Daveportivo's Cultural Evaluation Facility

Every so often an album, not matter how hotly tipped, manages to knock you off your feet. Warm Heart Of Africa is one of those records. It compounds expectations, I have to say when I heard a British/Malawian singer was teaming up with French/Swedish producers Radioclit to take on the sounds of Africa and Malawian culture, I was excited yet apprehensive. I was expecting a beautiful pulsating art house piece, alive with the spirit and vibrancy of Africa, but too detached from Western culture to be a proper pop record, but how wrong I was. The Very Best Of take the best of both worlds the glorious a cappella harmonies of classical African song and chant, pounding drum tribal drum arrangements, a real African gospel flavour, and the Afrobeat sound and they blend it together with the sleek electro pop of the nineteen eighties. Now I'm sure at least 50% of you just cringed, and on paper I would too, but the sounds intertwine divinely to forge a gorgeous form of near hymnal pop music. It's a remarkable achievement, they made an album so defiantly African yet it has all the cosy warmth of Paul Simon and dare I say it...Phil Collins?

The albums cross over potential is best demonstrated by the infectious and sweet title track, it lives up to its name, it's warm cosy and deceptive, and it feels like it could have slotted onto a Vampire Weekend LP, infact Erza Koenig's guests on the track and slides seamlessly into the mix. It feels like Vampire Weekend, only better, the melodies are more memorising and the beat infinitely more danceable than anything the US's primo scene leaders have managed to muster. Warm Heart Of Africa's real strength lies it variety, the album seems to hop genres at will, one moment it's a baroque pop piece, the next moment it's a hymnal chant, or a slice of super sized eighties synth pop, then it's a dance floor slayer or a wild Rain Dance with M.I.A spitting rhymes over unrelenting tribal drums. Yet while it may hop genres and soundscapes at will, it's all tied together thematically by Africa itself. The album is a road map, it's an album that lifts you away with it's ethereal melodies, it's an existential experience, you feel transported, it's not just an album of charming music, it's album of great visuals, wide open spaces and unending imagination. The beautiful arrangements make you visualize, you'll see great sun scorched landscapes on Angonde before the blaring electro siren of Julia transports you instantly to a dark underground night spot in buzzing shanty town. Of course the experience will be rudely interrupted by a U2 Stadium sized twinkling riff and a set of Graceland keys of Mfumu a minute later.

It's hard to pick out individual highlights on an album so fluid where track after track blends gorgeously into the next until your so far removed from your starting point it's almost forgotten, like a fleeting day dream, it leaves a powerful lasting emotional impression even if the details are a little too fuzzy to recall. Yet Ntendi Uli manages to grab the attention, a slick squelchy electro beat is dropped effortlessly, and for a minute you feel like your hearing Malawi's answer to Drop It Like It's Hot. Only it's much more than that, the track grows and evolves behind a fraught and powerful vocal while a dynamic and addictive beat that James Murphy and Richard X would be proud of begins to layer. It's a master-stroke, it's the past, the present and the future all at once, it's a culture clash without conflict, it's simply sublime. Ntendi Uli is only matched in brilliance by the joyous explosion of Kamphopo, it's beyond infectious, it's the happy heart and soul of Africa free from turmoil, it's a steel drum driven celebration, with a irresistible hook. Quite simply Kamphopo is the best pure pop son I've heard all year.

There is little left to be said, Warm Heart Of Africa is a unabashed triumph. Following in the footsteps of M.I.A's Kala it continues to redefine world music, as something assessable, something groovy and most of all something that's utterly irresistible. Warm Heart... never ceases to charm, it's chocked full of enthusiasm and hope. This is one of those albums that just makes you smile from the first minute to the last second, and while we can all marvel at the beautiful compositions and gorgeous arrangements, it's the care free spirit that steals the show. Warm Heart Of Africa refuses to be defined, it's a truly multicultural record it jumps from genre to genre at will, it has it's roots on the streets of Camden, in the uber cool night clubs of Paris, it nods to the goofy electro-pop chic of Scandinavia and of course the glorious landscape, culture and peoples of Africa. Never has an album been more appropriately titled, in just under an hour The Very Best Of have shown us the Warm Heart Of Africa and for that we owe them a great debt of gratitude.

Vampire Weekend - Vampire Weekend, Kala - M.I.A

Forgettable, yes, Retrospective, yes, univentive, yes. All these words and more have been used to accurately describe Black Rebel Motorcycle Club, so while they were not by any stretch of the imagination the next big thing in the rock world, they did at least manage to muster this one unforgettable classic. Oddly Spread Your Love is one of those tracks where most people don't actually realise it's by BRMC, poor guys.

