From the lofty heights of Kylie to the more... common delights of Karen Danzig. Well, this place is called Pop Trash Addicts for a reason! The lovely and highly glamorous (see above) Karen first came to my attention a couple of years ago when she teamed up with Styles & Breeze for the UK top 20 hit "Heartbeatz". That song was surprisingly picked up for an Australian release by Central Station and swiftly became a firm favourite of mine. It even placed in my best of 2006 countdown, where I lamented that "Karen should be as massive as Kelly Llorenna"! Unfortunately that might be too great a mountain to climb but this plucky diva is giving it her best shot with another trashtastic dance anthem called "La La La La La". If anything this is an even bigger pile of fabulous Hi-NRG crap than "Heartbeatz". The song is pure tat with a chorus so cheesy it would shame Whigfield but I love it and I think fans of the genre will be equally smitten by Karen's little ditty. Make sure you check out the video clip (below). I want some of what she's on! To conclude, here are three facts you may not know about this stunning talent:
1. Karen appeared on the first series of X Factor with her girlband Tula. 2. She worked with Mike Stock and Matt Aitken as lead singer of The Park. 3. Her resume includes "performing" as a lapdancer!
Kylie B-sides rank alongside sex and chocolate as one of life's great pleasures. In fact, they are probably the best of the lot. Listening to "Made Of Glass" on repeat won't make you fat or give you crabs. So what makes these rejects so intoxicating? Well, as any fan will tell you, many of Kylie's best songs have routinely (and quite inexplicably) missed the cut over the years. It's not uncommon for the B-side to be superior to the actual single. I gave up trying to understand the phenomenon long ago and just accept it now as a quirk of Kylie fandom. The other interesting thing about B-sides is the fascinating insight they provide into the evolution of an album. At least they did before we were drip fed every minor detail via the internet. The "Light Years" B-sides, for example, are mostly organic guitar driven songs - light years (excuse the bad pun) away from the album's upbeat disco-pop sound, while the "Body Language" B-sides show traces of a dance album that never eventuated. The situation would be unbearably frustrating if Kylie wasn't so generous with her bonus material. I count approximately 40 B-sides, not including leaked songs, bonus tracks or side projects. Here are my top twenty:
1. Ocean Blue (2000)
Making my mark on tomorrow, doing nothin' today
The amazing B-side to "On A Night Like This" has been one of my favourite songs since the first time I heard it and only seems to get more beautiful with each passing year. Written by Kylie and Steve Anderson, "Ocean Blue" is probably the most pared back track of Kylie's career. It's just her, a guitar and some strings toward the end. The result, however, is unexpectedly magical. I love Kylie's voice on this and the lyrics really touch a nerve with me. I've always interpreted it as a kind of mantra to chill out and live for the moment but it could just as easily be a straightforward love song or an ode to water sports. Ok, probably not the latter but whatever the case may be, "Ocean Blue" is exquisite and shows a very different side of Kylie.
2. Made In Heaven (1988)
When it calls me is it just like music and lights Or is that just a fairytale?
"Made In Heaven" was apparently going to be a double A-side with "Je Ne Sais Pas Pourquoi" but was relegated to B-side status at the last minute. An unfortunate decision given that "Made In Heaven" is arguably one of the best songs Stock/Aitken/Waterman ever wrote. The sense of wide-eyed innocence and wonderment captured on this track is palpable and the production is suitably joyous and sweet. SAW were notoriously stingy with B-sides, which makes this all the more special. The remix (which was amusingly re-titled "Maid In England", "Maid In Australia" and "Maid In Sweden" depending on the release territory - despite the fact that they are all exactly the same!) is also a fabulous 80s treat. Check out the amazingly cheap video clip below. What the hell is going on with Kylie's hair?!
3. Tightrope (2002)
These days I find, you're always on my mind
My friends are going to be pretty shocked to see "Tightrope" only come in at number three given the fact that I usually list it as my all time favourite Kylie track. Written by Pascal Gabriel, "Tightrope" is one of the most majestic pop songs of the decade. It's wistful, melancholic tone sets it apart from just about everything else in Kylie's amazing back catalogue. The reason for its relatively low placing on this countdown is the subtle but obvious difference between the version that features on the Australian edition of "Fever" and the inferior mix used as the B-side to "In Your Eyes". Given that I'm ranking B-sides, I have to focus on the latter. I don't think an explanation was ever given for the changes but they were definitely not an improvement. Some interesting production flourishes were lost and the backing vocals are much less prominent, robbing the song of it's unique gospel-pop sound. Nevertheless, this is still a magnificent track. It's just a shame someone decided to fuck with perfection. Fingers crossed that Kylie works with Pascal again in the future.
