Combining some incredible word-play - the kind both rap luminaries are renowned for -with the hook from euro-pop one hit wonder Haddaway’s What is Love, this track has the winning formula and is set to see Eminem continue his recent run of success.

The statistics are impressive: Cheryl’s first solo single, Fight For This Love was the fastest selling single of 2009, and both solo albums charted at number one. The first, 3 Words, has been certified triple platinum. Three further top five singles followed, along with two BRITs nominations and winning the coveted Best Music Act at the ELLE Style Awards 2011. “Going solo was terrifying!” Cheryl admits. “But I’m so glad that it’s gone as well as it has.”

In making these albums, Cheryl collaborated with an impressive number of music’s A-list, including Dizzee Rascal, Travie McCoy, Taoi Cruz and most notably Will.I.Am of the Black Eyed Peas. “We instantly clicked,” says Cheryl of her first meeting with the powerhouse producer back in 2008, when they worked together on his Heartbreaker single. “Cheryl and I are both in love with music. That’s why we get on so well,” says Will.I.Am.

As well as effortlessly charming her collaborators, Cheryl has garnered many a famous fan too. Adele, the voice of 2011, chose to cover Promise This, the number one lead in single from Cheryl’s second album Messy Little Raindrops, in the Live Lounge on Radio 1. And it’s obvious that Cheryl’s self-confessed girl crush on Rihanna is far from unrequited: “She’s the ‘it girl. Like, she’s it!” Rihanna says.

Another very big fan is Simon Cowell, who personally handpicked her as a judge for The X-Factor in the UK in 2008. Cheryl became an instant hit with viewers and went on to win the show in both 2008 with Alexandra Burke and 2009 with Joe McElderry. “She has natural instincts as to whether people are good or not, and has her own opinions,” says Simon. “She is absolutely brilliant.” The last season of the X-Factor was the most talked about show in Britain, regularly attracting audiences of 15 million. The final almost pulled in 20 million viewers and saw Cheryl with two of her contestants in the final.

It comes as little surprise that Cheryl has also become a leading style icon. She has graced the cover of British Vogue twice, the first time becoming the highest ever-selling February issue in the title’s history. She has also appeared on the covers of Harper’s Bazaar and ELLE.

Simply by choosing to wear a new designer’s work on The X Factor, Cheryl can bring them a massive boost in both profile and sales. But Cheryl remains thoroughly modest about her influence, saying “I definitely don’t put myself out there as a fashion icon. I just like how clothes make you feel as a woman. I like feeling dressed up and I like the fact that people enjoy what I wear, and that other girls want the same shoes as me or to wear their hair like mine.”

Gwen’s much anticipated sophomore album is The Sweet Escape and as she did on Love. Angel. Music. Baby., one of rock/pop’s most admired, and just straight-up cool singers, brings an unmistakable ability to cross-pollinate genres with effortless joy. Joining Gwen are fellow sonic adventurers, including The Neptunes, No Doubt’s Tony Kanal, Akon, Swizz Beats, Sean Garrett, and Keane’s Tim Rice-Oxley. If that line-up seems far-reaching, it’s deliberate. “All my inspirations were completely different on this record,” Gwen explains. “The last time, it was all about doing a dance record. It was all about ‘80s-inspired music, the music I danced to when I was growing up. But this time, I felt like I was in a whole different place. I have a lot more melodic songs. There are beats but it’s also more. The Sweet Escape is a perfect title because the music takes you away.”

Gwen’s “sugar-coated” direction is on display on The Sweet Escape’s first single “Wind It Up.” One of four tracks produced by The Neptunes (who also helmed “Hollaback Girl”), “Wind It Up” finds the unlikely meeting ground of hip-hop, a drum line and, inexplicably, “The Sound Of Music.”

Labrinth’s hugely successful second single, Earthquake went straight into the charts at number two in October and still remained in the top 10 in January with over 550,000 copies sold.  The phenomenal video has so far had over 20 million views, the track was used as the music to accompany London’s prestigious New Year Fireworks display and it was one of the biggest songs on UK radio.

