STUCK RECORDS

All the singles featured below are available for download now. Where they are available physically at a future date the release date is given.

SINGLE OF THE WEEK

Tinchy Stryder ft. N-Dubz: ‘Number One’ (Island)

Here’s a rapper that really understands vocal timing, with both the verse and the chorus working extremely well with the rest of the song. It’s extremely danceable, a lovely blend of beats and synths at the perfect tempo. Deserves to be a big pre-summer smash in the vein of ‘American Boy’s success last year. Let’s hope it can (T)inch(y) towards the real ‘Number One’ spot! I’m sorry (and no, the reviews don’t get any more bearable).

RUNNER-UP SINGLE OF THE WEEK

Girls Aloud: ‘Untouchable’ (Fascination – 27th April)

May well have been SOTW if Stuck Records hadn’t spent the best part of six months loving this track. When it was announced this was going to be the third single off their staggeringly successful ’Out of Control’ album many GA fans were apprehensive, exactly how could the majesty of this near 7-minute track ever work with the inevitable compromises needed for radio/video play? Thankfully the radio edit works extremely well, retaining nearly all the parts that made the original so magical. Nice liberal use of Autotune to create a glitchy atmosphere that contrasts well with the elegance of the raw vocals. Many fans will be hoping that it maintains their perfect run by becoming their 21st (out of 21) Top 10 singles. It certainly doesn’t deserve to be the one that breaks the streak, but it may do simply due to everyone who’s a fan owning this track anyway.

Kleerup ft. Titiyo: ‘Longing For Lullabies’ (EMI)

It’s quite a unique sounding record – imagine an Ibiza barnstormer being played not at 33, but 16. It even has the repetitive keyboard sound that a lot of the catchier dance records employ. The slower tempo lends itself to a very chilled vibe, and although the vocals don’t necessarily work in this context (belonging more in an 80s soft rock ballad) it’s pleasant enough to fill the time waiting for the barbeque to heat up.

N-Dubz: ‘Wouldn’t You’ (UMTV)

Without Tinchy helping them along N-Dubz appear to struggle. This song is everything that ‘Number One’ wasn’t. A lumpen, bass-heavy beat and over polished production make this feel like a Black Eyed Peas b-side from 2004.

Patrick Wolf: ‘Vulture’ (Bloody Chamber)

It’s quite apt that Wolf adopts a series of different outlandish outfits for the video because this song is a (largely failed) attempt to throw any number of styles and hooklines onto it. The production is all very nice and flashy but it’s a struggle to get to the chorus (which itself is allright but comes off as a heavily-sedated Duran Duran). Wolf caused a bit of hubbub when it was announced that he was financing this record by himself, with fans given the opportunity to invest in ‘shares’ in his music and possible future remuneration. If Duncan Bannatyne were to listen to this record I think Wolf would find himself kicked down those stairs before he had a chance to put his eyeliner on.

Red Blooded Women: ‘Enjoy The Silence’ (Young, Fresh & New)

It’s nice, it’s catchy, it’s a good tune to listen to. But it’s a cover of ‘Enjoy the Silence’ so it would be bloody difficult NOT to be any of those things unless the Women thought the original was a bit crap and was crying out for an accordion solo over a happy hardcore drumbeat whilst the lyrics were changed to a Jim Davidson standup routine. Fortunately for us they’ve been quite respectful. Bit of a tip girls, if you’re going to have endless line-up changes ala the Sugababes you want to do it BEFORE you shoot your video, not after. Does this mean the song will be as big a hit as ‘Whole Again’ making Carly the next Kerry Katona?

Green Day: ‘Know Your Enemy’ (Reprise – 27th April)

Quite glam-rock in rhythm but with appealing crunchy stadium-rock guitars. Vocals buried deep into the mix which is unusual for Billie Joe’s gang but it works quite well. Nothing we haven’t seen before (here’s a group that could do with accordion solos) but does the job perfectly fine. Would act as a perfect gateway drug for teenies getting into Metro Station or the Jonas Brothers.

Miley Cyrus: ‘The Climb’ (Polydor – 27th April)

Considering the huge advances (probably conducted in a big laboratory in Switzerland) that has been made in recent years in the quality of upbeat, uptempo pop it’s a crying shame that the same magic hasn’t transferred over to the ballad, hence us listeners still being subjected to material like this. Very overwrought, no discernable melodies and the chord structure is decidedly uninspired.

Eminem: ‘We Made You’ (Polydor – 11th May)

Oh dear. Enimem is now worryingly resembling your best mate’s dad who is trying really hard to show he’s down wiv da kids (“Hey I’m cool! I’ve heard of Kim Kardashian and Amy Winehouse!”). It reminds me of Spitting Image in its mid-90s death throes, which would simply reference cultural reference points without actually making a joke or a point. And exactly who gives a monkeys about Sarah Palin these days? The really frustrating thing is when he actually has something worthwhile to say he can still be brilliant, largely because he then also ups his game production-wise as well. Take ‘Lose Yourself’ and ‘Mosh’ as examples, both contain a brilliantly ‘full’ sound that complements the lyrical sentiments. Sadly ‘We Made You’ is a regression to the childish sub-video-game music that has blighted records throughout his whole career. It’s hard to see how can maintain any sort of relevance with songs as mediocre as this.

Gavin Midgley