4. Glad To Be Alive (1987)
Life's so hard some days You need something new to wear Like a brand new hat
To paraphrase an earlier post, Kylie's output with Stock/Aitken/Waterman is rightly appreciated by pop fans around the globe but the Australian version of "Locomotion" and its fabulous B-side have been all but forgotten. It's a shame because the original 1987 "Locomotion" is superior to the hit factory produced "The Loco-Motion" and "Glad To Be Alive" remains one of my favourite Kylie songs to this very day. Written and produced by two members of Australian new wave band Kids In The Kitchen (another act signed to Mushroom at the time), the track is utterly joyful despite the dodgy lyrics about buying new headwear. It also offers an intriguing clue as to what Kylie's debut album would have sounded like if she hadn't jumped on that plane to England.
5. Love Takes Over Me (1998)
How did I fall prey to this?
I was floored the first time I heard "Love Takes Over Me". I couldn't understand why it wasn't the lead single from "Impossible Princess", let alone fathom how it could have been left off the album entirely. The B-side to "Cowboy Style" positively bubbles with urgency and foreboding. Kylie has never sounded so dark, sinister and irresistibly sexy - before or since. I particularly love the production on this, the electronic sound effects and intricate layering are dazzling. "Love Takes Over Me" still sounds as fresh and original as it did 11 years ago.
6. Good Like That (2002)
So take a chance and love me fast I give you all, all that I have
The "Fever" era produced some of Kylie's best B-sides and "Good Like That" has always been one of my absolute favourites. This is a pure pop delight with an instantly catchy chorus and memorably sweet, if not particularly deep, lyrics. The track is also notable for being Kylie's first collaboration with producer Cutfather, one half of the Danish duo behind "Like A Drug" and "All I See" on "X". As much as I love the song, it's hard to argue that it actually belonged on "Fever". The American pop sound would have been jarring among the more synth heavy tracks but it doesn't change the fact that "Good Like That" is as cute as a button.
7. We Know The Meaning Of Love (1990)
This is the perfect example of a B-side compensating for a relatively shit single. "Tears On My Pillow" has never been one of my favourite Kylie songs but I absolutely adore "We Know The Meaning Of Love". It's a fairly standard Stock/Aitken/Waterman produced ode to young love but the song lacks the cynicism that mars some of their lazier moments and the upbeat production nicely juxtaposes the bittersweet lyrics. Many fans insist that "We Know The Meaning Of Love" was a #1 hit in Sweden but I'm yet to see any proof, so I'll put that down to urban legend. The song's phantom Swedish chart success aside, this would have made a lovely contribution to "Enjoy Yourself". Particularly to the ballad heavy second half. Check out a wonderful fan video for the extended version below. It's great to see all that old footage!
8. Never Spoken (2002)
Those three little words Were they ready to be heard?
Another Collaboration between Kylie and Steve Anderson, "Never Spoken" is one of the four fantastic B-sides to emerge from the various releases of "In Your Eyes". This breezy slice of guitar pop isn't quite as majestic as "Tightrope" or as instantly catchy as "Good Like That" but I find myself coming back to it again and again. I love songs that capture an every day experience or emotion - like a brain fart that results in you telling someone you love them after a week. Not that I'm talking from experience anything. "Never Spoken" reminds me of a more upbeat version of "Ocean Blue" and I've often wondered if it evolved from those sessions. The track doesn't really fit the "Fever" sound at all, which might be why it stands out as such a fan favourite.
9. Soul On Fire (2003)
Forget all that I said Can't we go back to bed?
I still remember how excited I was when I first got hold of "Slow". That stunning electro jam pushed all my buttons and the B-sides ("Soul On Fire" and "Sweet Music") promised even better things from the album. Talk about false advertising. While "Body Language" didn't quite live up to my expectations, my love for "Soul On Fire" has only deepened over time. Written by Kylie, Dan Carey and alternative pop princess Emiliana Torrini (the exact same team behind "Slow"), this seductive little number is an unexpected gem. Everything about the track is subtle and understated, from the beats to the chorus. "Soul On Fire" would have sounded amazing next to "Someday" or "Loving Days" but was cut in favour of trash like "After Dark". Go figure.
