesn't work. Because to say someone is a sexy chick isn't that... it's not the most respectful thing you could say, but I don't know if it's disrespectful to the right person

in the right context, whereas sexy bitch feels like that could always be disrespectful at least 99.9% of the time. This feels like something, you know like Andy Sandberg would have done something like this instead but actually made it funny. You know like Equal Rights that he does for, like by Conor for real, or the three-way golden rule thing with the lonely island. Where like the joke is on very much on the people making the song and their insecurities about trying to deal with social issues and themselves and you know that sort of thing and like with with this The punchline is a big fart gag and I hate it and They don't even have the good grace to add anything new in the second half. They just cut and paste the first 90 seconds Like I've been listening to this

more than I ever should To try and find it literally anything in the second half that is like even a slight difference or variation, but they've even used the same vocal takes. It's so lazily, like, so lazily constructed and so just unimaginatively rendered and executed and the joke doesn't work. The joke is revolting. The whole thing makes me feel ill You know Lizzie how like you were saying, you know it's like a thing like a food you think of and you just associated with a bad memory and

It's something that you can't get out of your system and can't get off your skin This is that This is that for me. But in, like, I think about this and I feel nauseous. This just feels like someone's been sick on me. It's like a ride you can't get off. Yeah, or like someone's had like ten Alcapops and thrown it all up over me. Oh jeez, yeah. It's a horrible, horrible song.

A genuinely detestable piece of music. I find this just to be like the absolute pits, the worst of what pop music can offer and the absolute worst example of the kind of shit people buy and it makes me want to bring out the super hands meme, you know, can't trust people. I just, yeah, I, no, I find this really risable and I'm glad it's gone and over and that I never have to think about this song again for any more than like a second. Really, really just miserable, miserable pop. A kind of life. It just communicates and evokes a kind of life and a kind of way of looking at the world

that I just, I'm so glad I don't have. Really really glad I don't have. And yeah, so Andy, how about you? Well it's interesting because you might think that I was going to dislike this and go in on it just as hard as you two have. And that's exactly what I'm going to do. Don't worry, I'm not clicking any on that one. Yes, might I coin the lyric, damn it's a shitty song, a shitty song. Completely agree with what both of you have said. Glad it's not just me to have noticed and been annoyed by that genuine actual copy and paste from one half

to another, like come on. We've had that happen a few times on other songs but I feel like there's been something done, like some little tweak, literally just copy and paste. Like if I want to repeat the song then I'll repeat the song, don't do it for me. Just yeah, that's absolutely brazen. I'm really starting to get annoyed by the presence of David Guetta in pop music because I mean we've barely started you know we've literally just started oh I'm this is why I'm glad that we're going back to the 90s and all the 10s is because of this kind of shite yeah that will be so pervasive in the 10s and sort of the 20s but particularly in the

tens but this is a real particular terd because I agree with what you've said like it's not even funny like it's it's it would be one thing if this was that kind of lonely island style or you know even 303 kind of gross out humor like pathetic kind of jokes on the men kind of humor, but it's not. It's like actually trying to lean in to that bravado and that kind of stupid lads, lads, lads thing. And I think this is a good audio example of how prevalent that kind of nuts magazine lads culture was at the end of the

noughties where it's just like just you know just maybe just ashamed of men full stop you're just embarrassed to be associated with men and it just it just doesn't wash with me at all as an idea as a joke because the set the other sexy chick thing it's like that's just cringe. If someone was to say sexy chick about a girl, I'd kind of look at them like, who are you? Like Cliff Richard. It's just a bit odd. Like no one said chick in about 50 years. You mainly hear that in the film Grease. And it's a really weird thing to say. I have a thing about the word chick because I just think it's so old fashioned

and so deeply, deeply rooted in misogyny. It's such a horrible thing. And I mainly associate it with Simon Cowell as well as the movie Grease. I associate it with Simon Cowell that he always used to say it. Like if there was female dancers on the stage, he'd be like, oh, I wasn't listening to you

saying Joe McEldrie or Matt Cardwell or whoever because I was just distracted by the chicks. Ugh, sorry. But just really, really like head in your hands kind of. Oh Simon, just stop it, come on. I'm not implying anything at all there but you know. Um, whereas sexy bitch, that's like, oh actually is really horrible. Like if I was, if I overhead one of my friends say damn she's a sexy bitch, that's like, oh, actually is really horrible. Like if I was, if I overheard one of my friends say, damn, she's a sexy bitch, I would be

