Girls Aloud's second greatest hits "TEN" is out now
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I'm Charlie, I've started this website on my own to support Cheryl, I've been a fan of Girls Aloud since 2005 and was always drawn onto one particular member and that was Cheryl, the fansite is part of me showing my fan support and to give other fans the best source to news and pictures.
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Posted On June 6th 2012 by Charlie | Categories: Interviews
Yes. How’s the last ten years been for you?
If you were to draw a graph of the last ten years, how would it look?
Would it be gradually going up or gradually going down?
So the point of our chat today is to have a talk about your music.
Because you’ve got an album out, so a lot of people who are interviewing you will just use that as an excuse to get in a room with you then ask you about other stuff. They’ll try and ask you stuff and you’ll just do that face…
So we’re just going to talk about your music today. Imagine people reading those words on the internet page containing this interview. How many people do you think have just fucked off to the Daily Mail website?
Well quite. To the people who are still reading, do you have a message?
Good. So: what was the first email or phonecall or text or whatever that led to this album happening?
Why was newness important?
With a bigger producer can you tell when they’ve just got a song out of the bottom draw, or they’ve just gone, “have this track”?
So with new producers, you’ll get their best stuff.
Whereas – like a lot of people from the UK – if you go off to Dr Luke he’s already given his best stuff to Katy.
Apart from sounding ‘new’ what does sounding like you sound like?
Was there a brief that went out to writers and producers?
When you first heard it, apart from thinking ‘this is quite good’, did you also think, ‘this sounds a bit like Rihanna’?
Not in a bad way necessarily. Like a brother or a sister, perhaps…
So with the album did you want to fit in with pop as it currently is? So not causing a nuisance but just fitting in with pop in terms of what’s already there? Or…
Some of it is a racket though. But chuck it in the middle of a pop song and it’s fine.
That’s one of the best things about pop – it just takes the best bits of all the other genres and does what it wants with them.
But still, some dubstep is a racket.
But some of it’s quite sad. Also, surprisingly perhaps, the average tempo of the album is a lot more downbeat than you might expect.
Regarding the lyrics on the album, the point you seem to have made in interviews elsewhere is something along the lines of: “Don’t question me about the lyrics on the album relating to my personal life, because I didn’t write them so they can’t.”
Which is an amazing response, really.
Most popstars spend half their careers trying to pretend they do write their lyrics when they don’t. And you’re just going: “Nothing to do with me! Not my fault!”
But how does that work? You obviously have a connection to these lyrics. Or at least in order to be able to have a connection with your music, you must tell yourself a story about how a song makes sense to you?
Loads of amazing songs haven’t been written by the people who made them famous, but in terms of a ‘pop moment’ a lot of them still fit in with where the singer is in life and what they’re going through…
So when the email goes out from your A&R… Who A&Rd the album?
So when Ferdy sends out the email like a Bat Signal going ‘CHERYL ALBUM UNDERWAY, SEND IN YOUR SONGS’…
Who has the final say?
Is there anything you had to fight for to stay on the album?
Some people would say: “I’ve been doing this ten years. I’m the popstar, do what I say.”
Do you trust these people though? You must see other artists – we all see them – with their terrible videos, and their crap albums, and everything’s wrong. And you think, “someone at their label has made the decision that all this is the right thing to do”. So you wonder, really, if you can trust people just because they have that job…
When was the last time you saw that happen?
What do you think the expectation is of this album, based on the last album?
But what do you think people are going to be expecting? Do you think, based on the last album, that people will think this new one is going to be good? Or alright? Or bad?
The expectation that your album will be successful, or that it will be good?
It does feel like it’s supposed to be an album, rather than just some stuff chucked together.
Have you taken it more seriously this time?
It didn’t feel like it was bursting with singles.
Can you explain the lyrics from the chorus of ‘Call My Name’?
What do they mean to you?
Do you wonder what they mean?
Would you like to save the world with a lyric?
You said you wanted 25 songs on the album. How many did you record?
Which was the best song of the 50, and which was the worst?
Are there any that just didn’t fit in?