10. Carried Away (2008)
The heat of the dancefloor's just too sexy
The fabulous "X" B-sides have been conspicuously absent from my countdown thus far but I've tried to give extra to wait to songs that have already stood the test of time. "Wow" is generally considered to have delivered the best B-Sides since "In Your Eyes" with the tasty trio of "Do It Again", "Carried Away" and "Cherry Bomb". I'm fond of all three but the former is a little too Eurovision for my liking, while the latter suffers from Bloodshy & Avant's amazing ability to overproduce. "Carried Away", on the other hand, is a perfect example of what Kylie does better than any other diva - sing bright, shiny pop songs about having fun at the disco. Greg Kurstin's production is pure Eurodance, making this the closest Kylie will probably ever come to sounding like Kelly Llorenna. Which I consider to be a very good thing.
11. All I Wanna Do Is Make You Mine (1988)
I all really wanna do is make you so, so happy All I wanna do is make you smile
As much as I love giving "Especially For You" the occasional spin, I've always preferred the B-side. "All I Wanna Do Is Make You Mine" is a rambling epic that borrows strongly from (ie. blatantly rips off) "You're The One That I Want". Little more than a demo, this cute duet with Jason Donovan sounds strangely underdone but it never fails to lift my spirits. Stock/Aitken/Waterman definitely had a patent on slightly inane but utterly joyous pop music.
12. Paper Dolls (2000)
There's nothing more I can do Than fall a little more in love with you
"Paper Dolls" is one of the most romantic songs Kylie has ever recorded. The lyrics are gorgeous and Kylie's voice has rarely sounded so beautiful and delicate. This lovely gem was the B-side to "Spinning Around" way back in 2000 and has held up considerably better than its iconic stablemate. Yet another Steven Anderson collaboration, I think "Paper Dolls" had the potential to be a hit - it would have sounded brilliant on radio - but it just didn't fit on "Light Years". Writing about (and listening to) all these stunning tracks, I can't help but hope someone puts together a "Hits+" type compilation for the Parlophone era. These songs deserve better.
13. B.P.M. (2004)
I wanna lose myself in your beats per minute
Everything I said about "Carried Away" equally applies to "B.P.M." - well, apart from the whole Kelly Llorenna thing. This is Kylie by numbers: A fun song with a great chorus that makes you want to move your feet. Written by Kylie, Richard Stanning and Julian Gallagher, "B.P.M." came to life during the "Body Language" sessions before finally appearing as the B-side to "I Believe In You". This would have brightened up "Body Language" no end but I guess it was too catchy and upbeat for that album. Interestingly, the song has already been covered - twice! Swedish diva Dani Evermore had some chart success with her lovely version in Poland, while according to the jokers at Wikipedia 70s folk icon Janis Ian apparently covered it in 2005! I'll believe that when I hear it.
14. Just Wanna Love You (1989)
I could make you happy If you'd take a chance on me
The Stock/Aitken/Waterman produced B-side to "Hand On Your Heart" boasts what could be the worst vocal performance of Kylie's career. Her voice comes across as dull and lifeless, while the whole thing sounds like it could have been recorded on someone's answering machine. The lyrics aren't much better. I can't help but laugh every time I hear Kylie sing "there's nothing fatal in attraction, I'm just looking for some action". And yet, I always get a cheap thrill when this pops up on my Ipod. I'm a sucker for SAW Kylie and "Just Wanna Love You" really is quite fabulous in a so bad it's great kind of way.
15. Made Of Glass (2005)
It's like a million beats in a Parisian heart
After producing Kylie's worst ever single ("Giving You Up"), Xenomania redeemed themselves somewhat by coming up with this spectacular B-side. "Made Of Glass" is everything that "Giving You Up" wasn't - fresh, original and edgy. The largely nonsensical lyrics are undeniably pretty, while the spoken word verses counterbalance the subtle but effective chorus. From memory, this was only leaked when Rachel Stevens expressed interest in butchering it. Sneaky! "Made Of Glass" was actually released as a double A-side in Australia and this received the majority of radio airplay, becoming a top 10 hit.