While Faithless normally float by on auto pilot, producing track after monotonous track, in 2004 they changed tack. Sure it was the same overplayed formula musically but suddenly Maxi had found his voice, as the laid back anti-war, anti-racism, anti-media preacher for the twenty first century. Of course this new sense of relevance didn't extent beyond these three minutes, but damn it, if only fleetling Faithless actually had something to say.

I really should hate N-Dubz, everyone should, they're cheesey and chronically lame, but there's something earnest about them, they are a legitimate underground success story, and they seem so overcome by celebrity that they have smiles permanently plastered across there faces. And to be honest, they have a postive message, they're good role models, and in Number One they actually made a great pop song, that of course went straight to number one.

It must be tough being the Vines, not only do you get unfairly over hyped to the extent where your greeted with a massive critical backlash but you also have internal turmoil and catastrophe, it was simply never meant to be for The Vines. It's a shame as the future seemed so bright back in 2002 when we heard those first crunching chords of the hellacious Get Free.

So it's 2008 and it's time to kick your dad out of your cookee folksy indie band, and transform into a super slick eighties revival indie hit makers. Well the eighties revival didn't go to well and 2008 wasn't a particularly memorable year for Indie, but the Mystery Jets' gorgeous Cure-lite anthem Two Doors Down almost makes up for the entire collective indie aberration.

So when Panic revealed they'd been indulging their interest in British pop from the 1960s, the world was less than thrilled. Panic needed to change the formula, but this was a step to far turning off their fan base, some good music came from this period but it's largely been resigned to history except for the one undeniably brilliant stoner anthem Nine In The Afternoon.

Rise Of The Eagles was a distortion laden beast, sung like Vic Reeves on Karaoke night, this ridiculous rocker was always destined to be a hit, after all who can resist shouting "I Wanna Fly Like An Eagle, I Wanna Sing Like Sinatra, I Got A Date With Destruction, I Wanna Love Like A Mother". When it comes to no brainer party songs, Rise Of The Eagles goes criminally underrated. http://www.youtube.com/watch?v=szR6kf_t9p4

It may have taken the best part of a decade but maturity finally found Blink, and surprisingly it suited them. Of course Tom Delonge would take it too far with Angels & Airwaves and Mark would regress dramatically, but for a brief moment in 2004, Blink were a truly credible act. Always played the emotional card, had a killer drum line and best of all an inescapable video making it Blink's most complete single to date.

In 2005 Eminem's mic skills were fading and he seemed more interested in mocking Michael Jackson or morosely rapping about a girl with An Ass Like That. Luckily he saved his energy, passion and fervour for this one gem Like Toy Soldiers. Eminem decides to pull no punches and rips to shreds the mindless bravado that keeps getting so many young men in the rap game killed. It would be his final classic track.

The Hives make music to be played at football games and in festival fields until the end of time. It's hardly the height of sophistication, but they've never had the pretence of being anything more than a great party band. In the early 2000s they were on fire, and it speaks volumes about just how hot they were, that Main Offender was their weakest song of the period.

We had to wait far, far, far too long for the return of Annie, it couldn't possibly be worth the wait could it? Of course it bloodly could, Songs Remind Me Of You was like a blast of ocean air, it knocks you back for a second, but once it's passed feel totally refreshed. A diamond studded dance floor killer of the highest order.

Simple and straight to the point Who's Got A Match doesn't hold any great pretence it just wants you to shout, head bang and then explode in time for one big guitar beatdown. It's a party starter, a throwaway, and ultimately a classic single.

In 2003 the shadow of Radiohead still loomed large over Coldplay's music, and they were still successfully taking down beat gloom and combining it with love stories and sweet harmonies to devastating effect. God Put A Smile Upon Your Face was a beautifully subdued piece, it was the unholy love kid of Radiohead and U2.

Yes for the record Kasabian spelt cut with two ts. In 2005 Kasabian were building a grating lad rock empire based on single after repetitive single of empty sentiment and bloshy bravado. Cutt Off seemed to show that the boys had a sense of humour, of course they didn't and continued to take themselves far too seriously. It may not have been ground breaking but Cutt Off was as catchy as catchy could be.

Another one hit wonder, and oddly another Swedish act, I see a pattern emerging here. Well Jerk It Out benefited from a slot on a TV ad, but it's to the tracks credit that I remember the track but not the advert. Jerk It Out was simple, sharp and effective pop music.