Such a huge track demanded a massive follow up single – and Last Time is it.  Always dodging those musical labels, Labrinth has done it again with his simultaneously classic yet futuristic sonics and signature sharp production. With a verse that drops to a heavy beat and the catchy synth-infused hook, Last Time looks set to be another sure-fire smash.

The single will be available to download on 18th March and in stores from 19th March and money raised from the single and Sport Relief will be spent helping some of the most vulnerable people in the UK and across the world’s poorest countries.

A beautifully constructed heart-felt ballad, Oritsé, Marvin, Aston and JB have lent their song-writing skills as well as their signature harmonious vocals to the track, working alongside pop-powerhouse song-writer Ali Tennant and songwriter / producer supremo; Cutfather.

Attentive students of the airwaves will already know Nerina’s name from her on-off flirtations with the charts over the past decade or more recently her songwriting credits for the likes of Miss Minogue. But that’s only part of the story – as her new album ‘The Year Of The Wolf’ resolutely displays.

Produced entirely with Britpop guitar legend Bernard Butler, ‘The Year Of The Wolf’ is, simply put, the accumulation of Nerina’s talents honed over the years. It runs the gamut of Nerina’s love of euphoric pop songs with big heart-bursting choruses like lead single Put Your Hands Up to sweeping, classical rhapsodies like History Boys - bridging the gap between pop and art that has often confounded her audience.

“The thing is, they’re all me equally,” says Nerina. “I don’t understand people who are snobby about pop – I know how hard it is to write a good pop song. Just listen to the backing vocals on any Abba record – they’re so intricate and amazing. That’s great pop.”

Typically for Nerina, the perky pop-rush of Put Your Hands Up contrasts with its lyrical inspiration. “I’d just read ‘Wide Sargasso Sea’ the prequel to Jane Eyre. It’s mental – all voodoo and obsessive love and I wanted to write a song about that. Because I hate all the Brontë and Jane Austen stuff – I wish women would stop reading that shit. Mr Darcy isn’t going to turn up on a fucking horse and save you.”

Working with Butler tore up the rulebook for Nerina, “I’d always admired Bernard. I loved ‘The Sound of McAlmont & Butler,’”says Nerina. “Before I started this album I really thought about what was missing from stuff I’ve done before. I’ve never paid enough attention to groove – I realised that during working on the Kylie album. And I was missing guitar. Bernard helped bring all that back.”

And how. Turn Me On Again zips along with heady va-va-voom (“People over-intellectualise pop sometimes – good pop should be three and half minutes about sex really” she succinctly states) while the autobiographical I Think deftly manages to combine military drums and schoolyard chants with a snappy chorus of ‘don’t give me your shit’, delivered with such charm that you can’t help fall under its spell.

The album demonstrates huge personal and lyrical growth from the London rapper, who recently turned 20 years-old. ‘Transition’ resolutely places Chipmunk in the higher echelon of MC’s, not only in this country, but on an international level.

Globally renowned performers feature on 'Transition’, from Jamaica's dancehall king Mavado, to R&B Queen Keri Hilson, as well as Kelenna Harper from Diddy Dirty Money, acclaimed singer Trey Songz and rising UK rapper, Wretch 32. Production comes from Harmony, who worked on the 'I Am… Chipmunk' debut, JD AKA Dreddy (Busta Rhymes, Dr. Dre) and Parker & James (Jessie J). "I wanted the album to be an event for the country," he says. "This album is about lines that really make you think; I've put my gut into this. I orchestrate my music, it's all done by me with my producer Harmony. I had my whole life to make my first album; I had a year to make this one, so I wanted it to reflect how much my life has changed over this last year."

The album’s first single, ‘Champion’, featuring Chris Brown, was an emotive, epic re-entry into the music world. “I remember they told me I wouldn’t be famous,” he reflects on the first verse, “Now my dream and reality's simultaneous.” The single, which stormed into the charts at No.2 with over 90,000 sales in the first week, has so far received over 4million views on YouTube and was A-Listed on Radio 1, 1Xtra and Capital; a great set-up for Chipmunk’s incoming second record. Exuding confidence, a sharp sense of humour, and an astute analytical edge, Champion, and future singles from ‘Transition’ sees Chipmunk return to his MC roots, with a record that is harder, darker and full of intricate lyrical complexities.