16. Do You Dare? (New Rave Mix) (1992)
Do you dare? Cause if you do I'll take you there
I used to think this was the coolest song ever released back in the 90s. Listening to it now, the trashtastic B-side to "Give Me Just A Little More Time" is little more than Kylie screaming the song's title over some incredibly dated beats - courtesy of Mike Stock and Pete Waterman. It doesn't matter, I still love every second of it. Put this on, grab some glowsticks and party like it's 1992!
17. If You Don't Love Me (1994)
You can tell me anything, I'll believe you
The most famous "Confide In Me" B-side is unquestionably Kylie's version of St. Etienne's "Nothing Can Stop Us" but I've always found that fan favourite strangely underwhelming. I much prefer the other B-side, Kylie's acoustic cover of Prefab Sprout's 1992 single "If You Don't Love Me". I would have loved to hear an electronic version along the lines of the original but the song sounds amazing stripped back to basics. Kylie's voice is gorgeous on this, those high notes still give me goosebumps. It's relatively low ranking is only due to the fact that the song reminds me so strongly of the superior "Hits+" track "Stay This Way".
18. King Or Queen (2007)
Dancefloor royalty, that's what you are to me I salute you!
Kylie, Karen Poole and Greg Kurstin apparently brainstormed "King Or Queen" in Ibiza and you can almost smell the Sangria and sweaty Spanish nightclubs. Another tale of disco shenanigans along the lines of "Carried Away" and "B.P.M.", the "2 Hearts" B-side stands out thanks to the overtly camp lyrics and the fabulous spoken interlude. I think this would have made a nice addition to "X" but it's not as glaring an omission as "Rippin' Up The Disco" or "Lose Control". Nevertheless, this is great fun and sorely underrated among Kylie fans.
19. Say The Word - I'll Be There (1991)
If you're deep in the jungle boy caught in a winter storm kidnapped by anyone I'll set you free
No this isn't a cover of the Jackson 5 classic but a bad lyric (see above) filled epic written by Kylie and two thirds of Stock/Aitken/Waterman. Objectively, I know the "Word Is Out" B-side is sentimental crap without a redeeming feature but I've always found its shortcomings hugely appealing. Maybe it's the trash lover in me but I've played "Say The Word - I'll Be There" more times over the years than I care to admit. At the very least this should hold some interest to fans due to it being so different from everything else recorded in the "Let's Get To It" era. Don't judge me!
20. Cherry Bomb (2008)
The more I think of you, the more I melt like ice cream
I mentioned earlier that I'm not a huge fan of Bloodshy & Avant's heavily produced sound but "Cherry Bomb" is superior to their other "X" contributions and the song continues to grow on me with every listen. It's hypnotic, edgy and sexy - in a robotic kind of way. The sound is very now but I wonder how it will hold up in ten years time. In the meantime I plan to play this jam. A lot.
Worst B-Sides:
I've listed my 20 favourite Kylie B-sides. Here are 5 stinkers to avoid at all costs.
1. Love At First Sight (Live) (2004)
Utterly pointless.
2. Almost A Lover (2004)
Possibly the single most vile thing Kylie has ever recorded - after "You Make Me Feel".
John from Pop Music Notes recently wrote a great post about the age old practice of overhauling music videos for different markets. This has been going on since the dawn of the MTV generation and shows no sign of letting up. John asked for memorable examples and I named Robyn's horrible UK remake of "Handle Me" as the prime example of how not to do it but I could have just as easily listed September's dreadful update of "Cry For You" (please remember that I'm talking about the video - not the song, which I adore). Almost a year has passed since that tragedy was unleashed on unsuspecting pop fans and September has finally found the time to re-work her "Can't Get Over" film clip to coincide with the song's impending UK release. Compare the Swedish original (here) with the new version above. Happily, this time the makeover is actually a significant improvement!
I know I'm in the minority on this. Most of September's fans have railed against the cheesy sci-fi theme and hilarious special effects but I love it and think it's a trash classic in the making. The new version has spaceships, a couple of robots and an array of tacky costumes that would make Melissa Tkautz green with envy. It's like an ultra cheap version of Kylie's "Can't Get You Out Of My Head"! The original, on the other hand, was a disjointed mess that went absolutely nowhere. I will concede that Petra looked significantly better in the Swedish version (there's some serious Benjamin Buttons shit going on in the UK re-make!) but all things considered, this bright and colourful visual journey is a much better fit to what is basically a very fluffy pop song.