"I was like good gracious, arse is bodacious" hmmn...okay so your IQ may plummet rapidly if you listen to this track for too long, let alone if you dare question the spelling of the title, but honestly who cares, because this was your classic unstoppable summer hit that just refused to die. Damn the Neptunes and their irresistible beats.

You can normally tell the quality of a Darkness single from the title, if it makes sense (Growing On Me, I Believe In A Thing Called Love) it'll be alot of fun, if it doesn't (Love On The Rocks With No Ice, One Way Ticket To Hell And Back) then it's gonna suck almighty balls. Thankfully Get Your Hands... made perfect sense and it was a riotous debut single.

Black Boys was a fantastic moment, when cruising channel U you generally saw vast swathes of low brow grime, or Brit's aping American culture, with gats and bitches, but luckily Bashy always seemed to have his head screwed on straight and in 2008 he made a joyous celebration of Black culture in Black Boys. The most powerful and aspirational single to ever emerge from the Grime scene.

In 2005/6 Lily Allen broke down the door, and opened the way for the low fi British song writer. Adele felt one part Allen one part Winehouse when she forged her mammoth anthem Chasing Pavements. It felt tragic and downbeat but had the uplifting triumphant classic pop chorus to carry it to the top of the chart. One of 21st century Britain's finest ballads.

When the Lostprophets returned with their third album Liberation Transmission many expected the Lostprophets to continue their cross over success but few foresaw just hold high these welsh lads would fly; as they unleashed a series of sure fire hit singles headed by the lung busting anthem Rooftops.

Take one Clash sample, combine it with one Britain's finest MCs and set it all against the back drop of inner city london and you have a sure fire underground classic. Akala surprised many by proving that it was he, not his sister Miss Dynamite, who was the families great social commentator. This Is London is frank and honest, it bashes the street thug mentality and lampoons the rich aristocracy in the same breathe, sheer genius.

From a lyrically genius to one of the most idiotic bands in all of pop music. The Ting Tings are quite simple one of the worst bands I've ever seen live, and I've endure them on three separate occasions, so it wasn't a mere off day. Lucky for them in the studio, they have a knack of crafting simply, catchy and ultimately inescapable pop music like Shut Up And Let Me Go.

In early 2001 Limp Bizkit were knocked off the top of the charts by a little song called Whole Again, little did we know it would take over a year for this little ditty to leave the pop charts. Whole Again is the definition of dominance, it took the sugary girliness of early Atomic Kitten and added the beef and sass of an All Saints record and well the rest is history.

From sugary sweet pop stars to a bold and creative "internet phenomenon". I really hate that term, but the truth is Imogen really did take over the internet in '05 with this track and it's endles parodies. Under a buzzing wave of eltronic fuzz lays a beautiful and fragile ballad, that grows in strength and builds to a powerhouse conclusion, a rare modern day acappella classic.

It seemed like an odd match at the time; the underground punk legends Rancid and Travis Barker the sticks man from the biggest goofy pop punk band on the planet, but remarkably it work splendidly. The Transplants didn't last long, but by throwing together ska, punk lite and the thundering thrash of Rancid they briefly re-invigorated the punk scene. Diamonds & Guns wasn't the finished article, but it showed tremdous potential, it's a shame the Transplants didn't stick around. They were the leaders the scene was crying out for.

Dance In The Dark is the next track to be taken from the expanded The Fame Monster LP. Gaga's next album of original materiel is fast becoming the most anticipated pop record of the last ten years, whether you love her or you hate her, there is an undeniable sense of intrigue about all things Gaga. There's a real balance between those who are expecting Gaga to fire out another series of sure fire number ones, and those who are waiting for Gaga to missteps so they can bury her critically. She has managed to muster palpable levels of both good and ill will, and it seems impossible for her forth coming album to meet expectations, a backlash looks inevitable unless she conjures something truly special.