like, whoa, whoa, whoa, whoa, shut your mouth. Like that is a horrible thing to say. Respect the woman. You know, even back then in 2009, when like all of my friends were straight lads, you know, I absolutely would have been grossed out by that. And it's really disappointing that this was successful and that like, there were a lot of people who seemed to enjoy the joke. It's embarrassing to be associated with this and it's just crass and horrible. I will say, like, I agree with Lizzie that I'm not like offended by

it. For one thing, it's not my place to be offended by it. And like it's it's just stupid like it's it's men being boys you know it's just stupid stupid like embarrassing stuff to listen to but i do think there is a little bit of a serious point to it of like this is just straight up degradation for no reason at all cut it out horrible um after that this tainted love thing running through where it's a really blatant interpolation of tainted love all the way through, which I assumed, I always assumed that it, that was like a totally legit thing that was credited, that Softcell got some money for it. Mainly because SOS by Rihanna came out a few years before this. And although that does directly sample the actual recording of tainted Love, I do think that's less noticeable in

S.O.S than it is in this. I think this is a much clearer reference to Tainted Love that runs through this. And I was absolutely stunned to find that now they've just stolen it and I can't believe there was no court cases about it because it's so brazen. This exemplifies some of the things I hate about the way modern music, the way modern music went in general, is that it's crass and empty, it's obnoxious and loud, it has no ideas and it cribs off the ideas of better more intelligent songs. It's not the very worst thing we've ever covered, I don't think,

but fuck it's close. Very, very close. Awful. It's trash. Yeah, I think when people complain about modern music, I'm always going to defend modern music because modern music is no different in quality to any kind of period of music ever like nothing There are periods where it's better and worse and I think but those periods where I think it's better Are more just about the variety of stuff that's in the charts in terms of you know What the sources of the of the music, you know Then there are sort of fallow periods where there's not much stuff coming in from the outside to try and make the inside, you know, up its game sort of thing and the first

sort of at least six or seven years of the 2010s Is that I think the longest period where like I was actually worried about like becoming one of those people where like oh Modern music is all shite in it, you know, that sort of thing. But like songs like this, like you say, Andy, there are a lot of them in the next sort of five or six years after this point and they all basically do the same thing.

I think this is the stuff that people complain about. They forget that there's stuff that's just this bad in every era, but this is a particular type. And because of streaming, everything kind of homogenized anyway and it meant that like you couldn't get away from this stuff it wasn't that this was one particular strand of the charts it was just that for a while this just was the charts for a long time. This is what I was getting at that like I'm very mindful that we're taking this so much more seriously than we're supposed to, you know,

cause it is just throwaway pop. However, there were a million, like you said, this was the charts, there were millions of these sort of things, and a million grains of sand start to create a beach, you know, like there are a lot of these things, and it starts to paint a bigger picture. So I do think like, it's worth calling this out as a signpost of where music is going in general. So I do think like it's worth calling this out

as a signpost of where music is going in general. But I almost might feel like we're taking this like way too seriously. Like it's just a silly, stupid song for boys, but it doesn't stop it being an awful, silly, stupid song for boys. I think in a way though, this is also, you know like we talked about heaven and hell,

this is part of a similar world that doesn't exist anymore. I think nightclub culture in general has kind of faded away in Britain. Like you know, Sunsex and Suspicious Parents, BBC3 kind of nightclub culture. I think that's definitely declined. Yeah, and like because of a number of factors like Covid and just young people not drinking as much and minimum unit pricing in Scotland, for example, just a couple of factors like Covid and just young people not drinking as much and minimum unit pricing in Scotland for example just a couple of factors killed it but this is kind of the peak

of that scene I think and then obviously as you move through the the early 2010s you get like the the EDN boom and the super DJs the Avicii's and whatnot. When literally everybody is trying to do like a big dance anthem because that's where literally everybody's digesting their music from. Of course. Where like even I know we discussed it ages ago but like even Brian McFadden had a go at an EDM anthem about you know it's just like everybody was doing it like everybody had a go at it Like if there's any pop album released between like 2010 and 2014 There's at least like two songs on there where like they're going for that kind of crowd Songs like this are just the sound of all the 18th birthday parties. I went to when I was in sixth form in college and to when I was in sixth form in college and just sitting in the corner like thinking is

this is this night ever going to end when can we go to McDonald's please when can I go home and listen to Balls of Canada like that was my whole attitude to this kind of stuff guess what was number one on my 18th Thursday that would be this This! Oh no! This and I got a feeling at number 2! I'd never leave you at number 3! Would you think that your 18th birthday was a good, good night? No! I bet my number 1 when I was 18 was even worse.