Since the release of his critically-acclaimed debut This Is My Demo in 2006, the 29-year-old from North London has set the bar for clever and authentic hip-hop, going on to sell over 100,000 albums, release seven mixtapes and earn high praise by everyone from The Times and BBC to Akon, who went so far as to sign him to his label. In addition, he's performed and collaborated with an impressive list of artists including the Kaiser Chiefs, Lemar, Craig David, Chamillionaire, Ian Brown, Madness and Ali Campbell (UB40), while Lupe Fiasco gave him the honour of being the only guest to appear on his last album, Lasers. "I'm really fortunate to have a really great history in the world of music," says Sway. "But the goal for me is to make as many people listen to my music as possible."

The rock tinged, ‘80s sounding Super Cool, with its Stranglers overtones and staccato vocal is the kind of intelligent, sample free pop which defines The Bullitts. A sure-fire smash, the track was recently used by Ozwald Boateng to close London Fashion Week.

"That's the anthem for the civilian,” says Jeymes Samuel, the brainchild behind the group, “That's the anthem for the podgy nerds who aren’t in the gym; we're all cool, we're all superheroes. When Spiderman takes off the mask, he's Peter Parker.”

The album has become one of the most anticipated pop releases of the year following the lead single, ‘Beat Of My Drum.’ Teaming up with a stellar list of producers and co-writing all the songs [apart from one cover] Nicola has spent the past 18 months working on the 12 track album. Collaborators include Dimitri Tikovoi, Diplo, Metronomy, Dragonette and Invisible Men. As fresh as anything you’ll hear this year the album is a riot of colossal pop melodies, underground sounds, singing, rapping and astonishing honesty.

There’s ‘Yo-Yo’, which marries classic pop lyrics (“don’t want to be the last to know, will it be a yes or a no?”) to a post-Dalston Ronettes vibe and a pulsing, demented electro breakdown. The brilliant ‘Porcelain Heart’ is quirky, bonkers pop, while ‘Sticks & Stones’ is a series of frank snapshots behind the scenes of life in a pop band (Spoiler alert: it’s not always laugh-a-minute). Most tellingly, the breezily confrontational ‘Take A Bite’ - “you push me to fight, everybody’s got a limit, so put ’em up” - feels like an object lesson in what it might sound like if, having been yelled at, heckled, told she’s ugly and crap for almost a decade, a 25-year-old was finally allowed to scream back.

The Saturdays have just made an extraordinary album, but let’s not get ahead of ourselves, because their achievements to date should not be glossed over. Since forming in 2007 the multi platinum-selling band have become a household name scoring 10 Top 10 singles including signature hits like ‘Ego’ and ‘Higher’, two Top 10 albums (‘Chasing Lights’ and ‘Wordshaker’ - it’s three Top 10s if you include 2010’s
8-track ‘Headlines!’ extended EP). Add to this two nationwide headline tours (with tickets flying out of the door for 2011’s arena tour, their biggest to date). They’ve also found time to support everyone from Take That to Girls Aloud and become unavoidable on screens across the nation, not least as part of their own fly-on-the-wall TV shows The Saturdays 24/7 and What Goes On Tour…

The band’s quest for world domination moves from slow and steady to fast and furious with ‘On Your Radar’, their most diverse and accomplished album yet. Describing the album in one word is no easy achievement. If you fall for the swooning melodies of ‘My Heart Takes Over’ or pensive piano ballad ‘Last Call’ you might call it luscious; the fizzy delirium of ‘Move On You’ and singles ‘All Fired Up’ and ‘Notorious’ suggests that ‘banging’ might be a better bet. Frankie has a better suggestion. Miss Sandford says that the one word that pulls all these songs together is ‘personal’. Personal is, she says, “a word that applies to this album that doesn’t really apply to anything we’ve done before.”

It’s still the Saturdays we fell in love with - so you’ve still got Vanessa’s ad-libs and Frankie’s high harmonies, the danceable uptempos and blubbable ballads - but chat to the band about recording ‘On Your Radar’ and you realise that without changing what they’re about, it feels like they’ve got a new sense of where they’re going. What they’ve found, three albums in (or four if you include that EP, but we’ll stick with three for the sake of argument), is that rarest of pop commodities, and that thing some bands never really grasp: a sense of direction. “Making this album has completely reignitied all the drive and passion I had for recording,” Rochelle says. “That feeling is more intense now than it’s ever been before.”