Dance In The Dark is not truly special, it just doesn't feel like a number one, it's not a track where from the first listen you know your listening to a world conquering smash. That said it's a remarkable work, it's without doubt her most complex and intriguing piece to date. Spread out over nearly five minutes the track rides the type of eighties synth line that Muse have been mercilessly exploiting over the last few years. The track is richly textured to the point of being over produced, it has a churning euro-pop beat and is layered with vocal effect and electro flourishes. The whole endeavour is incredibly retrospective and very European but it has a knowing charm. Lyrically Gaga is in full fledge Vogue period Madonna mode, she doesn't hide her influences whatsoever she proudly wears them on her selve for all to see. Offering her own take on Madonna's famous Joe Dimaggio, Marlon Brando breakdown:

The chorus while powered out with great gusto (by Gaga standards) it can't help but feel rather generic, it's certainly capable of catching fire in the same fashion as Just Dance, but it doesn't scream out in the same way the irresistible hooks of Poker Face or Paparazzi did. The tracks real highlight is it's opening line, as Gaga proclaims "Silcone, Saline, Poison, Inject Me Baby, I'm A Free Bitch" it's goofy and sung in true Gaga style but it can't help but feel like the female answers to The Queens Of The Stonage's Feel Good Hit Of The Summer.

All in all, similar to Rihanna's Russian Roulette, Dance In The Dark is a tremendous little pop song, it's heavily indebted and not as thrilling as her big breakthrough singles, but in Dance In The Dark Gaga has forged a subversive hit, it's a grower, it lacks immediacy but it's a track that grows in power with each listen, and it's wide open for some inventive remixes. While it may not be able to hold off the inevitable backlash, Dance In The Dark is further evidence that the hits won't be drying up for Lady Gaga any time soon. You do have to begin to wonder if Gaga can afford to throwaway tracks as strong as Bad Romance and Dance In The Dark on an expanded re-issue then the tracks she must be saving for her second LP proper might be very special indeed.

It seems bewildering to think that this track came out ten years ago, it seems this decade has flow by remarkably swiftly and I now feel very old indeed. In many ways it's a shame the Dandy Warhols are now remembered as one hit wonders, when once upon a time they were consider the height of cult song writing chic. Well I'm sure they'll happily settle for the royalties from his gem.

It seems weird even writing Tool alongside the likes of Shakira and Daft Punk on a greatest singles list, yet whether it be singles or LPs Tool have been one of the most consistent bands in rock music. Always intriguing, always intense and always expansive. The only real weakness to a classic Tool single like Parabola is that you get so engrossed trying to take in the video you almost lose sight of the music all together.

Faithless will never be acused of being the most creative band on earth, they know their formula and they stick to it and never deviate, and to be fair it works. Their relevance may be fading dramatically but they can still garentee to pack out festival fields with super sized anthems on the scale of We Come 1.

The words cool and Dragonforce don't really go together, and to be honest they never will, but Dragonforce suddenly became the toast of the town in 2007 when Through The Fire And The Flames became the hardest end track on Guitar Hero III. It earned them a legion of admirers and helped line their pockets with a resurgence of downloads.

So in my quest to be as fair as possible I've included a second dose of Audioslave, I still can't endorse them critically but I won't be bashing Show Me How To Live, it's not the best work I've ever heard but it is a bouncy bass driven beast with a fully powered Chris Cornell chorus, and an eye catching video to boot.

Who would have thought that in 2006 we'd discover that Nickelback had a sense of humour? Well apparently it's true, although I for one refuse to believe it. While their wit is debatable the sheer epic scale of Rockstar is not open for debate, it's a track for the ages, aimed squarely for the middle of the road and karaoke nights world wide. It's one of those songs that whether they like it or not everyone in the world has at one time or another been caught singing along to.

In 2004 Mylo proved that electronica was alive and well in bonnie old Scotland. This track appeared to drop out of heaven unexpected and totally thrilling, it wouldn't be his best work or his best single but Drop The Pressure was Mylo's anthem and it took the world by storm with one slick old school beat.

In the early 2000s it appeared Robbie Williams couldn't put a foot wrong and Take That was a distant memory, oh how times change. Now in 2009 Robbie is making his comeback but while he may not be the hit maker he once was, with singalongs as epic (albeit dated) as Come Undone there will always be a place for Mr. Williams for as long as he wishes to stay in the lime light.

After the big breakthrough pop singles Whenever, Wherever and Underneath Your Clothes, it was Objection (Tango), ironically the least successful of the three singles, that made the world realize that there might just be something a bit special about this Shakira lass. Her lyrics were sharp and punchy and the song had the goofy wink and a nod that would become a trademark of hers. Plus it's great to see a girl who consistently sticks up for girls with real boobs and Tango continued that theme.

From crazy sexy glamour to erh...ugly gritty monotony...hmnn...doesn't sound to appealing does it? Well Hard-Fi never really were appealing, or particularly good, but on their debut Stars of CCTV they proved they could bring the big hits based around the grudery of the daily grind. Living For The Weekend was their most aspirational and irresistible offering.