When were you, like 2013? 2012. I'm just going to look this up actually. So the number one went well, on my 18th birthday itself that fell on a Saturday. So that was the last day that All Time Low by The Wanted was at number one. And the day after my 18th birthday, Beautiful Monster by Neo got number one. I don't know if that's better or worse than All Time Low. Not too bad. And the day after my 18th birthday, Beautiful Monster by Nioh got number one. Hmm... I don't know if that's better or worse than All Time Low.

Not too bad. I prefer All Time Low to Beautiful Monster. Number one on my 18th birthday... Fuck it, I'll do the impression, why not? I'm at a peaceful try to... Oh no! That's shit! Oh Jesus. Oh God, the early 2010s are so bad! They's shite! Oh Jesus. Oh God, the early 2010s are so bad! They're so bad!

There's like a couple of decent tracks in there, but like, they're so few and far between. There's so much shit, like pure shit. I really don't know what happens for like that five year period. It's like the weird sort of amorphous blob in the 70s before punk and disco arrive And it's like glands over and we don't know what to do and it's like ABBA kind of hold down the fort for everyone See, you know if I was born one week earlier, but number one on my 18th birthday would have been we know speak Americano they would have been We No Speak Americano. Oh, that's a tune. That actually was the biggest song at my 18th party.

I remember everyone was dancing to that at my 18th party. So, oh, sorry, old times. Do you know, I was at Universal in Florida three months ago and they have, you know, like people who dress up as the characters and come out and do performances and stuff for the kids. And then they take 10 minute breaks because it's really hot and it's Florida and that sort of thing. They were dancing to We Speak No Americano.

They all dressed up as the... what animals are they in Madagascar? Is it lemurs? I don't know. King Julian, what's he? Not seen them. Not seen those films. But they were dancing to We Speak No Americano and while they were dressed up as the characters from Madagascar and they had Kung Fu Panda doing it and... But anyway, anyway, we will call time on this episode but just before we go, Lizzy, Black Eyed Peas, Tinty Strider, David Guetta, Piehole, Vault, where they going? I got a feeling that tonight I'm not going to be putting, I got a feeling in either the

Vault or the Piehole. I don't think it's quite bad enough to Piehole, but it's teetering. You got very, very lucky. Never leave you. I can't make a joke about it because I can't remember how it goes so I'm just gonna say it's not going either today. Sexy Chick is going straight into the piehole where it belongs, just lock it, throw away the key, set fire to it, do whatever, just put it in there don't don't make me think about it. Andy, I got a feeling never leave you sexy chick. I got a feeling here we come here we go not in the vault vault vault vault vault and not in the pie hole I got. As for never leave you I'm certainly I'm gonna leave it I've already left it mentally it's not going anywhere and as for sexy chick I not even going to bother coming up with a pun on that one.

Pie hole! I could not put that into the pie hole any more firmly if I had a sledgehammer and an anvil at my disposal. It's going into the pie hole, yes. Well I got a feeling for me it's looking forward to a night of just going nowhere. They're getting ready for this night and they're not gonna go anywhere. They're pre-drinking. Pre-drinking till they go to bed. Never leave you...

It's not going in the vault, but... are. And, oh god, sexy chick. Could we like invent something that's below the pie hole? The Guettiverse. The Guettiverse? The Guettiverse. Hell. That's like the pie hole the guettiverse the guettiverse hell that's like the meta-villel yeah that's going in

the guettiverse fuck that and when we come back we'll be continuing our journey through 2009 and we will see you for it. Bye bye now. See ya. Bye bye. Oh yeah it's me, look up there, there's a leech, you're exactly the pair I need Now wait in fact let me ask one question, one question? Just one, I respect you both, so don't walk on here, but who or what really brought you here? Dan, in his van, silly question? Yeah, what a silly question Oh, cheek and rude, I know my role, you play yours too and put them ladders up

Yeah, before you trip over laces, tie up the shoes I wear slip-ons, get the ladders up, yeah before you trip over leases tie up the shoes, and wear slip-ons, get the ladders buddy mate, over here quick word, Barry's got shoes and they come with leases you must have both of us heard oh dear, oh dear oh dear, oh dear, oh dear oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear, oh dear There's a lover who's takin' it To me, to you, to me, to you then To me, to you, to me, to you then To me, to you, to me, to you then To me, to you, to me, to you then