Going back to what we almost talked about earlier – that point when the initial emails go out saying, “CHERYL ALBUM AHOY, SEND US YOUR SONGS” or whatever: who do you think people were writing those songs for? It must be tempting as a writer to just base it on what you’ve seen, which will be what’s in the media…
The question is whether the songs end up being a caricature because they’ll only know a few things about you…
There’s the danger of that – for instance you’ll listen to a Kylie album and it feels like people have just written a load of songs about Kylie going out dancing because that’s what Kylie’s ‘supposed to do’. I wonder if there’s a danger that people will just see the stuff that’s in the tabloids, then write about that.
How do you introduce yourself to these people when nobody knows who you are?
Let’s talk ‘Sexy Den A Mutha’.
It’s got a funny title.
Why was it important to censor ‘fuck’ on that and a few of the other songs on the album?
Do you think this album’s going to gain you any new fans?
Do you think it could win the Mercury Music Prize?
Is there any reason it shouldn’t be regarded alongside whoever gets nominated for these things – your PJ Harveys or whoever?
Do you find singing easy?
How do you make it come from your emotions when, like you’ve said, you don’t have an emotional connection with the lyrics?
Alright then: when you don’t know what the lyrics mean.
Without trying to start an argument, you did say you don’t know – for example – what ‘Call My Name’ is about.
So the feel-bad songs…
Some of them are quite sad.
‘Mechanics Of The Heart’ is sad.
Shall we quickly bang through what each of the songs is about? A sentence or two on each?
‘Under The Sun’.
‘Call My Name’: who knows.
‘Girl In The Mirror’.
‘A Million Lights’.
Which is a bit unprofessional.
Was this one of various songs that were floating around? She’s been writing for ages hasn’t she.
‘Mechanics Of The Heart’ we’ve talked about…
‘All Is Fair’.
You talked earlier about songwriters and producers having these songs sitting around and sending them to you… If you’d said no to them, who do you think the songs would have gone to next?
Do you ever wonder if anyone’s been offered songs before they get to you?
Are there any songs that you think are… Well, that you think you’re lucky to have got? That you think, “fucking hell, I’m glad I got my hands on this before someone else came along”? Like do you feel there’s a difference in quality between the songs you might get, and people who are on their first album or whatever?
One imagines you would get sent better songs than Pixie Lott, for instance. Or they’d be sent to you, and if you say no, then they go to her. One imagines. In the same way that Rihanna might get first choice and you get second?
The Xenomania house works a lot like a writing camp, doesn’t it, with the different rooms?
Is that a bongo on ‘All Is Fair’?
It sounds like a bongo.
There’s no judgement here. There’s no “oh bongos in pop are bad” argument, or even “bongos in pop are good”. It was just important to establish whether or not there were in fact bongos on that song. And you say no.
It’s a fine line between a helictopter and a bongo.
How did you know when the album was finished? Was there a deadline or did you just go, “right that’s it – finished now”?
So who decided?
He seems to have a surprising level of input – when it was first announced that he’d be involved it seemed like it would be one of those things where someone else does all the work. But he’s been pretty hands on?
Are you sure?
Well what would you have done instead?
So your life has gone [at this point we move our hands apart to signify a life splitting in two] because of his encouragement? If he hadn’t encouraged you, you could have a family now?
You probably would have felt the itch, though, to make music?
So if the one year off – the ‘one year off’ – had happened as it had, and Nadine went off to do her solo thing, and Kimberley did her Shrek and everything…
Well yes, but the question is, imagine there’s a three year period where nothing’s happening, surely you would have felt the urge to make music?
Wouldn’t you have missed fronting music though?
It just seems really surprising that you wouldn’t have felt the need to…
Because quite apart from what you wanted, surely there would have been a lot of other people who wanted you to?
Was it any good?
That’s a strong look.
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Cheryl Ann Tweedy Cole is a British pop singer. First came out to the scene when she won a singing competition Popstars: The Rivals forming a girl group Girls Aloud. With 6 studio albums, and 20 Top 10 singles, has since gained even larger success by becoming a judge on British talent show The X Factor. Launching her solo career in 2009 with her debut solo album 3 Words, her first single Fight For This Love reached #1 on the UK charts as well as a #1 album, Cheryl is continuing to win Britain over with her charm and success, establishing herself as The UK's Queen of Pop, there is no doubt Cheryl is on the way for global superstardom.
Ten - The Hits Tour
DVD Release Date: TBA
Girls Aloud - Ten
Peak Chart Position - 9
Released - November 26 2012
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Status: Spring/Summer Campaign
L'Oreal Paris - True Match Foundation
Status: Spring/Summer Campaign
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