Diana is releasing the song for fans as a thank you for their patience and encouragement. The song also gives an indication of the new direction of the album.
The first track, Music To Make Boys Cry, is free to fans who sign up to Diana's newsletter on her website www.dianavickersmusic.com.

Typically, the singer is only halfway through her analogy when her eye-rolling band mates try to intervene. 18 year old bassist Jamar and 22 year old guitarist Barry jokingly object to their songs being likened to sweets. Only drummer T-Ray, 18, approves – and possibly only because Amanda used to be his babysitter.

Starburst-style or not, Cover Drive are as fresh and fun a band as you’ll hear. Based in Barbados, but in the process of moving to London since being signed to Polydor here this year, the quartet blend their Caribbean sunshine-drenched musical roots with infectious pop hooks honed with A-list writer/producers such as Wayne Hector, Steve Mac, Ina Wroldsen, J.R. Rotem and Future Cut. Cover Drive’s sound is brisk and bright. Aimed as much as the beach and high street as dancefloors. The band likes to refer to it as “sunshine-y, feel-good music.”

Written by dance-duo Nervo [Ke$ha, Kylie Minogue] and produced by Danish producer, Soulshock [Bruno Mars, Usher, JLS], Try With Me showcases Nicole’s powerful vocals, by stripping them bare in a slow, melodic beginning which builds to a powerful crescendo as the dance beat drops, mixing genres to create what is shaping up to be another smash hit single for Ms Scherzinger.

Nicole Scherzinger has become one of the most successful artists in the UK this year following her run of top 5 hit singles, including number one song Don’t Hold Your Breath, and her debut solo album Killer Love hit the top 10 earlier this year.  She has generated a huge following with over 131 million YouTube views, nearly 2 million Facebook fans and over 711,000 twitter followers.

Bristol-born singer/songwriter, Tanya soulfully declares her statement of intent on ‘Letter To My Ex’, singing she’s ‘gonna be a star, S.T.A.R.’
The songs showcase Tanya’s diverse soul, hip hop, reggae and dub influences. The ballsy ‘Letter To My Ex’ is a F-you to former lovers, which she refers to as ‘a closure song’ and the empowering ‘Born To Fly’ is a heavy, dubby monster of a track, all about believing in yourself.

'Out Of Control' contains some of most exciting and intoxicating songs of their career while continuing to take pop music into places it’s never been before. From the moment they landed with 'Sound Of The Underground' through 'Biology' and 'Call The Shots' Girls Aloud have subverted the very structure of the pop song. With each single release they have made the genre more acceptable to a wider audience.

Their success is unique. Not only have they entered the Guinness Book of Records for the girl group with the most ever consecutive top ten singles, they have had the Arctic Monkeys cover one of their songs (‘Love Machine'). Not to mention the critical plaudits from the likes of NME and Franz Ferdinand. They are trailblazers who have consistently raised the bar and changed what it means to be a girlband in the 21st century. Experimenting with disparate genres has, most recently, lead to the likes of Coldplay's Chris Martin and Metronomy's Joseph Mount publicly stating they want to work with the girls.

'Out Of Control' comes hot on the heels of Girls Aloud’s third arena tour - the sold out 'Tangled Up' show and a critically acclaimed performance at the V Festival. Despite this constant stream of successes the band didn't feel any pressure working on 'Out Of Control'
"We were probably the most relaxed we’ve ever been but we still wanted to make this album the best we have ever done,” says Nadine.

Working again with the Xenomania team, the Girls have been constantly challenging themselves in the studio. As Kimberley says : "We want to impress the fans with what we do, so we've tried to up our game with this album and step outside the comfort zone."
Nadine adds: " Our aim from the beginning was to come up with songs that didn't sound like anything else out there."

It's with this maverick spirit that the fivesome came up with the album’s title. A spirited meeting with their record company led to someone commenting that the girls were 'out of control!'
"The title has an ironic slant," says Nicola "People think we're just out of control girls but actually we have loads of control over what we do."