Sophie Ellis-Bextor’s 2001 debut album Read My Lips was probably my most played record of that year. Back then I could not fault it and - still to this day - think it is one of the greater moments of pop’s history in the 2000’s. But Trip The Light Fantastic takes the wonder, the beauty and the dazzle splattered all over her first release to a whole new level.

Earlier in the year a 5 track album sampler began floating around the interweb. The five songs, although completely brilliant, were not a clear indication of how spectacular the album would turn out. Sophie’s magnum opus had to be heard in full to completely be appreciated. Whilst I immensely enjoyed, for example, “New York City Lights”, “Today The Sun’s On Us” and “Me & My Imagination” - three of the five album sampler tracks - they never really took me by the ears and shook the life out of me. Until I pieced the album together as it was meant to be heard. Instantly the songs were given a new lease of life. “Me & My Imagination” - the most Spiller-like song on Light… is a gorgeous piece of dance floor totty*, with an incredibly radio friendly chorus that invites you into its warmth. “New York City Lights” is a frantic number with chunks of inspiration drawn from Blondie’s “Atomic” and Madonna’s “Everybody”. That’s what I can hear anyway.

“If I Can’t Dance” won me over within seconds. The pronunciation of “dance” (she’s soooo British, innit?), the shimmy-yourself-stupid chorus (watch Adem as he drives to work every morning, thrusting his shoulders from side to side singing at the top of his lungs), and the crisp electronic production… all a solid song it makes. “China Heart” - what I would call an outright fucking stomper - has the most gorgeously strange instrumentation through it. It’s the type of song you could drive a car to incredibly fast at night… it’s the hustle and bustle of an evening in New York, Tokyo and Melbourne all rolled into 3 minutes and 44 seconds.

“If You Go” is such a special moment, one which would sit quite comfortably alongside the gorgeous “Is It Any Wonder” from the first record. This one’s a Xenomania production, and - rightfully so - tipped to be the third single. The middle eight is to die for, with Soph’s voice reaching such gorgeous heights it’s impossible not to shiver with a mass of goosebumps. “Only One” reminds me of every movie Rob Lowe starred in during the 80’s (picture this: Lowe with his top off, sweating profusely as he plays on his Saxophone. A man who played the sax was SOOO the ’sexy drummer’ of your typical 1980’s fillum). There’s also the “I don’t know why you cry/you must have a wind-swept eye” line which made me laugh till I choked the first time I heard it. Totally bewildering in a completely ace way.

Let’s talk about why “Love Is Here” could very well be hailed as Soph’s most gorgeous musical piece to date. Even the guitar solo is as cute as a button. As a very big fan of a key change towards the end of a song, you can only imagine my surprise when I was struck over the head with not just the one, but two of them in the last 45 seconds of this. When I hear that, an intense wave of euphoria takes over my body, the hairs on my body stand on end and my heart beats a little bit faster. This is how music should make you feel all the time.

“What Have We Started” is a dramatic but luscious love song which insists on making you feel exactly what she’s singing about. “Can’t Have It All”, very loungey and makes me think of the rain, with a final 10 seconds which is all a bit sublime and Pet Shop Boys-esque. “Supersonic” - her collaboration with the musical legend that gave us “Rock Lobster”/pop nutbag/B52 Fred Schneider - is so, so very 90’s. Fred’s little talky-bit half way through is a completely unexpected, but lovely, surprise.

There are songs I haven’t mentioned, which doesn’t mean I love them any less. There isn’t a single sliver of music on this album which hasn’t tickled me in the right way. I remember the very first time I listened to Madge’s Confessions On A Dance Floor and being totally dazzled by the production, by how instant it was. And even THAT had a couple of dud moments, whereas Light… completely delivers as a consistent and instant chunk of pop classics. As each song progresses you’re left wanting more, hoping it doesn’t end and praying there isn’t an off-center moment creeping around the corner. I listen to this album and am happy to be alive. It lifts my spirits and it makes me sing. I want to dance at some parts, and at others I want to cry. But it’s mainly dancing. It’s so rapturous and intensely clever that you feel yourself spun into a hyperbole of emotion with each songs passing.

A note to pop acts releasing albums in 2007: This is going to be a VERY hard record to top. Madge, Kylie, Girls Aloud, The ‘Babes - you all better be lifting your game. There are now absolutely no excuses for you bitches not to be bringing it. Britney, XXX-Tina take note: this is the kind of material a proper popstar puts on an album. That is all.

*Spot the Ellis-Bextor reference and win a prize!!