Some tracks are just memorable, there have been so many mindless dance tracks over the last decade, so many that have soared to the top of the charts, so much interchangeable Euro-dance, that it seems hard for any single track to stand out. Yet Toca's Miracle remains memorable, maybe it was the bizarre lo-fi video, or the sheer dated sound of the track, but there seems to be a wealth of rosy sentimentality towards this charming slice of cheese. http://www.youtube.com/watch?v=kOHG5_HixdI

Jeezy never really developed a convincing flow, his rhymes were never quite slick enough, but he did deliver the big hooks and Put On was a sure fire smash. Yet Jeezy only needed to bring the hook because Kanye was on hand to steal the show with a visceral and introspective verse, to put it bluntly, he kills it.

Vitalic sure does know how to make a point, having synthesised every inch of My Friend Dario, yes even those vocals are created by machines not samples or a vocoder, he decided to go a step further with a brilliant OTT air guitar, air drums and lip sung video. Yet more importantly, the song rocked hard, and was a sure fire indie disco slayer, guitars or no guitars.

Oh Fiddy, Fiddy, Fiddy, it's been a rough road hasn't it, from a break through debut, to being bottled off stage drench in urine at Reading Festival, to losing a ridiculous PR war with Kanye West, why would you bet against Ye? I Get Money seemed to get buried underneath the media firestorm, which is a shame, because the track is a beast, and it's the most energised Fiddy had sounded since his debut.

A perennial stalwart of indie discos across the world, from that opening drum line you just knew you were dealing with a sensation. Hot Hot Heat were destined to wallow as one hit wonders, but what a hit. After so many listens it really grates but this track just finds a way to sneak its way into the mix time and time and time again.

Wow Christina Millian sure was erh...pretty, well okay so she wasn't the most talented of pop sensations and the majority of her singles seem regrettable in hindsight, however Say I was the exception this track simply refused to die in 2006, it was everywhere. Now that Say I is no longer thrown in our faces every five seconds, a sleek sharp pop anthem can emerge and take it's rightful place in the top 1,000.

2009 saw Depeche return with a new album and while it was no great shakes, we all got more than a little excited. Wrong was so good we thought Depeche Mode were due a renaissance. It wasn't to be but regardless Wrong sits along Enjoy The Silence, Personal Jesus and I Feel You as one of Depeche Mode's true classics. Wrong also provided the world with Depeche Mode's best ever video, what more could you possible ask for?

There's one thing you can take as gospel, if there's a single with the word "sexy" in the title there's a 98.6% chance that Akon will somehow be involved. Sexy Chick is more annoying electro courtesy of David Guetta in the late 2000s mould, but it's Akon who makes this track, without his powerhouse pre-chorus this track would blend in with the crowd but his performance elevates this track to true epic club banger status.

Kano burst onto the scene fully formed with his debut Home Sweet Home he didn't have the quality of Mr. Rascal but he wasn't far behind. Reload It saw Kano going through the UK grime scene of '05 and ripping his targets to shreds; horrible promoters, other MCs, producers all got the treatment, while Kano simultaneous gave props to fellow scene leader Wiley. Reload It was one of the first signs that other MCs could follow Dizzee from the underground to the mainstream. http://www.youtube.com/watch?v=W7FkgQEK92Q

"You Hit Me Once, I Hit You Back, You Gave A Kick, I Gave A Slap, You Smashed A Plate Over My Head, Then I Set Fire To Our Bed" that ladies and gentlemen is how Florence Welch said hello to the world on her debut single. While she went on to craft greater music the simple visceral thrill of her debut has yet to be topped, this is how you make an impact.

When The Last Time was riding on an almighty Neptunes beat, there was no way this track could possibly fail. It wasn't Clipse's best lyrical performance but this was a club jam from it's conception, it held little pretence. It marked the height of the Neptunes dominance of the air waves in the first half of the 2000s.

Back in the world of the one hit wonders we have The Bravery, their heavily indebted retro rock was never going to catch fire, but luckily they had an ace up their sleeve in An Honest Mistake a sure fire hit which they combined with an inescapable video to assure world wide air play. It's still thrills nearly five years later.

NME have a habit of over hyping up and coming acts and Ladyhawke got the treatment in 2007 and her debut album could only disappoint in 2008. Yet her singles never did, establishing herself as one of the world's best young female hit makers, if not one of the her generations best artists. Paris Is Burning is a richly textured powerhouse ballad (well powerhouse by indie standards) and easily Ladyhawke's most effecting work.

A winding grinding sexual satanic rock and roll romp, it could only be QOTSA. Josh Holme loves this type of music, Burn The Witch is a long deep slow screw of a song. It's remorseless it just keeps churning and churning, live it turns your average festival field into a swirling ocean of mosh pits as they up the bpm to unholy levels.

Another track another lost band who could not live up to the hype, the 2000s are fast become the decade of the lost opportunity. The Datsuns were touted as the next big thing, the heavy answer to the Strokes revolution, unfortunately they didn't even come close but they did leave behind this one dance floor demon. Still in indie club rotation today because this track truly does rock like a mother fucker from Hell.

Right from the word go it was clear that Fedor-Rodgers was the event, the atomsphere was electric, the buzz online was huge, everyone was fascinated to see Fedor the greatest heavyweight of all time arguably the pound of pound king in action. Best of all people really thought Rodger's could beat him, he was young, athletic, charismatic and marketable as hell. Now the smart money was on Fedor but there was legitimate interest in this fight, Rodgers had knockout power and enough promise that people were intrigued. Now of course Fedor won with his legendary overhand right, but the fight itself was more than anybody could have hoped for. The first round flew by, Fedor teed off on Rodgers looked to have the flash TKO but Rodgers reversed escaped a Kamora and for a second unleashed vicious ground and pound and it looked like he may have had Fedor number. Fedor would escape with an arm bar and end the round strong. With blood streaming out of Fedor's nose it was a great edge of your seat first round. Rodgers power meant that Fedor couldn't keep him down and beat him with BJJ as many had predicted. The second round was perfect, Fedor rocked Rodgers and unloaded but Rodgers weathered the storm and charged back, before late in the round he stepped into the overhand right of doom for an instant KO. It was perfect. The ultimate fight. Not the best ever but it was everything Strikeforce needed. Fedor looked incredible but not unbeatable, Strikeforce has it's legitimate star, and Rodgers put in such a great effort that he too became a star, he looked good, he was beaten convincingly but he was not out of his depth. Strikeforce now has two legitimate stars, they have the perfect clip of a Fedor knock out, and we may now have a legit number two promotion to the UFC, and of course, we got a great fight.

Haye-Valuev was the complete opposite of Fedor-Rodgers but it may have had the same result. David Haye put on a Boxing clinic, but a boring one. He fought incredibly defensively. He threw six punches at most around, he landed clean, he danced and he danced and he danced, and Valeuv a bum who has no business holding a world title couldn't catch him. Unfortunately I scored the fight to Valuev by three points. Valuev was dominated, he wasn't connecting but he never stopped coming forward, he pushed the action, and until the last round he landed the most damaging shot. Now, if boxing were scored how I would liked it to be scored Haye would have won, and I believe he should have won, but the problem is that isn't the way boxing has been scored over the last ten years. Carl Frotch just the weekend before retained his title by being agressive and landing no punches, but he pushed the action, he was chasing shadows but he was trying to have a fight. Dirrell fought smart, he was defensive, he was evasive, he landed more blows and had Frotch looking foolish. Now I also feel under the justification that the Frotch camp gave that he should still be Champion, but then so should Valuev. The problem is there is no consistent criteria for judging in boxing. We don't know what really matters, and decision vary wildly. UFC proudly states their scoring criteria, it's vague but you know exactly what scores and what doesn't, including control and aggression. Boxing must clean up it's act (fat chance I know) otherwise fights will continue to baffle and disappoint. Now on the positive side of things Boxing has the champion it needs, Haye is a colourful character, a great talker and a hell of fighter, but most all he's an exciting fighter. His bouts can be sold to the masses, and boxing can be relevant once more. Best of all we'll likely never have to see a Valuev fight on PPV in this country ever again.

All in all, it turned out well for both sports. They both have the great champions they need, both are exciting talent fighters. Fedor may not be a talker but he is a legend, Haye is the reverse, charismatic but unproven. As for a sporting contest MMA won hands down, Fedor-Rodgers was a classic, Haye-Valuev was a nightmare, Fedor won over millions of new fans, Valuev-Haye turned off more people than it excited. So MMA asserted why it's the growing world wide number one with it's number two promotion stealing the show, but while boxing continued to turn off fans with what happens in the ring, it found the champion it needs to take the sport forward. So the future looks bright, two questions remain: Who could possible beat Fedor? And will they find a legitimate opponent for David Haye?