The malign influence that leads to moans of 'manufactured pop', as if the Motown and Brill building scenes that spawned so many timeless classics weren't exactly that. The same mentality that leads to spurious talk of 'real' music, and to the bogus impression that a conservative and predictable mainstream rock band like Foo Fighters or Kings Of Leon is somehow more acceptable than a blast of iconoclastic mayhem by Carly Rae Jepsen or Spice Girls. These forces lead to the kind of warped logic that allows Jake Bugg to garner headlines attacking the X Factor as all that's wrong with modern music, as if his brand of luddite gruel isn't just as contrived and joyless as anything it's produced. Somewhere in the unfortunate morass of personal confusion that looms in the slipstream of an aural epiphany, there are two phantom bogeymen, and their names are 'credibility' and 'authenticity'. Yet last week, this triumph of camp menace and unselfconscious chutzpah placed sixth on Spotify's 'guiltiest pleasures' list collated from listeners' streaming habits, thus effectively relegating a masterpiece to a canon of 'cheese', of songs only enjoyable through a veneer of self-conscious irony. A vicious, technicolor collision of a glamourous bruiser from Liverpool and three backroom boys with a commendable passion for the most fierce, garish and out-of-order Hi-NRG on the dancefloor as stupid as hell and four times as catchy.
There can be few more perfect examples of a stone cold classic tune than Dead Or Alive's 'You Spin Me Round (Like A Record)'.
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