Speaking of the music, I love the new remix. Does anyone else think they've added a cheeky sample over the intro? It's hardly original but it works and the remix manages to beef up the production, which previously bordered on the insipid. "Can't Get Over" has never been one of my favourite tracks from "Dancing Shoes" and I'm slightly concerned for its chart prospects. I have my fingers crossed that lightning strikes twice and September rides that fabulous spaceship to the top of the pops! "Can't Get Over" is released in the UK on the 9th of March and I'm told it will more than likely get an Australian release under the newly restructured Central Station Records. I'll keep you posted.
Note: Scandipop recently conducted an interesting and insightful interview with the Swedish diva. Check it out here.
The original Swedish cover - The new artwork is yet to be released
You're looking at one of my most prized possessions. I stumbled across this amazing 80s relic on Ebay a couple of years ago and just knew that it belonged in my collection. The sight of prim and proper Julie Anthony in that fabulous tracksuit immediately caught my attention and I was interested to hear her pop material. To cut a short story even shorter, it turned out to be the best one cent I've ever spent! "Here I Am" not only delivers an endearing selection of 80s cover versions, it also gave me a whole new appreciation for one of Australia's best loved divas. Like most people under the age of 30, I had always associated Julie Anthony with two things - the national anthem and St. George bank. The former due to her habit of performing it at every second sporting event ever held in this country and the latter for her memorable television commercials. I knew that Julie had a very successful singing career in the 1970s but I had no idea it continued well into the 80s and never, ever pictured her belting out a Hi-NRG cover of Irene Cara's "Fame" or ABBA's "The Winner Takes It All"!
One Of Julie's Iconic St. George Bank Commercials
Released in 1982, "Here I Am" mainly consists of faithful renditions of modern pop hits with a couple of standards and one original track (at least I think it is) thrown in for good measure. The production is fairly formulaic but all 18 songs are lovingly performed and hold up remarkably well more than 20 years later. Part of what makes the album so interesting is the eclectic tracklist. There are a couple of obvious choices ("Some Enchanted Evening" from South Pacific, Elton John's "Blue Eyes" and Cliff Richard's "We Don't Talk Anymore") but the majority of "Here I Am" is weird and rather wonderful. Julie's version of "Have You Ever Been In Love" gives Leo Sayer a run for his money, while a cheerful rendition of "Arthur's Theme" sits happily next to an outrageous cover of The Carpenters' "Calling Occupants Of Interplanetary Craft" - complete with a lisping alien, no less! That is probably my favourite track on the album along with Julie's aforementioned take on ABBA's oft covered "The Winner Takes It All". As much as I love Kylie & Dannii's recent attempt, Julie's dramatic version is infinitely better. Check out Julie's stunning interpretations below:
Calling Occupants Of Interplanetary Craft
Winner Takes It All
Other memorable moments include accomplished interpretations of Sheena Easton's "For Your Eyes Only", Stevie Wonder's "Lately" and Michael Jackson's "One Day In Your Life" - as well as a very cute rendition of Joey Scarbury's "Believe It Or Not" and a toe tapping cover of "Why Do Fools Fall In Love". The track that I think might be an original is a pretty ballad called "China Blue" (it's definitely NOT a cover of Fancy's similarly titled Eurodance classic) but hopefully someone will let me know if I'm mistaken. You can hear short clips of most of the tracks in the amazing television promo below. I'm so grateful to the person who stuck this gem on youtube. Julie's outrageous outfits, stunning perm and glamorous eye make-up deserve to be preserved for posterity! "Here I Am" was only one of several cover version heavy albums Julie released in the early 80s. All of them are highly recommended and can probably be found lying at the bottom of a bargain bin near you.
I've been meaning to write something about Spain's greatest living talent since returning home in December but I resisted. I honestly felt that mere words were incapable of describing her magnificence. However, an amazing gift from my Spanish friends has inspired me to try. Pablo and Bubu were kind enough to send me a copy of Merche's recently released discografia completa - a breathtaking collection that includes the Spanish diva's 4 studio albums, a disc of unreleased material and a DVD of her stunning low budget videos. It's probably the single most beautiful thing I've ever seen in my life and perfectly captures the essence of Merche. I'm sure most of the people reading this are currently wondering - who the fuck is this fabulous bitch? Well, 34 years ago an angel farted over Cádiz and Mercedes Trujillo was put on earth to bring joy and bad fashion to the masses. She is an icon in Spain and one of my favourite divas. Here is my brief guide to Merche.
