Well, I'm not disappointed

I was expecting the new Sunday Top Of The Pops to continue down the path of being not that great and there it went.
Fearne Cotton's overenthusiasm for everything continues to be a little grating, and Reggie Yates, who was finally doing a decent job, has been got rid of, to be replaced this week by an awkward Phill Jupitas, and next week by Jeremy Clarkson. I know that they're trying to bring the dads in but for all his skills it's hard to imagine him not being even more awkward. If it means archive an performance of Barclay James Harvest I'll be satisfied though.
The scheduled extra 5 minutes (although it appeared to be 10 in reality) have made room to have two archive performances as well as the usual 6 current ones which is fair enough I guess; this week it was Madness and Take That, introduced in a standard mocking manner. The captions from TOTP2 were kind of used, although much more briefly in each song.
No idea who the man reading the album and singles charts was, but he sounded incredibly bored, despite them being so brand! new! hot!.
Hayseed Dixie were the most puzzling band there. There is a medley of bluegrass Radiohead covers by a band calling themselves Rodeohead going around the internet which is pretty amusing, but this is based largely on a realisation that any song being played in an unusual style is only funny for a minute or so at most if that's it's only appeal. They throw almost everchanging songs and bits of songs at you, making for a lot of sudden happy recognitions, whereas Hayseed Dixie just covered Roses in its entirety. And somehow managed to even suck the life out of the 'crash, crash, crash into a ditch bit.' It's difficult to see how they're meant to appeal to a wide audience.
We had Charlotte Church and, erm, Bananarama and Inaya Day's Prince cover to represent great modern music at least. Oh and Ben Moody with Anastacia playing Amy Lee. Yeesh.
Being able to present the new number one while people are still interested on a Sunday is probably the only particular positive change in the move, which made it a bit of a shame for them that it was a song that everyone must have heard by now. Yes, James Blunt has reached number one after seven weeks. Let us rejoice as proper music in all it's inferior Damien Rice radio-edit glory has finally triumphed against the will of the man!