Kylie's #93 Christmas Smash!

The UK singles chart is positively overrun with Christmas tunes this year. The usual suspects are all represented (Mariah's "All I Want For Christmas Is You", Band Aid and Wham's fabulous "Last Christmas") but my favourite dose of festive cheer is currently lodged at #93. In one of the year's most amusing chart quirks, Kylie's seven year old cover of Eartha Kitt's "Santa Baby" has been downloaded enough times in the lead up to Christmas to break into the top 100. If, like me, you prefer your Yuletide happy and very GAY, then it's hard to go past "Santa Baby" for a bit of harmless festive cheer.

Kylie's camp Christmas carol originally appeared alongside her 2000 top ten hit "Please Stay". Much maligned by fans and critics, I've always had a soft spot for Kylie's lame attempt to jump on the Latin bandwagon. "Please Stay" is pure pop fun, the video remains a trash classic (who can forget Kylie's slow motion slide down the fireman's pole?) and the CD Single was a most unusual package with the loungetastic "Good Life" and "Santa Baby". From memory "Please Stay" even came with a calender! Given the single's December release, Kylie ended up performing "Santa Baby" several times on British TV including a camp rendition on Top Of The Pops.

While the studio version of "Santa Baby" originates from 2000, Kylie had already performed the song a year earlier for Australian soldiers during her tour of duty in East Timor! The 90s really were a weird and wonderful time for Minogue senior and the televised "Tour For The Troops" concert remains one of my favourite Kylie moments of that entire decade. Kylie looks adorable in her sexy santa wrap and the salivating soldiers make the entire experience slightly surreal. Enjoy Kylie belting out "Santa Baby" and "Rockin' Robin" for the troops in the clip below:

Fans might also enjoy Kylie's duet with John Farnham from the same concert. "Santa Baby" is available to download from Australian and UK iTunes now.

The Veronicas Strike Back

After my last post, I thought I should cover something a little less controversial this time around! So I've gone with a short post about Brisbane's famous Origliasso twins, also known as The Veronicas. It's rare enough for a successful band to change its sound between albums but The Veronicas have gone one step further, shedding the generic pop/rock trappings of their debut to reemerge as a slick electro-pop duo. The transformation has completely revived my interest in the girls. I loved their debut single but the rest of "The Secret Life Of The Veronicas" played like a Kelly Clarkson mixtape.

It took me a while to warm up to the new and improved Veronicas, but "Hook Me Up" turned out to be one of the year's best pop tunes. Amazingly, its follow up is better yet. From the opening strings, "Untouched" holds your attention in a vice like grip for the entire 3:40 minute running time. The expert mix of beats and guitars provides the perfect background from the girls' pitch perfect harmonies and suitably pouty spoken verses. However, it is the pleading chorus that really shines. One listen and you're hooked! "Untouched" debuted at #4 on the Australian singles chart tonight and I hope it can follow "Hook Me Up" to #1 in the coming weeks. You can order the "Untouched" CD single from Chaos or download it from iTunes. Check out the video clip below.

Fergie Puts Me On Rock, Rock!

I don't often censor myself on this blog but I have resisted mentioning my Fergie admiration out of fear of public ridicule. However, I think the time has come to out myself. Before you start sharpening your knives - hear me out. I used to be one of you poor, misguided Dutchess haters. In fact, I believe I nominated Fergie as the worst pop star of all time for an online poll and described her solo album as "repugnant filth" the first time I heard it in late 2006.

I simply wasn't ready to embrace Fergie's musical genius but that started to change in early 2007 when Alanis Morissette spoofed "My Humps". I was shocked by the blatant disrespect Alanis showed the track. It might be utter rubbish in her eyes but "My Humps" will be remembered 20 years from now - unlike anything that horse faced bitch has released this decade. As a sucker for unusual promotion, my sympathy for Fergie only grew when she revealed having conversations with a washing basket under the influence of crystal meth. With a newly formed, positive opinion of the great woman, I was finally able to listen to her music with objectivity and was amazed by the brilliance of "Glamorous" and "Big Girls Don't Cry". The time had come to give "The Dutchess" a second chance and it has been a guilty pleasure of mine all year. Uneven and often downright embarrassing, "The Dutchess" is a pop trash classic in waiting. However, that's not why I felt compelled to write this post. The more I listen to Fergie's album, the stronger my conviction becomes that Fergie is the voice of our generation. There have been many better albums released this year but none that captures the zeitgeist as eerily as "The Dutchess". Evidence is provided below:

Fergalicious

I be up in the gym just working on my fitness
He's my witness!
I put your boy on rock, rock
And they be lining down the block just to watch what I got

In 200 years time when historians research the social mores of the early 21st century, I hope they stumble upon a copy of "Fergalicious" in order to fully understand the current phenomenon of shameless self-promotion. Never before in recorded history have people shared so much of themselves publicly - be it on Myspace, Facebook, Youtube or Blogger. I see "Fergalicious" as the musical equivalent of a Gaydar profile. Fergie rambles on about her self-proclaimed hotness in barely comprehensible English all the while lying through her teeth. The truth of Fergie's boasts are irrelevant, what matters is the image she puts forward - just like all those "straight acting, athletic" guys on Gaydar. Deep down we know they are probably mordibly obese, limp wristed queens but we like to think there's a hunk sitting behind the computer. We all lie but Fergie has turned baseless self-promotion into an artform!

Clumsy

A girl like me don't stay single for long

The fifth single from "The Dutchess" is pure Fergie. A completely pointless yet insanely catchy groove built around a variety of samples. You could argue that "Clumsy" represents everything that's wrong with music today. It's not a song so much as a collection of sounds thrown together with clinical precision in a recording studio. From the spoken vocal to the static beats and crazed sampling, "Clumsy" is a product of its time - and I'm ok with that.

All That I Got (The Make Up Song)

Would you love me
If I didn't work out
Or I didn't change my natural hair

Just when you think "The Dutchess" couldn't get any more insightful, Fergie extends her lyrical genius to cover topics like hair care and make-up. "All That I Got" plays like the soundtrack to a trashy magazine with its exploration of body image and emotional insecurity. The song itself is a charming groove that is only slightly ruined by an unnecessary guest rapper. It's nice to actually hear Fergie use her powerful pipes and the production less excessive than usual. Fergie cops a lot of criticism for the perceived superficiality of her work. I disagree, Fergie's world view is limited to looking hot, finding a man and being successful but how does that differ from the rest of Generation Y?

London Bridge

I'm such a lady but I'm dancin' like a ho

The world could really do without Fergie's ode to her engorged clit - or so I thought until I was dragged to a suburban disco by a friend's 17 year old sister. As soon as "London Bridge" hit the turntable, flocks of hotpant wearing tarts descended on the dancefloor screaming "It's my song!" before making obscene hand gestures between their legs and dancing like cheap prostitutes. The point I'm trying to make is that you probably need to be a teenager to get "London Bridge" or at least an avid pole dancer. Since that spiritual experience, my love for Fergie's stunning debut single has grown in leaps and bounds. "London Bridge" is a hot mess complete with rubbish lyrics, bad sampling and more false advertising about Fergie's irresistible hotness. A work of demented genius.

Pedestal

I've paid my dues
I'm a seasoned dame
So why you gotta throw salt in my game?

"Pedestal" is a direct response to the constant shit Fergie cops in the media. For whatever reason, the Dutchess is the pop diva bloggers and music journalists love to hate - criticising her music, rumoured botox addiction and weak bladder. This song is one long "fuck you" to all her haters. As she states in the revealing lyrics, Fergie has put in the hard yards. First as a child star in America and then as a member of the forgotten girlband, Wild Orchid. Unlike many of her contemporaries Fergie wasn't served her career on a silver platter and I respect that. "Pedestal" is compelling listening, if only for the legendary rhyming couplet "I work around the clock, so fill your mouth up with a sock"!

Voodoo Doll

This body's a temple of doom

"The Dutchess" really is a remarkable portrait of 21st century life. With Amy Winehouse and Britney destructing before our very eyes, Fergie's revelation of having overcome a crystal meth habit seems almost quaint in comparison. "Voodoo Doll" tackles Fergie's drug habit, making it one of the most personal tracks on the record. I'm particularly impressed with the lyrics - usually not one of Fergie's strongest points. This is as thought provoking and intelligent as any song I've heard about drug addiction. The production is also first class. The horns that come in at the end are a fantastic touch.

Glamorous

I'm no queen, I'm no machine
I still go to Taco Bell
Drive-through raw as hell

"Glamorous" is undoubtedly one of the year's finest pop songs. I was captivated by Fergie's gorgeous mid-tempo groove from the first listen and I still love every second of it. A radical departure in style, "Glamorous" is more traditional in structure and sound than most of "The Dutchess". Even the obligatory rent-a-rapper can't diminish the brilliance of this pop gem. "Glamorous" reflects on Fergie's life in the fast lane and documents her stunning achievements and massive success. For all the jibes about Fergie's perceived superficiality, "The Dutchess" is a very personal album.

Here I Come

Money don't change me
So hate if you gotta gotta
Cause I got a lot-a, lot-a

Listen to this awe-inspiringly awful pseudo cover of The Temptations' "Get Ready" at your own risk! The lack of respect shown to the original is really quite impressive. Fergie takes a much loved Motown classic, tears it inside out and comes up with a fabulously awful anthem, complete with lyrics about her humps and a dodgy rap. This is utter crap but I can't get enough of it. A guilty pleasure in the truest sense!

Velvet

Sink into me, I feel so warm

This song is clearly about Fergie's pussy. I'd rather not think about her "crumblin' walls".

Big Girls Don't Cry

Fairytales don't always have a happy ending do they?
And I foresee the dark ahead if I stay

The 4th single released from "The Dutchess" towers above everything else on the album, perhaps with the exception of "Glamorous". In my opinion "Big Girls Don't Cry" is the finest ballad of the year and the average music fan seems to agree as evidenced by the song's massive 9 week stretch at #1 in Australia. Reviews haven't been as kind, with many critics dismissing "Big Girls Don't Cry" as an empty exercise in false sentiment. A kind of "Self-Reflection For Dummies", if you will. Well, I'm not buying into that kind of cynicism. I totally identify with Fergie's mantra about growing up and finally taking responsibility and I admire the way "Big Girls Don't Cry" expertly explores the very modern phenomenon of "kidulthood" and the sense inertia that plagues Generation Y. The song also stands out as the most traditional offering on "The Dutchess". There are no samples, no guest rappers or quirky hooks. The emphasis is placed squarely on the lyrics and Fergie's hugely underrated voice. A modern classic.

Mary Jane Shoes

When I wear my Mary Jane Shoes
I can escape from the blues
The whole world seems a little bit brighter, brighter

When I think of reggae music, Bob Marley's famous protest songs come to mind. Fergie, on the other hand, uses the genre to extol the virtues of her favourite pair of shoes. That, my friends, is the difference between 1967 and 2007 in a nutshell. The amazing thing about "Mary Jane Shoes" isn't the questionable subject matter but the fact that the song works - incredibly well. This reggae jam would be really quite outstanding if it wasn't ruined by a completely unnecessary 30 second outro of guitar static. A missed opportunity for a very memorable single.

Losing My Ground

I woke up short of breath, but still I've got a long day ahead of me

"Losing My Ground" is a fairly forgettable album track that straddles the line between R'n'B and rock without committing to either genre. The lyrics explore the familiar theme of feeling lost and overwhelmed by life but it lacks the punch of Fergie's other reflective moments. Inoffensive but slightly boring.

Finally

Ever since I was a baby girl I had a dream
Cinderella theme, crazy as it seems

Fergie's collaboration with John Legend is a surprisingly sweet piano ballad. Think of this as the overwrought but strangely endearing sister of "Big Girls Don't Cry". The Dutchess puts in another fine vocal performance but the lyrics read like a badly written Hallmark card... or the random musings of a 21st century "it" girl. However, after the endless onslaught of samples and studio trickery, the pared back sound of "Finally" comes as something of a relief.


Get Your Hands Up (Bonus Track)

This song is credited to Fergie featuring The Black Eyed Peas. Surely that makes it a Black Eyed Peas track? In any case, it sure as hell sounds like one to me. If I wanted to hear will.i.am rap I'd fork out the cash for his shit solo album. No thanks.

Wake Up (Bonus Track)

The second bonus track finds Fergie in rock diva mode and the result is surprisingly convincing. "Wake Up" wouldn't sound out of place on a No Doubt album. This is a definitely a genre that Fergie needs to re-visit in the future. Worth a listen.

Maybe We Can Take A Ride (Hidden Track)

I hate these hidden tracks. It's annoying to listen to 30 seconds of dead air - particularly when you're greeted with a song as inane and pointless as "Maybe We Can Take A Ride". Fergie basically repeats the song title over an annoying saxophone line. Skip this shit.

"The Dutchess" is widely uneven dog's breakfast of an album. It dabbles in too many genres and, more often than not, is hampered by dodgy lyrics and excessive production. However, "The Dutchess" is so of its time that it almost defies criticism. If I had to pick one album to throw into a time capsule to represent the musical taste and social mores of 2007 this would be it. For better or worse.

CC Martini's Champagne Taste

Now here's something different for Pop Trash Addicts - a catchy rap jam about a pot dealer by Australia's latest hip hop sensation, CC Martini. Don't be too put off by that description. CC might throw it down with the best of them but this rap queen keeps one foot firmly planted in the pop world. "Champagne Taste" is an intriguing debut single. It was released a couple of months ago and peaked at #68, which is actually pretty decent for an independent act specialising in this kind of bizarre pop/rap/rock concoction. I usually don't stray too far from the trashy pop scene but "Champagne Taste" is really quite hard to resist with its cheeky lyrics about dealing drugs and crashing parties. The chorus is a real treat. I'm sure there are plenty of us who can sympathise with CC's dilemma of having "champagne taste and a minimum wage"! Not bad at all for someone who was discovered at a Christmas party in 2005. Check out the video below.

Make sure you add CC as a friend on Myspace. You can purchase the CD single from Chaos or download it from iTunes. CC's album, called "All The Way" is scheduled for release in May 2008. Should be worth a listen!

Songs Of Love & Loss - A Review

The title of Tina Arena's 6th studio album is derived from the dictionary definition of a torch song and "Songs Of Love & Loss" more than lives up to its billing. Tina has lovingly selected 12 songs that explore the map of the human heart with subtlety and grace. There is no emotional grandstanding on "Songs Of Love & Loss", no vocal acrobatics and most definitely, no false sentiment. Instead, Tina lets the music take centre stage. This is not another album of lazily thrown together cover versions. "Songs Of Love & Loss" is a wonderfully cohesive body of work that not only highlights Tina's beautiful voice but also her considerable skill as a storyteller.

There has been a flood of covers albums released in Australia this year. I've heaped praise on the Young Divas' batch of trashy gay anthems and given Marcia Hines' collection of soulful covers a glowing review. As much as I love those albums (and I love them A LOT!), neither comes close to matching the thoughtfulness and artistry on display in "Songs Of Love & Loss". The difference essentially lies in care with which Tina's album has been put together. The orchestral backing is superb, the production is lush and detailed and the songs flow together effortlessly. In a recent interview, Tina stated that she originally intended to record an album of Dusty Springfield classics before broadening the scope of the project to incorporate songs performed by other acts. It's a testament to Tina's amazing talent that she has created an album that Dusty would have been proud to call her own.

The Look Of Love

"Songs Of Love & Loss" fittingly opens with a song first recorded by Dusty Springfield. Burt Bacharach and Hal David's dreamy lounge classic has since been covered by everyone from Dionne Warwick to Nina Simone. That's pretty heady company for Tina but she more than holds her own, coming up with one of the album's many highlights. The restraint displayed by Tina's vocal delivery and the subtle production is admirable. "The Look Of Love" is a delicate treat.

I Just Don't Know What To Do With Myself

The second track on the album is another Bacharach/David composition immortalised by Dusty Springfield. Few songs convey the pain of rejection as eloquently and elegantly as "I Just Don't Know What To Do With Myself". It's hard to go wrong with material like this and Tina wrings every last drop of emotion from the gorgeous lyrics. The sublime mix of guitar and strings is an absolute delight.

So Far Away

"So Far Away" is one of the big surprises on "Songs Of Love & Loss" and possibly the best song on the album. Carol King's original appeared on her classic "Tapestry" album in 1971. However, listening to Tina's exquisite cover version you'd be forgiven for thinking it was a lost 60s classic. The song has been pared back to its lovely melody and then given a complete makeover. The highlight of this beautiful number for me is Tina's exquisite vocal delivery. Even in a whisper, Tina's voice positively drips with feeling.

To Sir With Love

Lulu was the vilest creature to emerge from Britain until Amy Winehouse and Lily Allen were hatched in some dilapidated housing estate toilet. I can't stand the bitch and I've always hated "To Sir With Love". Therefore, it took some time for me to warm to the first single from "Songs Of Love & Loss". Apart from Lulu, my main objection with "To Sir With Love" is the dodgy subject matter. What kind of tragic slut would want to sing a love song to their teacher in this day and age? But I digress. For such a dated song, "To Sire With Love" boasts the most uptempo and modern production on the album, providing a welcome change of pace. Tina's version is a lot of fun but "To Sir With Love" is one of the few songs that doesn't completely gel with album's tone and mood.

The Man With The Child In His Eyes

I'm not a huge Kate Bush fan but "The Man With The Child In His Eyes" deserves its status as a modern classic. Until I heard Tina's interpretation, I fully believed that Kate's 1978 top 10 hit was one of those songs that should never be touched. I couldn't have been more wrong. Tina's beautiful version is a triumph. The kookiness of Kate's original is slightly reigned in, transforming the song into something akin to a lullaby for adults. The percussion and strings are just exquisite. A absolute gem.

Do You Know (Where You're Going To)

The first of two Diana Ross covers is the gorgeous theme to Diana's craptastic 1975 movie, "Mahogany". "Do You Know" was a massive #1 hit for Diana and is probably the only song to be covered by both J. Lo and Mariah Carey. Thankfully, Tina's version sidesteps their rubbish attempts and seeks inspiration from the original. The result is an irresistibly bittersweet concoction that soars with emotion. Tina continues to display her amazing range and the orchestral backing is effortlessly elegant. Classy.

Love Hangover

Tina's second Diana Ross cover is a stunning triumph. When I first saw "Love Hangover" on the tracklist, I was concerned how this 1976 disco classic would work on an album of torch songs. As it turns out, my doubts were completely unfounded. All the disco elements have been stripped from "Love Hangover", leaving a sultry lounge classic. The pleading lyrics and lush backing make this the perfect chill out anthem. Tina has never sounded so confident and sexy. I demand remixes!

I Only Want To Be With You

After a string of surprising song choices, Tina returns to the Dusty Springfield songbook for inspiration. "I Only Want To Be With You" is perhaps Dusty's most covered song. Who could ever forget Samantha Fox's amazing rendition, for example? Strangely, Tina's version is one of the few missteps on the album. I think it was mistake to transform "I Only Want To Be With You" into a slow ballad, robbing the song of its naive optimism. Tina's voice is divine and the string backing is masterful but I find this interpretation unnecessarily dull.

The Windmills Of Your Mind

"The Windmills Of Your Mind" won the Academy Award for best song in 1968 and has been a much loved standard ever since. Although strongly associated with Dusty Springfield, "Windmills" has never really been owned by a singer until now. The emotionally charged lyrics are brought to life by Tina's articulate delivery and the jazzy backing evokes the swinging 60s with great style. Another triumph.

Everybody Hurts

REM's "Everybody Hurts" must be the hot ticket for concept albums, appearing on recently releases from David Hobson and Marcia Hines. David's operatic interpretation was utterly painful but Marcia's soulful version was surprisingly endearing. To be honest, I could live without ever hearing another cover of "Everybody Hurts" but Tina's delicate rendition is undeniably lovely. The opening piano line is gorgeous and Tina finally gives her golden pipes free reign after showing admirable restraint over the past 9 songs. It's a tribute to Tina's artistic vision that a 1960s classic like "The Windmills Of My Mind" flows so effortlessly into REM's self-pity anthem from 1992. Artful.

Woman

The first of two songs penned by Tina, "Woman" first appeared on her 2001 album "Just Me". The song has been completely overhauled and re-recorded complete with an orchestral backing. I've always considered the original to be one of Tina's most evocative and personal songs with confronting lyrics like "I've learned to abide, not allowed to cry. I understand, I need to be a man just to survive". This version takes the song to new heights with its driving guitars, elegant percussion and Tina's soaring vocals. "Woman" is spine-chillingly good.

Until

The only new song on the album showcases Tina's exquisite songwriting ability. "Until" is a breathtaking conclusion to a truly brilliant body of work. By saving the only completely original contribution for the very end, Tina makes a bold statement. An album of covers was a necessity from a commercial perspective but Tina reminds the listener that her own material can more than hold its own - even in this distinguished company.

"Songs Of Love & Loss" is an extraordinary snapshot of an artist at the very top of her game. Tina's first Australian studio album in 6 long years is a modern classic.

Hazell Dean Sings ABBA

Rug munching dance diva Hazell Dean has been a favourite of mine since her glory days as the pre-Kylie queen of Stock Aitken Waterman. Songs like "Searchin'", "Whatever I Do (Wherever I Go)" and "Who's Leaving Who" are pop classics and rank as some of the finest material to ever be churned out by the hit factory. Unfortunately, the hits began to run dry in the late 80s and like any sensible down on her luck diva, Hazell turned her focus to the club scene and frequently collaborated with Hi-NRG guru Ian Levine (with varying degrees of success). At her lowest point in the mid-90s, the leading lesbian of dance recorded an album of Hi-NRG ABBA covers.

Words can not adequately describe the agony and the ecstasy that is "Hazell Dean Sings ABBA". The musical equivalent of a car crash, reason dictates that the album should be set on fire or thrown in the nearest garbage bin but I can't get enough of Hazell's Hi-NRG ABBA covers. Apart from its obvious camp appeal, the joy of Hazell's ABBA tribute album lies in the unusual song selection. Hazell gives a batch of lesser known ABBA gems a makeover. "If It Wasn't For The Nights" and "Andante, Andante" are two obvious standouts. Several ABBA classics are still represented. You haven't lived until you hear the tacky keyboards on "S.O.S." or Hazell's hilariously upbeat interpretation of "The Winner Takes It All" (a lofty #89 "hit"). Not surprisingly the album flopped to an extent that would shame La Toya Jackson but Hazell's misunderstood masterpiece has found a loyal cult following and has been re-issued at least 5 times. Fuck "ABBA Gold"! Who needs the real thing when you could be listening to Hazell's trashtastic covers? "Hazell Dean Sings ABBA" is a pop trash classic.

The Pop Trash Diva Update

The unparalleled musical genius of Billiam was always going to be a hard act to follow, so I thought I'd just ramble on about a few of my favourite divas tonight. As Dannii's #1 fan (not currently undergoing psychiatric treatment), I feel it's my duty to remind everyone that Dannii's stunning new single is released tomorrow in the UK. "Touch Me Like That" is a sublime slice of dance music built around a throbbing sample of Sylvester's "Mighty Real" and deserves to be a massive hit. Unfortunately, download sales have thus far been underwhelming. Beautiful Dannii can console herself with the knowledge that "Touch Me Like That" debuts on the Australian club chart this week at #48!

Dannii isn't the only Minogue making waves on the ARIA charts. While not quite as spectacular as Dannii's stunning club debut, Kylie has claimed the top stop on the Australian album chart with "X" - giving the older Minogue her third #1 album. Having lived and breathed "X" for the past week, I'm more convinced than ever that Kylie has crafted one of the best albums of her career. Hell, I've even grown to appreciate "Nu-Di-Ty"! If you're looking for the perfect Christmas present for a Kylie fan, you can't go past the "X" USB (pictured above). Mine arrived on Friday and I haven't had this much fun with a toy since my last trip to Adult World. As far as I know, there are no plans to release the USB in Australia, so you're best bet is to order it online. It's currently being stocked by Play.com and HMV UK.

Hopefully some of Kylie's success can rub off on Tina Arena. I've had a sneaky listen to Tina's "Songs Of Love & Loss" ahead of its official release on Monday and the album is breathtakingly beautiful. Tina not only interprets a selection of much loved classics - she takes them to new heights and makes them her own. If the popularity of "To Sir With Love" on iTunes is any indication, "Songs Of Love & Loss" has every chance of being a big hit. Expect a detailed review of the album later in the week.

In further chart news, the Young Divas land at #10 with "New Attitude". I've already sung the album's praises to anyone who will listen but I probably haven't mentioned the brilliance of the iTunes bonus track. The Divas take on Whitney Houston with a cheeky cover of "I Wanna Dance With Somebody". Needless to say, it's camper than Kylie at an ABBA concert and is well worth downloading. Speaking of high camp divas, it's hard to surpass the classy antics of She Is The King - Australia's beloved female Elvis Impersonator. SITK's glorious cover of "Viva Las Vegas" (complete with drag queen filled video clip) was one of the year's poptastic highlights and her new album promises more of the same. "Comeback" serves up a fine selection of Elvis covers and is released tomorrow. While you're there, why not pick up the Gold Tour Edition of Marcia Hines' amazing "Discotheque" album. More about that later.

Last but definitely not least is Chloe Lattanzi. Olivia Newton-John's daughter is ten kinds of crazy but there is no denying her huge talent. Chloe's catchy anorexia anthem, "Delicious", is one of my favourite tracks of 2007 and the other material to leak from her forthcoming album has been phenomenal. I was very excited to read that Chloe is finally ready to release her debut single in Australia after more than three years of delays. Chloe is set to launch her career with "It's Magic", an insanely catchy anthem that heavily samples her mother's #1 hit from 1980. The song has been a favourite of mine since the demo first appeared on Chloe's Myspace and I'm confident it will be huge! Chloe is THE upcoming diva to watch in 2008!