Before there was Merche, there was Luna. That was the awful stage name my sweet petal used to compete for Eurovision selection in 2001. In a shocking turn of events, Spain's gift to the world only came 6th in the national finals but she caught the attention of Vale Music and scored a record deal. Thankfully, they changed her name back to Merche for the release of her debut album in 2002. "Mi Sueño" is almost as classy as the cover (above). It's an engaging collection of pop songs - with a bit of flamenco flavour and even a slight Latin feel. The album is also notable for the fact that Merche wrote all the lyrics and music herself, making her perhaps the most fabulous singer songwriter in the history of music! "Mi Sueño" reached number 12 in Spain and sold Platinum on the back of four hit singles. I particularly love "Como Pude" but I think this single best sums up early Merche:
"No Me Pidas Más Amor" is a percussion heavy jam that showcases Merche's knack for writing a catchy chorus. The video (above) also established her amazing lack of style and helps explain why she is cruelly considered a low class trashbag by Spanish snobs. While it's true that Merche looks like a $10 prostitute who just got off the bus from Mil Viviendas, that's part of what makes her so fabulous. She really has the common touch! I particularly love her Kelly Llorenna sunglasses and the hideous brown leather skirt. However, the best thing about the video is Merche's amazing dance moves, her sexy bedroom eyes and the really hot guy! Mi Sueño is to meet him next time I'm in Spain.
2004's "Auténtica" was my introduction to Merche and gets my vote for her best album. It also brings back so many great memories of Spain. Parker insisted I listen to some Merche when I hung out with him and Coque in Alicante and even gave me one of his famous lectures about her greatness. As usual, he was right. It was love at first sight when I saw Merche's beautiful face staring back at me from a row of CDs in FNAC. For her second album, the Spanish goddess turned to Sweden for inspiration. The album was recorded at Dreamworld Studios in Stockholm and the Swedish producers gave Merche's music a new poptastic dimension. "Auténtica" was an even bigger success than "Mi Sueño". It peaked at number 7, spawned 5 singles and sold over 100,000 copies (which surprisingly is quite a lot for Spain). I love the entire album but special mention has to go to "Abre Tu Mente" (below).
I thought Dannii was the only diva fabulous enough to sing an upbeat dance song about domestic violence (ie. "Love Fight") but Merche did it first. And better. "Abre Tu Mente" is apparently a commentary on abused women - not that you can tell from the catchy beats and uplifting chorus! The video, as usual, is an absolute triumph. The first thing you notice is Merche's glamorous new image. Instead of looking like a prostitute, my angel now resembles a transvestite with her big hair and killer heels. For full effect, check out her stunning black leather bra and mini-skirt combination in the nightclub! Apart from the fashion, other highlights include Merche's brilliant acting and the hot, shirtless guy playing her husband. For more "Auténtica" trash, check out the amazing video for "Me Han Vuelto Loca". There's more man flesh on display and Merche raids her local brothel for some style hints. The slutty dance routine in the middle of the street is heaven!
If "Auténtica" was Merche's experiment with Europop, then 2005's "Necesito Libertad" is very much her American opus. The album was recorded in Miami and produced by Marcello Azevedo, who had previously worked with lesser talents like Paulina Rubio and Marc Anthony. Marcello's bold style was a great fit for Merche. The big ballads really showcase her amazing voice, while the uptempo tracks have a distinctly Latin feel. It's basically a return to the blueprint of her first album - only with better songs and production. That combination proved irresistible and "Necesito Libertad" swiftly became a top 5 hit in Spain and remains Merche's biggest selling album. There's so much to enjoy about this gem (I love "Dos extraños", "Todo Un Riesgo", "No Lo Olvido" and the title track) but the highlights are definitely "Eras Tú" (below) and "Bombón".
"Eras Tú" is the Spanish sensation's highest selling single and one of my all time favourite ballads. This is very much the kind of music Mariah Carey and Christina Aguilera would make if they could speak Spanish. Properly. It's dramatic, emotional and completely over the top. Merche loses her restraint but it only makes "Eras Tú" all the more enjoyable. Unfortunately, I think Merche also turned to Mariah and Xtina for styling tips. The theme for this album is definitely "hooker" but it's a look that Merche does better than any other woman on the planet. She actually looks quite dignified in the "Eras Tú" video apart from the ugly Shakira hairstyle but she's back to her trashtastic best for "Bombón". This song and video sums up everything I love about goddess Merche. The red "dress" is amazing and those dance moves!
Who is the bland bitch on the cover of 2007's "Cal y Arena"? I refuse to believe that boring housewife is my Merche. A makeover was probably long overdue but some fuckwit has sucked all the fun out of my baby. Merche fans expect her to look like she's been styled by blind drag queens. This new, classy image was an unpleasant shock to my system! Unfortunately, the content of the album reflects the sterility of the cover. Produced by Carlos Jean (Miguel Bose, Marta Sanchez etc), "Cal y Arena" strips Merche's music back to the very basics. The sound is very organic, almost acoustic - which is typical for the Spanish charts. Unfortunately, this horrible less is more approach doesn't suit Merche's natural flamboyance at all and the album is a bit of a disappointment in comparison to her previous masterpieces. I guess it's not all bad. The title track and lead single (below) is delicate and pretty, while the follow-up, "Ya No Me Digas Lo Siento", is the closest thing to an upbeat pop track on the album. However, the highlight is the lovely third single. "Ángeles" is a soft ballad with a truly Merche-tastic video. She looks absolutely gorgeous and appears to be hanging out in some kind of gay bar. Well, that's the only explanation I can think of for the classy finale, which finds two hot men with angel's wings kissing. So Merche, so fabulous.
There has been a distinct lack of exciting new faces on the local pop scene for the past few months but the drought has finally been broken by 20 year old Sydneysider Liena. The budding diva has been on my radar since mid-2008 but she has only just got around to releasing her amazing debut single. "Go Crazy" is a seriously fabulous slice of Australian pop. Produced by the super hot Audius (the man responsible for Jessica Mauboy's hit album), this is an effortlessly catchy summer jam that would sound perfect blasting from the radio. It's upbeat, fun and very now. Liena lists Beyoncé, Rihanna and Mariah among her influences - and while there is a distinct urban flavour to most of her music, "Go Crazy" is unashamedly POP. The song is available to download from iTunes now. The bundle comes with a couple of fun remixes, while the B-side, "End Of The Road", showcases her R'n'B leanings. Check out Liena's myspace and give "Go Crazy" a listen - I have it streaming below.
After almost a year of being "internet friends" (that sounded a lot less sad in my head), I finally met CC Martini in person last week. Australia's queen of pip pop - hip hop tinged pop - had just flown in from the States, where she has been hatching her plans for future world domination, and was in the mood to unwind with a few cocktails. A great idea under normal circumstances but I had been partying since midday and was in a complete state by the time we caught up. Thankfully CC is a really cool chick and pretended not to notice my general lack of motor skills. Bless. Despite the not so classy start, it turned out to be an awesome night. We knocked back some delicious passionfruit Caprioskas and wandered around King's Cross chatting about everything from CC's American trip to the merits of Katy Perry. I managed to do a bit of digging about the new demos (CC sang the chorus of "Dress Me Up" on the street - sounds amazing!) but mostly we just talked about normal stuff. I did, however, take some hot photos. I'm loving the pic of CC posing on the back of some dude's truck in the middle of the Cross. That shit should be her next album cover! There's also a happy snap of us together below. I had a great time and can't wait to do it again. CC, move to Sydney and be my new BFF!
From the lofty heights of Kylie to the more... common delights of Karen Danzig. Well, this place is called Pop Trash Addicts for a reason! The lovely and highly glamorous (see above) Karen first came to my attention a couple of years ago when she teamed up with Styles & Breeze for the UK top 20 hit "Heartbeatz". That song was surprisingly picked up for an Australian release by Central Station and swiftly became a firm favourite of mine. It even placed in my best of 2006 countdown, where I lamented that "Karen should be as massive as Kelly Llorenna"! Unfortunately that might be too great a mountain to climb but this plucky diva is giving it her best shot with another trashtastic dance anthem called "La La La La La". If anything this is an even bigger pile of fabulous Hi-NRG crap than "Heartbeatz". The song is pure tat with a chorus so cheesy it would shame Whigfield but I love it and I think fans of the genre will be equally smitten by Karen's little ditty. Make sure you check out the video clip (below). I want some of what she's on! To conclude, here are three facts you may not know about this stunning talent:
